103 East Plaza, Suite B Taos, New Mexico | +1 (575) 224 - 6911
Open Tuesday-Saturday 12-7pm (Thursday closing at 5pm)
or by appointment
R.C. Gorman
"The Picasso of American Indian Art"
R.C. was my uncle. By the time I had come around, he had been dubbed: "the Picasso of American Indian Art" by the New York Times, he had two successful galleries, one in Taos and the other in Old Town Albuquerque, his work adorned the walls of dozens - if not hundreds - of galleries from San Fransisco, Philadelphia, and New York to Paris, Berlin, and London as well as countless homes around the world. I knew him as "Uncle R.C.". He was 52 when I was born and 74 when he passed. I knew him for 21 years.
I have many fond memories of my uncle and the times I would come visit him with my family. He had already put on a bit of a belly by the time I knew him, his knee gave him some trouble sometimes, but he was always quick to rise give hugs.
Visiting R.C. meant we would be eating out, a real treat as the town I grew up in, Fort Defiance, didn't have much in the way of places where we could eat-out, moreover, our family budget wouldn't allow for it.
R.C. commissioned a series of 4'x4' oil paintings by Taos artist, Rory Wagner. I remember them much bigger...
R.C. didn't share his wine....
R.C. commissioned a series of 4'x4' oil paintings by Taos artist, Rory Wagner. I remember them much bigger...
Who is R.C. Gorman ?
"Self-Portrait", 1973, Lithograph
Available RC Gorman
Childhood in Chinle (and surrounding areas)
R.C. was born Rudolf Carl Gorman on July 26, 1931. He was born to Carl Nelson Gorman and Adele Brown in Chinle, Arizona (Chin-lee) - a small town near the mouth of Canyon de Chelly (Kan-yone dī shay). He went by "Rudy" back then, and some of his early works from those years is signed "Rudy Gorman". By the time I knew him, he was "R.C." but my grandfather still often called him Rudy. Canyon de Chelly was once home to the Anasazi, and ancient pueblo people who flourished as far back at the 12th century b.c.e.. The created complex dwellings, baskets, weavings, and rock art. The people are gone now, but evidence of their presence there still remains. Many of his works reflect the scenes of Chinle and Canyon de Chelly. From the tall rain stained walls of the canyon, to the flowers and fauna of the lush valley, you see the beauty of Dineh Tah (more modernly spelled "Diné Tah" or Navajo Land). His grandmother on his mother's side used to come visit them by donkey. She would bring prickly pear, wild bananas and fresh mutton. She would sit with Rudy and show him the stars. She only spoke Navajo and would point out each star and tell him the name for each of them. She would teach him about the plants and herbs growing all around. In 1964 the Tsaile (tS-Ay-lee) dam was built, cutting off much of the run off from the Chuska (Choo'sskah) Mountains flowing through the Canyon and reaching Chinle, but during R.C.'s childhood Chinle was lush and green. A small population of several hundred Navajo was supported by farming. Ruby Throated Hummingbirds would zoom about, feeding on the small wild flowers. Rudy had a creative spirit from an early age. He would play in the muddy waters near the opening to Canyon de Chelly. He would form figures from the clay and mud and draw with charcoal on the sandstone walls of the canyon.
"One place there, he drew a naked woman. And his aunt scold him: 'you shouldn't do that. That's not right'. And the teacher spank him, because he was drawing women like that, in school. And the teacher told the mother too, and he got a spanking from her. ...For drawing women! He still draws the women, but no body spanks him now."
- R.C.'s Father, Carl Gorman, in a 1987 interview for Navajo Artist: R.C. Gorman
Boarding School
"Chinle Ruby Throated Hummingbird", 1992, Lithograph
"Chuska Storm", 1997, Lithograph
Part of the Anniversary Suite
"that was the only time in my life I remember being constantly hungry...when the nuns were looking the other way, I'd mash up some prunes with a fork, spread the mixture between two pieces of bread, and stick it in my shirt to eat later during chapel."
For a while, he attended Saint Michael's Catholic School near Window Rock, Arizona. I also attended school there from 1995 - 1998, though my experiences were much better than those of my uncle's.
He recalls this time briefly in his book The Radiance Of My People: "that was the only time in my life I remember being constantly hungry...when the nuns were looking the other way, I'd mash up some prunes with a fork, spread the mixture between two pieces of bread, and stick it in my shirt to eat later during chapel."
In the fall of 1944 his father, Carl, was still fighting in the Pacific with the Second Marine Division as a Navajo Code Talker. One of Rudy's aunts helped him to enroll into the Ganado Presbyterian Mission School.
Unlike the policies at Saint Michael's, the teachers at the Presbyterian school encouraged the children to speak Navajo. Rudy's Navajo had become rusty over the years at Catholic school, but the masses at his new school were bi-lingual. In fact, many of the hymns they sang had originally been translated into Navajo by his paternal grandmother, Alice P. Gorman. To this day, many churches across the reservation use those translations.
