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Shishimai, woodblock print by Clifton Karhu, figurative, red, blue, Japan, frame
By Clifton Karhu
Located in Santa Fe, NM
Shishimai, woodblock print by Clifton Karhu, figurative, red, blue, Japan, frame
AP6
Hand signed and numbered by the artist
slight smudge on bottom of frame
Category
1970s Contemporary Figurative Prints
Materials
Paper
Shoji, woodblock print by Clifton Karhu, round, framed, brown, white, yellow
By Clifton Karhu
Located in Santa Fe, NM
Shoji, woodblock print by Clifton Karhu, round, framed, brown, white, yellow
framed woodblock print
hand signed and numbered by the artist
Category
1990s Contemporary Landscape Prints
Materials
Paper
Kinkakuji Rain, woodblock print by Clifton Karhu, framed, green, orange, black
By Clifton Karhu
Located in Santa Fe, NM
Kinkakuji Rain, woodblock print by Clifton Karhu, framed, green, orange, black
hand signed and numbered by the artist
16/100
Category
1970s Contemporary Landscape Prints
Materials
Paper
Koshihata Snow, woodblock print by Clifton Karhu, white, Japan, framed, signed
By Clifton Karhu
Located in Santa Fe, NM
Koshihata Snow, woodblock print by Clifton Karhu, white, Japan, framed, signed 1975
hand signed and numbered
Category
1970s Contemporary Landscape Prints
Materials
Paper
Cake Shop, woodblock print by Clifton Karhu, red, yellow, black, framed, Japan
By Clifton Karhu
Located in Santa Fe, NM
Cake Shop, woodblock print by Clifton Karhu, red, yellow, black, framed, Japan
hand signed and numbered
Category
1990s Contemporary Landscape Prints
Materials
Paper
Ceremonial Night, by Dan Namingha, limited edition, lithograph, Hopi, landscape
By Dan Namingha
Located in Santa Fe, NM
Ceremonial Night, by Dan Namingha, limited edition, lithograph, Hopi, landscape
hand pulled limited edition lithograph Tamarind Institute signed and numbered by the artist Glenn Gr...
Category
1980s Contemporary Landscape Prints
Materials
Lithograph
Fantasy, Japanese, limited edition lithograph, black, white, red, signed, titled
By Toko Shinoda
Located in Santa Fe, NM
Fantasy, Japanese, limited edition lithograph, black, white, red, signed, titled
Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut.
New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting.
Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107.
Her death was announced by her gallerist in the United States.
A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades.
Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family.
Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.”
As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries.
Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line.
“The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.”
Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago.
Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young.
Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation.
“If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.”
Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf.
Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview.
Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo.
The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo.
One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko.
“My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.”
She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford.
“I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.”
Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery.
During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA.
In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years.
She met many of the titans of Abstract Expressionism there, and she became captivated by their work.
“When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.”
During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries.
Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.”
Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime.
No immediate family members survive.
When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation.
“I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.”
Works of a Woman's Hand
Toko Shinoda bases new abstractions on ancient calligraphy
Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow.
Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting.
She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print.
Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray.
It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.”
Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance.
Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity.
“I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing.
Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.”
She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.”
Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers.
Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future.
Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs.
In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary.
Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous.
Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.”
It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s.
When she says goodbye, she bows. --by Paul Gray...
Category
1990s Contemporary Abstract Prints
Materials
Lithograph
Rippling, limited edition lithograph, Japanese, black, white, red, signed
By Toko Shinoda
Located in Santa Fe, NM
Rippling, limited edition lithograph, Japanese, black, white, red, signed,number
Category
1990s Contemporary Abstract Prints
Materials
Lithograph
Apache Hunter, limited edition lithograph by Allan Houser, horseback hunter
By Allan Houser
Located in Santa Fe, NM
Apache Hunter, limited edition lithograph by Allan Houser, horseback hunter
hand-pulled black and white lithograph
printed in Santa Fe, New Mexico
unframed edition of 75
Allan Houser (Haozous), Chiricahua Apache (1914-1994)
Selected Collections
Centre Georges Pompidou, Paris, France * “They’re Coming”, bronze
Dahlem Museum, Berlin, Germany
Japanese Royal Collection, Tokyo, Japan “The Eagle”, black marble commissioned by President William J. Clinton
United States Mission to the United Nations, New York City, NY *"Offering of the Sacred Pipe”, monumental bronze by Allan Houser © 1979 Presented to the United States Mission to the United Nations as a symbol of World Peace honoring the native people of all tribes in these United States of America on February 27, 1985 by the families of Allan and Anna Marie Houser, George and Thelma Green and Glenn and Sandy Green in New York City.
National Portrait Gallery, Smithsonian, Washington, DC * Portrait of Geronimo, bronze
National Museum of American Art, Smithsonian, Washington, D.C. * “Buffalo Dance Relief”, Indiana limestone
National Museum of the American Indian, Smithsonian, Washington, D.C. *Sacred Rain Arrow, (Originally dedicated at the US Senate Committee on Indian Affairs, US Senate Building) “Goat”, “To The Great Spirit” - dedicated in 1994 at the Vice President’s Residence in Washington, D.C.. Ceremony officiated by Hillary Rodham Clinton and Tipper Gore.
Oklahoma State Capitol, Oklahoma City, Ok * “As Long As the Waters Flow”, bronze
Gilcrease Museum, Tulsa, OK *Sacred Rain Arrow, bronze
Fort Sill, Oklahoma *”Chiricahua Apache Family”, bronze Donated and dedicated to Allan Houser’s parents Sam and Blossom Haozous by Allan Houser and Glenn and Sandy Green
The Heard Museum, Phoenix, Arizona *Earth Song, marble donated by Glenn and Sandy Green
The Clinton Presidential Library, Arkansas * “May We Have Peace”, bronze
The George H.W. Bush Presidential Library, College Station, Texas *"Offering to the Great Spirit", bronze
The British Royal Collection, London, England *Princess Anne received "Proud Mother", bronze in Santa Fe
Allan Houser’s father Sam Haozous, surrendered at the age of 14 with Geronimo and his band of Warm Springs Chiricahua Apache people in 1886 in Southern Arizona. This was the last active war party in the United States.
This group of Apache people was imprisoned for 27 years starting in Fort Marion, Florida and finally living in captivity in Fort Sill, Oklahoma.
