Encore 1
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Encore
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Dear Friends,
T
he beauty of having a gallery for over thirty years is that old friends come back to visit us time and again. Indeed, great works of art are like good friends: you want to see them when you can, you miss them when they’re gone, and reunions are joyful celebrations. This catalogue represents our nod to a “reunion” of old friends. Hence, the title Encore. Here at Zaplin Lampert Gallery, we consider ourselves privileged to be (re)representing works that we handled during the past three decades. (In some cases, it might be even earlier since there was a Zaplin and there was a Lampert well before the gallery was established.) “Encores” make up the majority of works displayed in this catalogue; yet, there are others, too, which were selected because of their exceptional quality. So, we couldn’t resist the temptation to share a handful of our “new acquaintances” with you, as well. Today I can look back on our early days with a smile. When we opened Zaplin Lampert Gallery in 1987, future clients would wander in, look around and ask, “So how long have you been open?” They’d return a year or so later and say, “Wow!
You’re still here! What are your names again?” It took—on average—about three to five visits for people to finally accept that Zaplin Lampert Gallery had something to offer. Now, after thirty years, we’re proud of our legacy and gratified to be able to continue our service. To be given the opportunity to (re)sell artwork enjoyed by our many clients over the years is the greatest compliment I can receive as a gallery owner. It would be out of character for me not to thank those loyal clients and friends for giving us the opportunity to place these well-loved works on the walls of other appreciative art lovers and to encourage new, enthusiastic collectors. I am grateful that you continue to put your faith in Zaplin Lampert Gallery. Sincerely,
Richard Lampert, 2018
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Charles Partridge
Adams
1858–1942
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Silver Lake Above Boulder, Colorado c. 1896 Oil on canvas 151/4 x 231/2 inches Signed lower left
Applegate
1881–1931
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Frank
Evening in the Pueblo c. 1925 Oil on canvas 16 x 24 inches Signed lower right
Jozef
Bakos
1891–1977
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Hacienda del Norte c. 1930 Oil on canvas 18 x 24 inches Signed lower left
Baumann
1881–1971
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Gustave
Above Spring Serenade 1923 Colored woodblock print 44 of 120 91/4 x 11 inches Signed lower right with hand-in-heart chop Right Procession 1930 Colored woodblock print 60 of 120 13 x 123/4 inches Signed lower right with hand-in-heart chop
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Berninghaus
1874–1952
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Oscar E.
Above Left Apache Tepee 1927 Ink, watercolor & pastel 7 x 10 inches Titled and dated lower left Above Right Apache 1927 Ink, watercolor & pastel 7 x 10 inches Titled and dated lower right Right Taos Brave and Ponies c. 1920s Oil on canvas 16 x 20 inches Signed lower right
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Bierstadt
1830–1902
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Albert
Above The Rocky Mountains, Lander's Peak 1869 Chromolithograph 163/4 x 273/4 inches Signed in the plate lower right Right A Storm in the Rockies - Mt. Rosalie 1869 Chromolithograph 181/4 x 32 inches Signed in the plate lower right
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“When we look up and measure the mighty perpendicular cliffs that rise hundreds of feet aloft, all capped with snow, we then realize that we are among a different class of mountains. . . . and especially when we see the antelope stop to look at us, and still more the Indian, his pursuer, who often stands dismayed to see a white man sketching alone in the midst of his hunting grounds.” – Bierstadt letter to The Crayon, September 1859, reporting on his first trip to the Rocky Mountains
Ernest L.