Rudy delighted in his new school. He worked his summers in a multitude of jobs to pay his tuition. He was encouraged by his teachers to explore his creative side. Several even purchased his early work, and he never forgot their early support.
R.C.'s Father, Carl, recalls R.C. drawing from an early age.
'Rudy' becomes 'R.C.'
Rudy graduated Ganado Mission High School in 1950. He had early thoughts of becoming a pilot or a merchant sailor. I think he wanted to travel. He joined the U.S. Navy in 1951 at the age of 19. As you may know, in the military, you go by your last name. If there is an occasion to identify you further, you might get your initials back. Gone was "Rudy" and so was born "Gorman, R.C.". R.C.'s time in the Navy had him stationed at the San Diego Naval Air Station then stationed in Guam as an airman and finally aboard the U.S.S. Oriskany (CV-34) for readiness training along the California coast. It was R.C.'s first time traveling to another country. He became enamored with the people, food and this new experience. During this time, R.C. couldn't help but continue exploring his creative side. The pin-ups of Alberto Vargas and George Petty were extremely popular. R.C. capitalized on this and would draw up your girl back home as a pin-up. He charged the officers $7 and the enlisted $2. I haven't had one of these cross my path yet, but if you ever find one, let me know.
Lithographs & Serigraphs
Lithography is not my medium, so my knowledge of the complete process is limited. I have made every attempt to be as accurate as possible in my statements, and have omitted anything I was not able to verify.
What are Lithographs?
Lithography is the process of printing from stone. "Lithos" - Greek "stone" and "Graphein" - Greek "to write". The process was invented in 1796. It is the newest and best documented printing process.
Lithographs are <i<art prints made using the lithographic process. This process can be applied to more practical images such as maps to produce a large number of identical prints. Unlike other methods of printing, lithography relies on the chemistry of water and oil to repel one-another, so there is no wear on the image as it prints. This allows the 1,000th and 10,000th print to be of identical quality and detail to the first. This makes lithography a wonderful tool for artists. Techniques, materials, and the skill of the printer all affect the final quality of a lithographic image.
True lithography should not be confused with "Offset Lithography" which is a common poster printing process and the term "lithograph" should not be applied to prints made using this process.
What are Serigraphs?
Sometimes referred to as screen-printing, serigraphy is a printmaking technique that makes use of stencil-masks to create an image. As with lithography, the tools, techniques and skills used by the printmaker affect the quality of the final print. For art images, a quality art paper or cloth is typically selected as the canvas and high-quality pigment oil based inks are used as the media.
Is it a print or an original?
The answer to this can become more complex. Traditional stone lithography does not have a corresponding "original" per se. The artwork is completed directly onto the stone to be used for printing. When printing is completed, the image is effaced by grinding the stone clean and flat for use again with a new image. If the stone leaves the workshop, or the workshop is shared, the stone may be struck to deface the image and a Cancellation Proof is pulled showing that the image cannot be produced again.
The first complete image is called the Bon á Tirer or B.A.T.. The artist or printmaker decide on the number of prints to be pulled from the stone. This is called the edition. When printing is complete each lithograph is numbered and signed. Quality is identical, but there are minute differences between them and the artist is involved in the creation of the edition.
Similarly, serigraphs are made using masked screens. After printing is complete, the image masks can be removed from the screens and destroyed. Modern technology allows for these masks to be machine cut with extreme precision or be applied chemically using UV-light. Artists still often employ hand-cut vinyl or light resistant stencils to create their masks.
This differs from reproductive prints such as giclée prints and poster prints that use photo-mechanical techniques to reproduce an image and are typically printed using different materials from the original. While quality inks and papers may be selected for these reproductions, more inexpensive materials are typically used and the number of prints is not limited. The process is typically removed from human touch and the artist may have very little input in the process.
Lithographs and Serigraphs that are a part of the artist's original edition are considered to be originals. To aid in clarity they may be called "Original Lithographs/Serigraphs" or "Original Stone Lithographs" designating the medium and separating them from poster or giclée reproductions that might exist.
R.C. Gorman's Lithographs, Serigraphs, and Woodblock Prints
Below is a list of R.C.'s Lithographs and Serigraphs. This list is in the process of being updated and is incomplete. My records give a count of about 70 Serigraphs and 450-500 lithographs produced by R.C. over his 5 decade career. I hope to have this completed soon, but it is a process of cross checking information over several sources. The information provided is meant to give the general public enough information to identify a piece. The Retail Range is based on several sources including but not limited to a 2009-2016 (the exact date of publication and last update aren't known) suggested retail price list published by Western Graphics, Inc and prices for the artworks from the Navajo Gallery website in 2019 as well as sale records.