Allan Houser was born in 1914.
His artwork is an ongoing testimony to Native life in America – its beauty, strength and poignancy. Allan Houser is from the culture and portrayed his people in an insightful and authentic way. Because of the era in which he lived, he had a rare understanding of American Indian life. Allan was the first child born after the Chiricahua Apaches were released from 27 years of captivity. Allan grew up speaking the Chiricahua dialect. Allan heard his father’s stories of being on the warpath with Geronimo and almost nightly heard his parents singing traditional Apache music. Allan’s father knew all of Geronimo’s medicine songs.
Allan had an early inclination to be artistic. He was exposed to many Apache ceremonial art forms: music, musical instruments, special dress, beadwork, body painting and dynamic dance that are integral aspects of his culture. His neighbors were members of many different tribes who lived in Oklahoma. Allan eagerly gained information about them and their cultures. Allan gathered this information and mentally stored images until he brought them back to life, years later, as a mature artist.
Allan Houser was represented by Glenn Green Galleries (formerly known as The Gallery Wall, Inc.) from 1973 until his death in 1994. The gallery served as agents, advocates, and investors during this time.
In 1973 the Greens responded enthusiastically to the abstraction and creativity in Houser’s work. They were impressed, not only with his versatility and talent but with the number of mediums he employed. His subject matter was portrayed in styles ranging from realism, stylized form to abstraction.
With encouragement from the Greens, Houser at the age of 61, retired from his post as the head of the sculpture department at the Institute of American Indian Arts in Santa Fe, New Mexico in 1975 to begin working full-time creating his art. The next 20-year period was an exciting time for Allan, the gallery, and for the Green family. He created a large body of sculpture in stone, wood and bronze. For many years Glenn Green Galleries co-sponsored many editions of his bronzes and acted as quality control for the bronze sculptures according to Houser’s wishes.
As both agents and gallery representatives, the Greens promoted and sold his art in their galleries in Phoenix and Scottsdale, Arizona and in Santa Fe, New Mexico. They had bi-annual exhibits in their galleries to feature Houser’s newest work and sponsored and arranged international museum shows in America, Europe and Asia. They travelled for these events including a trip to Carrara, Italy to the famed quarries of Michelangelo and together co-financed and arranged the purchase of 20 tons of marble.
A watershed event for Allan Houser’s career occurred in the early 1980’s when Glenn Green Galleries arranged with the US Information Agency a touring exhibit of his sculpture through Europe. This series of exhibits drew record attendance for these museums and exposed Houser’s work to an enthusiastic art audience. This resulted in changing the perception of contemporary Native art in the United States where Houser and Glenn Green Galleries initially faced resistance from institutions who wanted to categorize him in a regional way. The credits from the European exhibits helped open doors and minds of the mainstream art community in the United States and beyond.
Senator Daniel Inouye of Hawaii was a supporter of Allan Houser’s artwork. We worked with Senator Inouye on many occasions hosting events at our gallery and in Washington D.C in support of the formation of the Smithsonian’s National Museum of the American Indian in Washington, D.C. and other causes supporting Native Americans.
Allan Houser is shown below presenting his sculpture “Swift Messenger” to Senator Inouye in Washington, D.C.. This sculpture was eventually given to the National Museum of the American Indian, Smithsonian’s permanent collection. It is now currently on loan and on display in the Oval Office. President Biden’s selection of artwork continues our gallery’s and Allan’s connection to the White House from our time working with Allan Houser from 1974 until his passing in 1994.
“It was important for President Biden to walk into an Oval that looked like America and started to show the landscape of who he is going to be as president,” Ashley Williams...
Category
1970s Contemporary Figurative Prints
Materials
Lithograph
Apache Mountain Spirit Dancers, lithograph, Apache, Allan Houser Haozous black
By Allan Houser
Located in Santa Fe, NM
Apache Mountain Spirit Dancers, lithograph, Apache, Allan Houser Haozous black
Hand colored original lithograph edition by Allan Houser
hand printed in Santa Fe, New Mexico
Allan Houser (Haozous), Chiricahua Apache (1914-1994)
Selected Collections
Centre Georges Pompidou, Paris, France * “They’re Coming”, bronze
Dahlem Museum, Berlin, Germany
Japanese Royal Collection, Tokyo, Japan “The Eagle”, black marble commissioned by President William J. Clinton
United States Mission to the United Nations, New York City, NY *"Offering of the Sacred Pipe”, monumental bronze by Allan Houser © 1979 Presented to the United States Mission to the United Nations as a symbol of World Peace honoring the native people of all tribes in these United States of America on February 27, 1985 by the families of Allan and Anna Marie Houser, George and Thelma Green and Glenn and Sandy Green in New York City.
National Portrait Gallery, Smithsonian, Washington, DC * Portrait of Geronimo, bronze
National Museum of American Art, Smithsonian, Washington, D.C. * “Buffalo Dance Relief”, Indiana limestone...
Category
1970s Contemporary Figurative Prints
Materials
Color Pencil, Lithograph
Afternoon in Summertime, unique, work on paper, bears, plants, maps, yellow
By Melanie Yazzie
Located in Santa Fe, NM
Afternoon in Summertime, unique, work on paper, bears, plants, maps, yellow,blue
Melanie Yazzie unframed work on paper
Maps of New Mexico, Washingto...
Category
2010s Contemporary Animal Drawings and Watercolors
Materials
Charcoal, Gouache, Monotype, Screen
Mana (Girl), Hopi Kachina lithograph by Dan Namingha black and white
By Dan Namingha
Located in Santa Fe, NM
Mana (Girl), Hopi Kachina lithograph by Dan Namingha black and white
hand pulled color lithograph
signed and numbered by the artist
unframed
Category
1980s Contemporary Figurative Prints
Materials
Lithograph
New Mexico Landscape by John Hogan, serigraph screen print limited edition
By John Hogan
Located in Santa Fe, NM
New Mexico Landscape by John Hogan, serigraph screen print limited edition
#6/20 limited edition hand pulled screen print/serigraph
© 1977
John Hogan A graduate of Northeast Louisia...