Blumenschein
1874–1960
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“T here I saw my first Taos Indians, picturesque, colorful, dressed in blankets artistically draped. . . . New Mexico had gripped me — and I was not long in deciding that if Phillips would agree with me, if he felt as inspired to work as I, the Taos valley and its surrounding magnificent country would be the end of our wagon trip.” – Blumenschein remembering his first impressions of the Taos region in 1898
Taos Elder c. 1930s Oil on canvas 163/4 x 15 inches Signed lower right
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Bodmer
1809–1893
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Karl
Right Abdih-Hiddisch c. 1840 Hand-colored aquatint line engraving 20 x 143/8 inches Far Right Pehriska-Ruhpa, Moennitarri Warrior in the Costume of the Dog Danse c. 1840 Hand-colored aquatint line engraving 203/4 x 15 inches
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Gerald
Cassidy
1869–1934
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“He spent hours, as well as days and weeks, in the hills he loved and among the Indians, studying them, the light and color effects and relations, making color sketches and notes for later elaboration in the studio. During these studies he came to know the Indian as a human being, trying to understand their point of view and life. That he succeeded in the latter to an unusual degree was shown, I think, in his sympathetic rendering of their ceremonials and in their portraits, and also at the time of his death when Indian friends came from pueblos far away and near to add a bit of their ritual to his burial and to mourn with us.” – Ina Sizer Cassidy, Gerald Cassidy’s widow, as quoted in Light, Landscape and the Creative Quest: Early Artists of Santa Fe
The Pottery Vendor c. 1920 Gouache & watercolor 91/2 x 71/2 inches Signed lower right
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Catlin
1796–1872
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George
Right Ha-Nee (the Beaver) 1852 Pencil on paper 14 x 101/2 inches Far Right Eeh-Tow-Ees-Ka.Zeet (he who has eyes behind him) 1852 Pencil on paper 14 x 101/2 inches
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E. I.
Couse
1866–1936
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Left Fireside c. 1915 Oil on canvas in original frame 20 x 24 inches Signed lower right Above Indians in Moonlight c. 1920s Oil on canvas 16 x 20 inches Signed lower right
Catharine
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1868–1964
Critcher
Portrait of an Indian Girl c. 1925 Oil on board 151/8 x 13 inches Signed lower right
Edward S.
Curtis
1868–1952
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At the Old Well of Acoma 1904 Platinum photograph 121/2 x 161/2 inches Signed lower right
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“T hey have grasped the idea that this is to be a permanent memorial to their race, and it appeals to their imagination. Word passes from tribe to tribe about it.” – Curtis interview: The New York Times, April 16, 1911
Left Edward S. Curtis Vash Gon 1904 Goldtone photograph in original frame 91/2 x 51/4 inches Signed lower right Right Edward S. Curtis The Scout 1906 Goldtone photograph in original frame 11 x 14 inches Signed lower right
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Delano
1890–1972
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Gerard Curtis
Navajo Riders c. 1950s Watercolor 153/4 x 213/4 inches Signed lower right
Fremont F.
Ellis
1897–1985
“I t was a day with a sky like something I had never seen. Very blue sky and a
– Fremont Ellis on his first impression of the Santa Fe region, 1919
Mountain Stream c. 1930s Oil on board 12 x 9 inches Signed lower left
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big white thunderhead cloud was rolling up . . . old adobe houses [and] big poplar trees against that sky, the wonderful poplars. Great big ones . . . I thought, my God, this is heaven.”
Leon
Gaspard
1882–1964
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“Every Sunday morning in Taos that winter, we sat at the kitchen table of a painter of a world virtually unknown in art . . . (a) beautiful world that no longer exists, but which has been caught and held out of the remorseless stream of time by the strikingly colorful palette of Leon Gaspard.” – Frank Waters, author and Gaspard friend and biographer
Cairo - Dora in Pantaloons c. 1933 Mixed media 29 x 161/4 inches Signed lower left
William Penhallow
Henderson
1877–1943
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Lucero House c. 1920 Oil on board 157/8 x 20 inches
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E. Martin
Hennings
1886–1956
“To each one of the little group who, a few years ago, organized the Taos Society of Artists there was no other
– W.H. "Buck" Dunton, on “The Painters of Taos,” American Magazine of Art, August, 1922
Sunlit Foothills c. 1930 Oil on canvas 25 x 30 inches Signed lower left
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place which lent to them so enduring an appeal—remote from commercialism and the sordid, restful in its peaceful isolation, quiet along its crooked alleys, in the soft shadows of the adobe walls. The mountain rivers sung of happiness.”
