"Chinle Ruby Throated Humming Bird", 1992, AP 4

"Chinle Ruby Throated Humming Bird", 1992, AP 4


Artist's Proof 4 (AP 4)

9 ¾” x 12 ¾” Lithograph
(24.77x 32.38 cm)


Expertly Framed
18” x 21”
(45.72 x 53.34 cm)


Hallmarks (pictured)

  • Signed & dated in the lower left "R.C. Gorman 1992"
  • Edition number and size in lower right "AP 4"
  • Workshop's Chop pressed on lower right "Santa Fe"
  • Artist's Chop pressed on lower Left (not pictured)




  • R.C. Gorman | July 27, 1931 - November 3, 2005

    Called "The Picasso of American Indian Art" by The New York Times, my uncle, R.C. Gorman, was a prolific and highly acclaimed artist.

    Born on the Navajo Indian Reservation in Chinle, Arizona to Carl Gorman and Adele Brown, R.C. had humble beginnings. He was the first to recieve a scholarship from the Navajo Nation to study internationally. He attended art school in Mexico City where he learned the art of lithography from master printer, Jose Sanchez.


    R.C. Moved to Taos in 1967. He had been showing his work at the Manchester Gallery and in 1968, he purchased the Manchester Gallery and turned it into the Navajo Gallery - the very first Native American owned art gallery.


    Over the next 4 decades R.C.'s fame and acclaim grew. In 1973 he was the only living artist to be included in the “Masterworks of the American Indian" show held at Metropolitan Museum in New York City. One of his works was selected to be the cover of the exhibit's catalog. Perhaps best known for his colorful and vibrant depictions of Native Life, particularly of Native Women, R.C.'s art pays homage to his roots. His carreer span many mediums and styles.


    Today, Taos celebrates R.C. legacy with an annual R.C. Gorman Days in July. 


  • About this collection

    This is a part of a 21-piece private collection belonging to Karla Ludi. The complete collection consists of twenty original lithographs and serigraphs by Navajo Artist R.C. Gorman and one original print by
    Carl N. Gorman, R.C.’s father collected over several years.

    Each piece was purchased directly from the Navajo Gallery. As a life-time collector of R.C., several of these pieces were specifically reserved for Karla. The collection includes 10 Artist Proofs and 1 Printer's Proof (See Section on Editions).

    I have personally seen each piece in this collection and can confidently say that the artworks are in pristine condition. Each is professionally framed to beautifully present and protect the artwork. They have been loved over many years.

    It is the hope of the collector and myself that we find a buyer or buyers for the collection who can cherish and care for the works as she

  • Understanding the Lithographs & Edition Numbers

    AP – See Artist’s Proof
    Arabic Numbered Impressions - See Artist’s Edition
    Artist’s Proof - is a part of the total edition, but not included in the Arabic numbered artist’s edition. This part of the edition is limited to a small percentage of the total edition and is usually retained by the artist. They are signed by the artist and are identified separate from
    the rest of the edition with “Artist’s Proof” or “AP” and a number. R.C. would often set aside AP impressions for his collectors or close friends.

    Artist’s Edition - is the largest part of an edition. These are made available to the general public through the artist or through representatives of the artist and sometimes referred to as the Commercial Edition. Impressions are signed and individually numbered using two Arabic Numbers separated by a slash to denote the artist’s edition size and the number within that edition. For example 25/225 would denote this piece is #25 of an edition of 225. The first number does not necessarily reflect the order in which the impressions were pulled from the press, only the order in which they were signed and numbered. The second number indicates the size of the artist’s edition, not the total edition including other proofs or impressions. R.C. had a habit of keeping #1 for his personal collection. Certain other numbers were also reserved for R.C.

    Edition - The total number of impressions pulled and signed by the artist. An edition includes the Arabic Numbered Impressions as well as various other impressions and proofs. Proof impressions created during the process, which where then destroyed or unsigned, are not considered part of the total edition.

    Lithograph - A print conceived and executed by the artist on a flat stone or plate and printed either by the artist or a collaborating printer. Each impression is pulled directly from the artist’s drawing, unlike offset lithography where the image is “offset” from a rubber blanket. Because each impression is pulled directly from the artist’s original drawing, each impression is and original lithograph.

    Printer’s Proof - at the discretion of the artist and/or workshop, the printer(s) who prints the edition may be given a proof in recognition of a job well done or may be created for the workshop as a part of the payment. The number of Printer’s Proofs typically, but not always, mirrors the number of artist’s proofs. These may occasionally be marked as “PP”.

    Presentation Proof – An impression which is essentially the identical to the Bon A Tirer which the artist has inscribed for a friend, collaborator, or collector.

    Serigraph - A print produced using the process of serigraphy, generally referred to as silkscreen printing. While “silkscreening” is a general term applied to a number of techniques of applying ink through a silk, nylon or other woven screen, serigraphy typically refers to a more refined process using higher quality screen, inks and techniques to create images for inclusion in “art medium”.

    State – A term applied to an impression that shows the work in a particular state of development OR to distinguish between editions of the same or closely related images.

    State Proof – is an impression that differs significantly from the numbered edition. A state proof is created prior to any major changes to the stone or plate.

    State I, State II, State III… - During the process of creating the final image to be printed, the artist will view many different proofs of the artwork. Occasionally, the artist might identify multiple proofs as having certain aesthetic qualities worth sharing. In these cases, the artist may chose to create multiple STATES of an image. Each is considered to be a separate image and is a part of its own edition, but will share a title differentiated by its State. The first state printed is designated as State I, additions or deletions are made or colors changed and the second state printed in named State II, and so on… Typically, but not always, these multiple state editions have a reduced edition size.