Category
1970s Contemporary Landscape Prints
Materials
Screen
Apache Hunter, limited edition lithograph by Allan Houser, horseback hunter
By Allan Houser
Located in Santa Fe, NM
Apache Hunter, limited edition lithograph by Allan Houser, horseback hunter
hand pulled black and white lithograph edition
printed in Santa Fe, New Mexico
Allan Houser (Haozous), Chiricahua Apache (1914-1994)
Selected Collections
Centre Georges Pompidou, Paris, France * “They’re Coming”, bronze
Dahlem Museum, Berlin, Germany
Japanese Royal Collection, Tokyo, Japan “The Eagle”, black marble commissioned by President William J. Clinton
United States Mission to the United Nations, New York City, NY *"Offering of the Sacred Pipe”, monumental bronze by Allan Houser © 1979 Presented to the United States Mission to the United Nations as a symbol of World Peace honoring the native people of all tribes in these United States of America on February 27, 1985 by the families of Allan and Anna Marie Houser, George and Thelma Green and Glenn and Sandy Green in New York City.
National Portrait Gallery, Smithsonian, Washington, DC * Portrait of Geronimo, bronze
National Museum of American Art, Smithsonian, Washington, D.C. * “Buffalo Dance Relief”, Indiana limestone
National Museum of the American Indian, Smithsonian, Washington, D.C. *Sacred Rain Arrow, (Originally dedicated at the US Senate Committee on Indian Affairs, US Senate Building) “Goat”, “To The Great Spirit” - dedicated in 1994 at the Vice President’s Residence in Washington, D.C.. Ceremony officiated by Hillary Rodham Clinton and Tipper Gore.
Oklahoma State Capitol, Oklahoma City, Ok * “As Long As the Waters Flow”, bronze
Gilcrease Museum, Tulsa, OK *Sacred Rain Arrow, bronze
Fort Sill, Oklahoma *”Chiricahua Apache Family”, bronze Donated and dedicated to Allan Houser’s parents Sam and Blossom Haozous by Allan Houser and Glenn and Sandy Green
The Heard Museum, Phoenix, Arizona *Earth Song, marble donated by Glenn and Sandy Green
The Clinton Presidential Library, Arkansas * “May We Have Peace”, bronze
The George H.W. Bush Presidential Library, College Station, Texas *"Offering to the Great Spirit", bronze
The British Royal Collection, London, England *Princess Anne received "Proud Mother", bronze in Santa Fe
Allan Houser’s father Sam Haozous, surrendered at the age of 14 with Geronimo and his band of Warm Springs Chiricahua Apache people in 1886 in Southern Arizona. This was the last active war party in the United States.
This group of Apache people was imprisoned for 27 years starting in Fort Marion, Florida and finally living in captivity in Fort Sill, Oklahoma.
Allan Houser was born in 1914.
His artwork is an ongoing testimony to Native life in America – its beauty, strength and poignancy. Allan Houser is from the culture and portrayed his people in an insightful and authentic way. Because of the era in which he lived, he had a rare understanding of American Indian life. Allan was the first child born after the Chiricahua Apaches were released from 27 years of captivity. Allan grew up speaking the Chiricahua dialect. Allan heard his father’s stories of being on the warpath with Geronimo and almost nightly heard his parents singing traditional Apache music. Allan’s father knew all of Geronimo’s medicine songs.
Allan had an early inclination to be artistic. He was exposed to many Apache ceremonial art forms: music, musical instruments, special dress, beadwork, body painting and dynamic dance that are integral aspects of his culture. His neighbors were members of many different tribes who lived in Oklahoma. Allan eagerly gained information about them and their cultures. Allan gathered this information and mentally stored images until he brought them back to life, years later, as a mature artist.
Allan Houser was represented by Glenn Green Galleries (formerly known as The Gallery Wall, Inc.) from 1973 until his death in 1994. The gallery served as agents, advocates, and investors during this time.
In 1973 the Greens responded enthusiastically to the abstraction and creativity in Houser’s work. They were impressed, not only with his versatility and talent but with the number of mediums he employed. His subject matter was portrayed in styles ranging from realism, stylized form to abstraction.
With encouragement from the Greens, Houser at the age of 61, retired from his post as the head of the sculpture department at the Institute of American Indian Arts in Santa Fe, New Mexico in 1975 to begin working full-time creating his art. The next 20-year period was an exciting time for Allan, the gallery, and for the Green family. He created a large body of sculpture in stone, wood and bronze. For many years Glenn Green Galleries co-sponsored many editions of his bronzes and acted as quality control for the bronze sculptures according to Houser’s wishes.
As both agents and gallery representatives, the Greens promoted and sold his art in their galleries in Phoenix and Scottsdale, Arizona and in Santa Fe, New Mexico. They had bi-annual exhibits in their galleries to feature Houser’s newest work and sponsored and arranged international museum shows in America, Europe and Asia. They travelled for these events including a trip to Carrara, Italy to the famed quarries of Michelangelo and together co-financed and arranged the purchase of 20 tons of marble.
A watershed event for Allan Houser’s career occurred in the early 1980’s when Glenn Green Galleries arranged with the US Information Agency a touring exhibit of his sculpture through Europe. This series of exhibits drew record attendance for these museums and exposed Houser’s work to an enthusiastic art audience. This resulted in changing the perception of contemporary Native art in the United States where Houser and Glenn Green Galleries initially faced resistance from institutions who wanted to categorize him in a regional way. The credits from the European exhibits helped open doors and minds of the mainstream art community in the United States and beyond.
Senator Daniel Inouye of Hawaii was a supporter of Allan Houser’s artwork. We worked with Senator Inouye on many occasions hosting events at our gallery and in Washington D.C in support of the formation of the Smithsonian’s National Museum of the American Indian in Washington, D.C. and other causes supporting Native Americans.
Allan Houser is shown below presenting his sculpture “Swift Messenger” to Senator Inouye in Washington, D.C.. This sculpture was eventually given to the National Museum of the American Indian, Smithsonian’s permanent collection. It is now currently on loan and on display in the Oval Office. President Biden’s selection of artwork continues our gallery’s and Allan’s connection to the White House from our time working with Allan Houser from 1974 until his passing in 1994.
“It was important for President Biden to walk into an Oval that looked like America and started to show the landscape of who he is going to be as president,” Ashley Williams...