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E. Martin Hennings Contemplation c. 1925 Oil on canvas on board 14 x 14 inches Signed lower right
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E. Martin Hennings Ceremonial Dress c. 1925 Oil on canvas on board 14 x 14 inches Signed lower right
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Thomas
Hill
1829–1908
“It is conceded by the leading artists and critics of the day, that Thomas Hill stands without a rival – Oakland Tribune (Oakland, California), 1883
Indian Encampment c. 1878 Oil on canvas 13 x 21 inches Signed lower right
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in America, as a landscape painter.”
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Thomas Hill Mountain Quartet c. 1900 Watercolor Set of four Each 31/2 x 5 inches Two are signed lower right
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Kloss
1903–1996
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Gene
Right The Sky Answers Domingo 1935 Drypoint, aquatint & mezzotint 137/8 x 10 7/8 inches Signed lower right Far Right Night Mass of our Lady of Delores 1937 Drypoint & aquatint 117/8 x 87/8 inches Signed lower right
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William R.
Leigh
1866–1955
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“I saw that I must so far as possible be a sponge; soak up everything I saw; must know the manners and customs of the people and their employments—in short, absorb all that it was humanly possible to absorb. I started in to paint, paint, paint!” – The artist on his first impressions of being in the Southwest
Land of the Navahos (Keams Canon, Arizona) 1919 Oil on canvas board 131/4 x 163/4 inches Signed lower right
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Thomas
Moran
1837–1926
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“On a recent visit to the Grand Cañon of Arizona I was more than ever convinced that the future of American art lies in being true to our own country, in the interpretation of that beautiful and glorious scenery with which Nature has so lavishly endowed our land.” – Thomas Moran, quoted in The American Magazine, January, 1913
Grand Canyon of the Colorado River, Arizona 1892 Chromolithograph 211/2 x 38 inches
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B.J.O.
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1878–1955
Nordfeldt
Still Life c. 1930 Oil on canvas 36 x 321/4 inches Signed lower right
Warren E.
Rollins
1861–1962
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Pueblo Girl with Shawl c. 1915 Oil on canvas on board 15 x 10 inches Signed lower left
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Birger
Sandzen
1871–1954
“In the atmosphere in which the intensive light vibration and ring of color produce the great poser of light which is often the situation in the
– Birger Sandzen, 1915
The Silent Lake, Rocky Mountain National Park, Colorado 1928 Oil on canvas 30 x 40 inches Signed lower left
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dry air of the Southwest — it is clear that a color technique should be used that emphasizes the most characteristic feature of the landscape. One must then use pure colors which refract each other, but which through distance assimilate for the eye — the so-called “optical” blending — since the usual blending on the palette, the ‘pigmented blending,’ is not intensive enough and does not ‘vibrate.’”
Joseph Henry
Sharp
1859–1953
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“He was the reporter, the recorder of absolute integrity of the American Indian . . . He will go down in history with Russel (sic) and Remington and the few early artists of Indian life.” – E.L. Blumenschein, at the memorial service for Joseph Henry Sharp
Chizchile, Navajo 1905 Oil on canvas 181/4 x 121/4 inches Signed lower right
John
Sloan
1871–1951
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Asters and Chamisa 1945 Tempera on Masonite
20 x 24 inches Signed lower left
“He was Irish, combative, never dull, pugnacious, sincere. His company was always electric and always fun. He had unlimited warmth to give—and I should hate to have had him for an enemy.”
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– Author Oliver La Farge on John Sloan
John Sloan Santa Fe from the West 1936 Oil on board 18 x 24 inches Signed lower right
Virginia
True
1900–1989
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Santa Fe Café 1928 Watercolor 101/2 x 7 inches Signed lower right
Woolsey
1899–1970
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Wood W.
New Mexico Landscape c. 1930 Oil on canvas 20 x 24 inches Signed lower left
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Š2018 Zaplin | Lampert Gallery Designer Alex Hanna | Invisible City Designs Photographer Ben Sandoval | Zaplin Lampert Gallery
651 Canyon Road, Santa Fe, New Mexico 87501 505.982.6100 zaplinlampert.com
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651 Canyon Road, Santa Fe, New Mexico 87501 | 505.982.6100 | zaplinlampert.com