Category
1970s Contemporary Figurative Prints
Materials
Lithograph
Aspen Trail- Fall, color etching, John Hogan, yellows, gold, landscape forest
By John Hogan
Located in Santa Fe, NM
Aspen Trail- Fall, color etching,John Hogan, yellows, gold, landscape forest
hand pulled limited edition color etching
22 x 30 paper size
18 x 24 image size
unframed
edition signed ...
Category
1990s Contemporary Landscape Prints
Materials
Etching
Growing Strong, by Melanie Yazzie, Native American, monotype, green, black, bird
By Melanie Yazzie
Located in Santa Fe, NM
Growing Strong, by Melanie Yazzie, Native American, monotype, green, black, bird
natural wood frame 27.25" x 35.25"
paper size 20" x 28"
Category
2010s Contemporary Abstract Prints
Materials
Monotype, Archival Paper
Tableau, Japanese, limited edition lithograph, black, white, red, signed, number
By Toko Shinoda
Located in Santa Fe, NM
Tableau, Japanese, limited edition lithograph, black, white, red, signed, number
Shinoda's works have been collected by public galleries and museums, including the Museum of Modern Art, Solomon R. Guggenheim Museum, Brooklyn Museum and Metropolitan Museum (all in New York City), the National Museum of Modern Art in Tokyo, the British Museum in London, the Art Institute of Chicago, Arthur M. Sackler Gallery of the Smithsonian in Washington, D.C., the Singapore Art Museum, the National Museum of Singapore, the Kröller-Müller Museum in Otterlo, Netherlands, the Albright–Knox Art Gallery in Buffalo, New York, the Cincinnati Art Museum, and the Yale University Art Gallery in New Haven, Connecticut.
New York Times Obituary, March 3, 2021 by Margalit Fox, Alex Traub contributed reporting.
Toko Shinoda, one of the foremost Japanese artists of the 20th century, whose work married the ancient serenity of calligraphy with the modernist urgency of Abstract Expressionism, died on Monday at a hospital in Tokyo. She was 107.
Her death was announced by her gallerist in the United States.
A painter and printmaker, Ms. Shinoda attained international renown at midcentury and remained sought after by major museums and galleries worldwide for more than five decades.
Her work has been exhibited at, among other places, the Metropolitan Museum of Art and the Museum of Modern Art in New York; the Art Institute of Chicago; the British Museum; and the National Museum of Modern Art in Tokyo. Private collectors include the Japanese imperial family.
Writing about a 1998 exhibition of Ms. Shinoda’s work at a London gallery, the British newspaper The Independent called it “elegant, minimal and very, very composed,” adding, “Her roots as a calligrapher are clear, as are her connections with American art of the 1950s, but she is quite obviously a major artist in her own right.”
As a painter, Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks, that has been used in Asia for centuries.
Rubbed on a wet stone to release their pigment, the sticks yield a subtle ink that, because it is quickly imbibed by paper, is strikingly ephemeral. The sumi artist must make each brush stroke with all due deliberation, as the nature of the medium precludes the possibility of reworking even a single line.
“The color of the ink which is produced by this method is a very delicate one,” Ms. Shinoda told The Business Times of Singapore in 2014. “It is thus necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.”
Ms. Shinoda painted almost entirely in gradations of black, with occasional sepias and filmy blues. The ink sticks she used had been made for the great sumi artists of the past, some as long as 500 years ago.
Her line — fluid, elegant, impeccably placed — owed much to calligraphy. She had been rigorously trained in that discipline from the time she was a child, but she had begun to push against its confines when she was still very young.
Deeply influenced by American Abstract Expressionists like Jackson Pollock, Mark Rothko and Robert Motherwell, whose work she encountered when she lived in New York in the late 1950s, Ms. Shinoda shunned representation.
“If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.”
Spare and quietly powerful, making abundant use of white space, Ms. Shinoda’s paintings are done on traditional Chinese and Japanese papers, or on backgrounds of gold, silver or platinum leaf.
Often asymmetrical, they can overlay a stark geometric shape with the barest calligraphic strokes. The combined effect appears to catch and hold something evanescent — “as elusive as the memory of a pleasant scent or the movement of wind,” as she said in a 1996 interview.
Ms. Shinoda’s work also included lithographs; three-dimensional pieces of wood and other materials; and murals in public spaces, including a series made for the Zojoji Temple in Tokyo.
The fifth of seven children of a prosperous family, Ms. Shinoda was born on March 28, 1913, in Dalian, in Manchuria, where her father, Raijiro, managed a tobacco plant. Her mother, Joko, was a homemaker. The family returned to Japan when she was a baby, settling in Gifu, midway between Kyoto and Tokyo.
One of her father’s uncles, a sculptor and calligrapher, had been an official seal carver to the Meiji emperor. He conveyed his love of art and poetry to Toko’s father, who in turn passed it to Toko.
“My upbringing was a very traditional one, with relatives living with my parents,” she said in the U.P.I. interview. “In a scholarly atmosphere, I grew up knowing I wanted to make these things, to be an artist.”
She began studying calligraphy at 6, learning, hour by hour, impeccable mastery over line. But by the time she was a teenager, she had begun to seek an artistic outlet that she felt calligraphy, with its centuries-old conventions, could not afford.
“I got tired of it and decided to try my own style,” Ms. Shinoda told Time magazine in 1983. “My father always scolded me for being naughty and departing from the traditional way, but I had to do it.”
Moving to Tokyo as a young adult, Ms. Shinoda became celebrated throughout Japan as one of the country’s finest living calligraphers, at the time a signal honor for a woman. She had her first solo show in 1940, at a Tokyo gallery.
During World War II, when she forsook the city for the countryside near Mount Fuji, she earned her living as a calligrapher, but by the mid-1940s she had started experimenting with abstraction. In 1954 she began to achieve renown outside Japan with her inclusion in an exhibition of Japanese calligraphy at MoMA.
In 1956, she traveled to New York. At the time, unmarried Japanese women could obtain only three-month visas for travel abroad, but through zealous renewals, Ms. Shinoda managed to remain for two years.
She met many of the titans of Abstract Expressionism there, and she became captivated by their work.
“When I was in New York in the ’50s, I was often included in activities with those artists, people like Mark Rothko, Jackson Pollock, Motherwell and so forth,” she said in a 1998 interview with The Business Times. “They were very generous people, and I was often invited to visit their studios, where we would share ideas and opinions on our work. It was a great experience being together with people who shared common feelings.”
During this period, Ms. Shinoda’s work was sold in the United States by Betty Parsons, the New York dealer who represented Pollock, Rothko and many of their contemporaries.
Returning to Japan, Ms. Shinoda began to fuse calligraphy and the Expressionist aesthetic in earnest. The result was, in the words of The Plain Dealer of Cleveland in 1997, “an art of elegant simplicity and high drama.”
Among Ms. Shinoda’s many honors, she was depicted, in 2016, on a Japanese postage stamp. She is the only Japanese artist to be so honored during her lifetime.
No immediate family members survive.
When she was quite young and determined to pursue a life making art, Ms. Shinoda made the decision to forgo the path that seemed foreordained for women of her generation.
“I never married and have no children,” she told The Japan Times in 2017. “And I suppose that it sounds strange to think that my paintings are in place of them — of course they are not the same thing at all. But I do say, when paintings that I have made years ago are brought back into my consciousness, it seems like an old friend, or even a part of me, has come back to see me.”
Works of a Woman's Hand
Toko Shinoda bases new abstractions on ancient calligraphy
Down a winding side street in the Aoyama district, western Tokyo. into a chunky white apartment building, then up in an elevator small enough to make a handful of Western passengers friends or enemies for life. At the end of a hall on the fourth floor, to the right, stands a plain brown door. To be admitted is to go through the looking glass. Sayonara today. Hello (Konichiwa) yesterday and tomorrow.
Toko Shinoda, 70, lives and works here. She can be, when she chooses, on e of Japans foremost calligraphers, master of an intricate manner of writing that traces its lines back some 3,000 years to ancient China. She is also an avant-garde artist of international renown, whose abstract paintings and lithographs rest in museums around the world. These diverse talents do not seem to belong in the same epoch. Yet they have somehow converged in this diminutive woman who appears in her tiny foyer, offering slippers and ritual bows of greeting.
She looks like someone too proper to chip a teacup, never mind revolutionize an old and hallowed art form She wears a blue and white kimono of her own design. Its patterns, she explains, are from Edo, meaning the period of the Tokugawa shoguns, before her city was renamed Tokyo in 1868. Her black hair is pulled back from her face, which is virtually free of lines and wrinkles. except for the gold-rimmed spectacles perched low on her nose (this visionary is apparently nearsighted). Shinoda could have stepped directly from a 19th century Meji print.
Her surroundings convey a similar sense of old aesthetics, a retreat in the midst of a modern, frenetic city. The noise of the heavy traffic on a nearby elevated highway sounds at this height like distant surf. delicate bamboo shades filter the daylight. The color arrangement is restful: low ceilings of exposed wood, off-white walls, pastel rugs of blue, green and gray.
It all feels so quintessentially Japanese that Shinoda’s opening remarks come as a surprise. She points out (through a translator) that she was not born in Japan at all but in Darien, Manchuria. Her father had been posted there to manage a tobacco company under the aegis of the occupying Japanese forces, which seized the region from Russia in 1905. She says,”People born in foreign places are very free in their thinking, not restricted” But since her family went back to Japan in 1915, when she was two, she could hardly remember much about a liberated childhood? She answers,”I think that if my mother had remained in Japan, she would have been an ordinary Japanese housewife. Going to Manchuria, she was able to assert her own personality, and that left its mark on me.”
Evidently so. She wears her obi low on the hips, masculine style. The Porcelain aloofness she displays in photographs shatters in person. Her speech is forceful, her expression animated and her laugh both throaty and infectious. The hand she brings to her mouth to cover her amusement (a traditional female gesture of modesty) does not stand a chance.
Her father also made a strong impression on the fifth of his seven children:”He came from a very old family, and he was quite strict in some ways and quite liberal in others.” He owned one of the first three bicycles ever imported to Japan and tinkered with it constantly He also decided that his little daughter would undergo rigorous training in a procrustean antiquity.
“I was forced to study from age six on to learn calligraphy,” Shinoda says, The young girl dutifully memorized and copied the accepted models. In one sense, her father had pushed her in a promising direction, one of the few professional fields in Japan open to females. Included among the ancient terms that had evolved around calligraphy was onnade, or woman's writing.
Heresy lay ahead. By the time she was 15, she had already been through nine years of intensive discipline, “I got tired of it and decided to try my own style. My father always scolded me for being naughty and departing from the traditional way, but I had to do it.”
She produces a brush and a piece of paper to demonstrate the nature of her rebellion. “This is kawa, the accepted calligraphic character for river,” she says, deftly sketching three short vertical strokes. “But I wanted to use more than three lines to show the force of the river.” Her brush flows across the white page, leaving a recognizable river behind, also flowing.” The simple kawa in the traditional language was not enough for me. I wanted to find a new symbol to express the word river.”
Her conviction grew that ink could convey the ineffable, the feeling, "as she says, of wind blowing softly.” Another demonstration. She goes to the sliding wooden door of an anteroom and disappears in back of it; the only trace of her is a triangular swatch of the right sleeve of her kimono, which she has arranged for that purpose. A realization dawns. The task of this artist is to paint that three sided pattern so that the invisible woman attached to it will be manifest to all viewers.
Gen, painted especially for TIME, shows Shinoda’s theory in practice. She calls the work “my conception of Japan in visual terms.” A dark swath at the left, punctuated by red, stands for history. In the center sits a Chinese character gen, which means in the present or actuality. A blank pattern at the right suggests an unknown future.
Once out of school, Shinoda struck off on a path significantly at odds with her culture. She recognized marriage for what it could mean to her career (“a restriction”) and decided against it. There was a living to be earned by doing traditional calligraphy:she used her free time to paint her variations. In 1940 a Tokyo gallery exhibited her work. (Fourteen years would pass before she got a second show.)War came, and bad times for nearly everyone, including the aspiring artist , who retreated to a rural area near Mount Fuji and traded her kimonos for eggs.
In 1954 Shinoda’s work was included in a group exhibit at New York City’s Museum of Modern Art. Two years later, she overcame bureaucratic obstacles to visit the U.S.. Unmarried Japanese women are allowed visas for only three months, patiently applying for two-month extensions, one at a time, Shinoda managed to travel the country for two years. She pulls out a scrapbook from this period. Leafing through it, she suddenly raises a hand and touches her cheek:”How young I looked!” An inspection is called for. The woman in the grainy, yellowing newspaper photograph could easily be the on e sitting in this room. Told this, she nods and smiles. No translation necessary.
Her sojourn in the U.S. proved to be crucial in the recognition and development of Shinoda’s art. Celebrities such as actor Charles Laughton and John Lewis of the Modern Jazz Quartet bought her paintings and spread the good word. She also saw the works of the abstract expressionists, then the rage of the New York City art world, and realized that these Western artists, coming out of an utterly different tradition, were struggling toward the same goal that had obsessed her. Once she was back home, her work slowly made her famous.
Although Shinoda has used many materials (fabric, stainless steel, ceramics, cement), brush and ink remain her principal means of expression. She had said, “As long as I am devoted to the creation of new forms, I can draw even with muddy water.” Fortunately, she does not have to. She points with evident pride to her ink stone, a velvety black slab of rock, with an indented basin, that is roughly a foot across and two feet long. It is more than 300 years old. Every working morning, Shinoda pours about a third of a pint of water into it, then selects an ink stick from her extensive collection, some dating back to China’s Ming dynasty. Pressing stick against stone, she begins rubbing. Slowly, the dried ink dissolves in the water and becomes ready for the brush. So two batches of sumi (India ink) are exactly alike; something old, something new. She uses color sparingly. Her clear preference is black and all its gradations. “In some paintings, sumi expresses blue better than blue.”
It is time to go downstairs to the living quarters. A niece, divorced and her daughter,10,stay here with Shinoda; the artist who felt forced to renounce family and domesticity at the outset of her career seems welcome to it now. Sake is offered, poured into small cedar boxes and happily accepted. Hold carefully. Drink from a corner. Ambrosial. And just right for the surroundings and the hostess. A conservative renegade; a liberal traditionalist; a woman steeped in the male-dominated conventions that she consistently opposed. Her trail blazing accomplishments are analogous to Picasso’s.
When she says goodbye, she bows. --by Paul Gray...
Category
1990s Contemporary Abstract Prints
Materials
Lithograph
Out of Space and Place, Melanie Yazzie, green, octopus, monotype, Navajo
By Melanie Yazzie
Located in Santa Fe, NM
Out of Space and Place, Melanie Yazzie, green, octopus, monotype, Navajo
unframed unique monotype
As a printmaker, painter, and sculptor, my work draws up...
Category
2010s Contemporary Abstract Prints
Materials
Monotype
Dry and Moist, by Melanie Yazzie, monotype, pastels, blues, bird, pink, leaves
By Melanie Yazzie
Located in Santa Fe, NM
Dry and Moist, by Melanie Yazzie, monotype, pastels, blues, bird, pink, leaves
unique unframed monotype
As a printmaker, painter, and sculptor, my work draws upon my rich Diné (Navaj...
Category
2010s Contemporary Abstract Prints
Materials
Monotype
Mask, limited edition lithograph, Hopi, kachina, color, tan, peach, unframed
By Dan Namingha
Located in Santa Fe, NM
Mask, limited edition lithograph, Hopi, kachina, color, tan, peach, unframed
Category
1980s Contemporary Abstract Prints
Materials
Lithograph
Evening Singers, limited edition color lithograph, kachinas, katsina, Hopi, red
By Dan Namingha
Located in Santa Fe, NM
Evening Singers, limited edition color lithograph, kachinas, katsina, Hopi, red
signed, titled, and numbered by the artist at the bottom limited edition of 50 unframed
The Galle...
Category
1980s Contemporary Figurative Prints
Materials
Lithograph
Ancient Images, color lithograph, by Dan Namingha, Hopi Kachinas, katsina, blue
By Dan Namingha
Located in Santa Fe, NM
Ancient Images, color lithograph by Dan Namingha, Hopi Kachinas, katsina, blue
Category
1970s Contemporary Abstract Prints
Materials
Lithograph
Nampeyo Motif, by Dan Namingha, lithograph, Hopi, Tewa, pottery design, tan, red
By Dan Namingha
Located in Santa Fe, NM
Nampeyo Motif, by Dan Namingha, lithograph, Hopi, Tewa, pottery design, tan, red
Nampeyo Motif, limited edition lithograph, Hopi, Tewa, pottery design, tan, red, black
signed, titl...
Category
1980s Contemporary Abstract Prints
Materials
Lithograph
Eagle Dancer, by Dan Namingha, Hopi, dancer, lithograph, bold, red, blue
By Dan Namingha
Located in Santa Fe, NM
Eagle Dancer, by Dan Namingha, Hopi, dancer, lithograph, bold, red, blue
Eagle Dancer, Hopi dancer lithograph bold reds and blues by Dan Namingha Hopi
Glenn Green Galleries also pr...
Category
1980s Contemporary Abstract Prints
Materials
Lithograph
Uncle of the Corn Dancers, by Dan Namingha, limited, lithograph, Hopi, kachina
By Dan Namingha
Located in Santa Fe, NM
Uncle of the Corn Dancers,by Dan Namingha, limited, lithograph, Hopi, kachina
Uncle of the Corn Dancers, limited ed lithograph Hopi kachina Dan Namingha
unframed edition 125
Glenn...
Category
1980s Contemporary Figurative Prints
Materials
Lithograph
Shime, by Ruth Frerichs, Navajo, women, child, lithograph, limited edition
By Ruth Frerichs
Located in Santa Fe, NM
Shime, by Ruth Frerichs, Navajo, women, child, lithograph, limited edition
Black and white lithograph by Ruth Frerichs
Ruth Concord Frerichs was born in White Plains, New York, ear...
Category
1970s Contemporary Figurative Prints
Materials
Lithograph
Ancient Images , lithograph , by Dan Namingha, Hopi, Kachinas, katsina, blue
By Dan Namingha
Located in Santa Fe, NM
Ancient Images, color lithograph by Dan Namingha, Hopi Kachinas, katsina, blue
Ancient Images , lithograph , by Dan Namingha, Hopi, Kachinas, katsina, blue
Category
1970s Contemporary Abstract Prints
Materials
Lithograph
Night Chanters, black and white framed lithograph, kachina, limited edition
By Dan Namingha
Located in Santa Fe, NM
Night Chanters, black and white framed lithograph, kachina, limited edition 100
The Gallery Wall, Inc. now doing business as Glenn Green Galleri...
Category
1980s Contemporary Abstract Prints
Materials
Lithograph
Different Directions by Melanie Yazzie, monotype, fish, bird, blue, red, gold
By Melanie Yazzie
Located in Santa Fe, NM
Different Directions by Melanie Yazzie, monotype, fish, bird, blue,red,gold
unframed, unique monotype
As a printmaker, painter, and sculptor, my work draws upon my rich Diné (Navajo...
Category
2010s Contemporary Animal Prints
Materials
Monotype
Prairie Winter - Cerrillos Flats, by John Hogan, serigraph, New Mexico Landscape
By John Hogan
Located in Santa Fe, NM
Prairie Winter, Cerrillos Flats by John Hogan serigraph New Mexico Landscape
brown, white, blue, pink
limited edition framed serigraph 2/20 © 1979
John Hogan A graduate of Northeast...
Category
1970s Contemporary Landscape Prints
Materials
Screen
Summer Sky, limited edition lithograph, landscape, desert, turquoise, orange
By Dan Namingha
Located in Santa Fe, NM
Summer Sky, limited edition lithograph, landscape, desert, turquoise, orange
Category
1980s Contemporary Landscape Prints
Materials
Lithograph
With The Missoula Crew, unique monotype, dragonfly, heart, blue red yellow green
By Melanie Yazzie
Located in Santa Fe, NM
Hand pulled unique monotype printed by the artist. Signed and titled on bottom front Framed
With The Missoula Crew, unique monotype, dragonfly, heart, blue red yellow green
My wor...
Category
2010s Contemporary Abstract Prints
Materials
Monotype
Night Chanters, black and white limited edition lithograph Hopi Kachinas
By Dan Namingha
Located in Santa Fe, NM
lithograph 20" high x 15" wide
unframed signed and numbered...
Category
1980s Tribal Abstract Prints
Materials
Lithograph
Speckled Corn Kachina, Dan Namingha, lithograph, Hopi, kachina, blue, orange
By Dan Namingha
Located in Santa Fe, NM
Speckled Corn Kachina, Dan Namingha, lithograph, Hopi, kachina, blue, orange
hand pulled limited edition lithograph
signed and numbered by the artist
Glenn Green Galleries also pr...
Category
1970s Contemporary Figurative Prints
Materials
Lithograph
Sitting Out There, Melanie Yazzie Navajo printmaker monotype yellow dragonfly
By Melanie Yazzie
Located in Santa Fe, NM
Sitting Out There, Melanie Yazzie Navajo printmaker monotype yellow dragonfly
bright yellow monotype, framed in light maple with a white mat.
paper size 22" x 30"
frame size 32" x 40...
Category
2010s Contemporary Animal Prints
Materials
Monotype
Wish For, Melanie Yazzie unique unframed monotype pink dragonfly red yellow blue
By Melanie Yazzie
Located in Santa Fe, NM
Wish For, Melanie Yazzie unique unframed monotype pink dragonfly red yellow blue
A unique framed monotype.
As a printmaker, painter, and sculptor, my work draws upon my rich Diné h...
Category
2010s Contemporary Abstract Prints
Materials
Monotype
Hechale, Eduardo Oropeza, skeleton band, pink, red, white, black, day of the dead
By Eduardo Oropeza
Located in Santa Fe, NM
Hechale, Eduardo Oropeza skeleton band, pink, red, white, black,day of the dead
hand pulled limited edition serigraph at Self Help Graphics in Los Angeles California
Signed and numbe...
Category
1980s Contemporary Abstract Prints
Materials
Screen
Untitled Puppeteer, Eduardo Oropeza, Day of the Dead, Dia de Los Muertos print
By Eduardo Oropeza
Located in Santa Fe, NM
Hand pulled serigraph edition at Self Help Graphics Workshop in Los Angeles, California
signed and numbered by the artist
Day of the Dead
Dia De Los Muertos...
Category
1990s Contemporary Figurative Prints
Materials
Screen
Sombrero Rojo, Eduardo Oropeza Day of the Dead, skeleton, gold tooth, red hat
By Eduardo Oropeza
Located in Santa Fe, NM
Sombrero Rojo, Eduardo Oropeza Day of the Dead, skeleton, gold tooth, red hat
Hand pulled serigraph edition at Self Help Graphics in Los Angeles, Californi...
Category
1980s Contemporary Figurative Prints
Materials
Screen
Speckled Corn Kachina, Dan Namingha, lithograph, Hopi, kachina, blue, orange
By Dan Namingha
Located in Santa Fe, NM
Speckled Corn Kachina, Dan Namingha, lithograph, Hopi, kachina, blue, orange
hand pulled limited edition lithograph
signed and numbered by the artist
Glenn Green Galleries also pr...
Category
1970s Contemporary Figurative Prints
Materials
Lithograph
Uncle of the Corn Dancers, Dan Namingha, Hopi, kachina, lithography edition
By Dan Namingha
Located in Santa Fe, NM
Uncle of the Corn Dancers, Hopi, kachina, lithography Dan Namingha
hand pulled limited edition lithograph
signed and numbered by the artists
Category
1970s Contemporary Figurative Prints
Materials
Lithograph
Room For Montgomery, abstract lithograph sky blue clouds, Jim Alford, Santa Fe
By Jim Alford
Located in Santa Fe, NM
Alford lives and paints on the Galisteo plain just southwest of Santa Fe. His home and studio are situated on a land swell from which the view can only be described as wholly open, e...
Category
1990s Contemporary Abstract Prints
Materials
Lithograph
Aspen Trail- Fall, color etching, John Hogan, yellows, gold, landscape forest
By John Hogan
Located in Santa Fe, NM
Aspen Trail- Fall, color etching,John Hogan, yellows, gold, landscape forest
hand pulled limited edition color etching
22 x 30 paper size
18 x 24 image size
unframed
edition signed ...
Category
1990s Contemporary Landscape Prints
Materials
Etching
Los Alamos Cliffs, desert landscape, color etching, New Mexico, blue, white, tan
By John Hogan
Located in Santa Fe, NM
Hand-pulled limited edition lithograph of 50 unframed
Los Alamos Cliffs, desert landscape, color etching, New Mexico, blue, white, tan
John Hogan A gradua...
Category
1990s Contemporary Landscape Prints
Materials
Lithograph
Mask Assemblage by Dan Namingha black white lithograph Hopi Kachinas Namingha
By Dan Namingha
Located in Santa Fe, NM
Mask Assemblage by Dan Namingha black white lithograph Hopi Kachinas Namingha
Hand pulled limited edition lithograph unframed
unframed hand pulled lithograph signed and numbered by...
Category
1970s Contemporary Abstract Prints
Materials
Lithograph
Begin Flight, monotype by Melanie Yazzie, abstract, Navajo, Native American, art
By Melanie Yazzie
Located in Santa Fe, NM
Begin Flight, monotype by Melanie Yazzie, abstract, Navajo, Native American, art
Melanie Yazzie works in a wide range of media that include printmaking, painting, sculpting, and cer...
Category
2010s Contemporary Abstract Prints
Materials
Monotype, Mixed Media
Room For Montgomery, abstract lithograph sky blue clouds, Jim Alford, Santa Fe
By Jim Alford
Located in Santa Fe, NM
Alford lives and paints on the Galisteo plain just southwest of Santa Fe. His home and studio are situated on a land swell from which the view can only be described as wholly open, e...
Category
1990s Contemporary Abstract Prints
Materials
Lithograph
Images From My Past lithograph by Dan Namingha, Hopi, Kachina, katsina
By Dan Namingha
Located in Santa Fe, NM
Images From My Past lithograph by Dan Namingha, Hopi, Kachina, katsina
Category
1980s Contemporary Abstract Prints
Materials
Lithograph
She Walks Forward by Melanie Yazzie, monotype, unique, blue, white, orange, girl
By Melanie Yazzie
Located in Santa Fe, NM
She Walks Forward by Melanie Yazzie, monotype, unique, blue, white, orange, girl
Master printmaker Melanie Yazzie is Navajo and creates one of kind monotypes. As a printmaker, paint...
Category
2010s Contemporary Abstract Prints
Materials
Monotype
He is Better Than Her by Melanie Yazzie, unique monotype, deer, girl, yellow
By Melanie Yazzie
Located in Santa Fe, NM
He is Better Than Her by Melanie Yazzie, unique monotype, deer, girl, yellow
Master printmaker Melanie Yazzie is Navajo and creates one of kind monotypes. As a printmaker, painter,...
Category
2010s Contemporary Abstract Prints
Materials
Monotype
Sunset Clouds by John Hogan framed monotype Desert Sky blue, black, orange
By John Hogan
Located in Santa Fe, NM
Sunset Clouds by John Hogan framed monotype Desert Sky blue, black, orange
John Hogan A graduate of Northeast Louisiana State University with a bachelo...
Category
1990s Contemporary Landscape Prints
Materials
Monoprint
Yei Bi Chei, etching, Navajo ceremony, black, white
By Grey Cohoe
Located in Santa Fe, NM
black and white etching on paper
unframed
#14/30
image size 12 x 14.5
signed, titled & numbered by the artist under the image on the front.
COHOE, Grey 1944-1991
PERSONAL: Born 1944, in Tocito, NM; died November 2, 1991. Education: Attended Institute of American Indian Arts, 1966-67, College of Santa Fe, 1967, Fort Lewis College, 1968, and Haystack Mountain...
Category
1980s Contemporary Figurative Prints
Materials
Etching
Mystic Images, Dan Namingha lithograph Hopi contemporary abstract Kachina images
By Dan Namingha
Located in Santa Fe, NM
Mystic Images, Dan Namingha lithograph Hopi contemporary abstract Kachina images
Category
1970s Contemporary Abstract Prints
Materials
Lithograph
BLUE DOOR AT HANO, Hopi, Arizona abstract village green yellow black turquoise
By Dan Namingha
Located in Santa Fe, NM
hand pulled limited edition lithograph signed and numbered by the artist Our gallery also presents paintings, prints and sculpture by Southwestern luminary, DAN NAMINGHA. Our colle...
Category
1970s Contemporary Abstract Prints
Materials
Lithograph
Mask Assemblage, limited edition lithograph, black and white, kachina imagery
By Dan Namingha
Located in Santa Fe, NM
unframed black and white lithograph by Dan Namingha
Kachina Katsina Katsinam faces
Category
1980s Contemporary Abstract Prints
Materials
Lithograph
Mana (Girl), Hopi Kachina lithograph by Dan Namingha black and white
By Dan Namingha
Located in Santa Fe, NM
Mana (Girl), Hopi Kachina lithograph by Dan Namingha black and white
limited edition lithograph signed and numbered by the artist
Category
1970s Contemporary Abstract Prints
Materials
Lithograph
Shrine, wood block print, Japan, yellow, brown, black, graphic, Karhu
By Clifton Karhu
Located in Santa Fe, NM
Shrine, wood block print, Japan, yellow, brown, black, graphic, Karhu
Category
1970s Contemporary Landscape Prints
Materials
Driftwood
We Belong by Melanie Yazzie, unique monotype, blue, red, ram, dog, spiral, Navajo
By Melanie Yazzie
Located in Santa Fe, NM
We Belong by Melanie Yazzie, unique monotype, blue, red, ram, dog, spiral,Navajo
Master printmaker Melanie Yazzie is Navajo and creates one of kind monotypes. As a printmaker, paint...
Category
2010s Contemporary Animal Prints
Materials
Monotype
Talavie, by Dan Namingha Hopi desert landscape, village scene, blues, reds,
By Dan Namingha
Located in Santa Fe, NM
Talavie, Hopi desert landscape, village scene, blues, reds, by Dan Namingha
hand pulled limited edition lithograph
signed and numbered by the artist
Category
1980s Contemporary Landscape Prints
Materials
Lithograph
They Are Always With Me, by Melanie Yazzie, Monotype, unique, Navajo, bear green
By Melanie Yazzie
Located in Santa Fe, NM
They Are Always With Me, by Melanie Yazzie, Monotype, unique, Navajo, bear green
They Are Always With Me, Monotype, unique, Navajo, by Melanie Yazzie bear green
framed
Melanie Yazz...
Category
2010s Contemporary Abstract Prints
Materials
Monotype