In determining the value of an art piece, there are many factors that will come into play such as Condition, Availability, Provenance, and Aesthetic just to name a few. With that in-mind, this list should be taken as informational only, and not treated as a guide to appraisal. THE MICHAEL GORMAN GALLERY DOES NOT OFFER APPRAISALS OR AUTHENTICATIONS of artwork as a service at this time. However, I do offer Identification Services and Valuation Services, which fit the needs of most common questions. If you need an appraisal for insurance purposes, contact an art appraiser in your area who has experience with RC Gorman, Native American Contemporary Art, or Southwestern Art.
By the same token, I have not known Taos without R.C. When he died in 2005, I did not return to Taos until 2013. Now, living here under the Taos Mountain and I am reminded everyday of his presence. His friends, his fans, and his fellow artists come up to me and share their memories of him.
R.C.'s voice is in my head too. Not as a father figure, and neither as a teacher. No, instead I remember his laugh: a loud, high, and lyrical "Haaaa! Oh dear..."
In my more recent years, I have started to become a student of his work. Not so much to look at the art and say "This is this one of his works from 1991" or "He did this while in Houston", or "So-and-so modeled for this piece", although much of that has come with studying his work, but rather I'm searching for those things which might connect us, those thoughts that we might share, agree on or disagree on. R.C. was a very intelligent man - thoughtful and insightful. He was also an elder. He grew up in a different time than I. He watched as the outside world moved more and more into the day-to-day life of the reservation. He explored the world as a Navajo, visiting those places that sent ships and people to America. He consumed the food of the world and loved them.
He also watched as Taos changed. As national stores, restaurants and amenities have come to town, bringing progress. R.C. was very direct, but you had to be listening. He would tell you things, but it wasn't always easy to hear. A conversation with R.C. might take some time to digest. Maybe that's why he always liked to talk over dinner.
Title | Image | Medium/Technique | Year | Dimensions Inches (hxw) | Retail Range | Available through the gallery |
|---|---|---|---|---|---|---|
Abiquiu Rainstorm | Lithograph | 1985 | 25.5 x 35 | $ 3200 - $ 5900 | ||
Acoma | Lithograph | 1983 | 29.5 x 38.25 | $ 2400 - $ 5000 | ||
Acoma Maiden | Lithograph | 1989 | 24 x 19 | $ 1860 - $ 6000 | ||
Acomita* | Lithograph | 1997 | 9.5 x 13.5 | $ 4000 - $ 6000 | ||
Adelle Rose | Lithograph | Unknown | Unknown | UnDet - $ 3900 | ||
Aletha | Lithograph | 1985 | 26.25 x 36.25 | $ 2000 - $ 5000 | ||
Alma | Lithograph | 1984 | 36 x 29 | $ 2000 - $ 3900 | ||
Amelia | Lithograph | 1981 | 30 x 22 | $ 3000 - $ 4500 | ||
Anabah, St I (red dress) | Lithograph | 1979 | 22 x 30 | $ 2900 - $ 4500 | ||
Anabah, St II (white) | Lithograph | 1979 | 22 x 30 | $ 2900 - $ 4500 | ||
Anasazi Jar | Lithograph | 1988 | 26.5 x 35 | $ 4400 - $ 4500 | ||
Angela's Baby | Serigraph | Unknown | Unknown | UnDet - $ 4600 | ||
Angelina (color) | Lithograph | 1974 | 30 x 22 | $ 4000 - $ 3900 | ||
Angelina (white) | Lithograph | 1974 | 30 x 22 | UnDet - $ 3900 | ||
Anita, St I | Lithograph | 1997 | 26 x 21 | $ 3000 - $ 6500 | ||
Anita, St II | Lithograph | 1997 | 26 x 21 | $ 2000 - $ 5500 | ||
Anna | Lithograph | Unknown | Unknown | UnDet - $ 3900 | ||
Arabesque | Lithograph | 1976 | 30 x 22 | $ 6900 - $ 5500 | ||
Atole | Lithograph | 1990 | 36 x 29.5 | $ 2500 - $ 3900 | ||
Aurora | Lithograph | 1989 | 29.5 x 38.5 | $ 3500 - $ 5500 | ||
Barcelona Rose | Lithograph | 1982 | 22 x 37.5 | $ 3000 - $ 4000 | ||
Barefoot Lady | Lithograph | 1978 | 12 x 15 | $ 2000 - $ 6000 | ||
Bayetta, St I | Serigraph | 1981 | 31 x 24 | $ 1500 - $ 4200 | ||
Bayetta, St I | Lithograph | 1981 | 31 x 24 | $ 1500 - UnDet | ||
Bayetta, St II | Serigraph | 1981 | 31 x 24 | $ 1500 - $ 3900 | ||
Bayetta, St II | Lithograph | 1981 | 31 x 24 | $ 1500 - UnDet | ||
Bead Maker | Lithograph | 1987 | 25.5 x 34 | $ 6500 - $ 6900 | ||
Beauty Way | Lithograph | 1990 | 37 x 31 | $ 2000 - $ 3900 | ||
Benally | Lithograph | 1988 | 19 x 29.5 | $ 5000 - $ 6500 | ||
Benita, St I | Lithograph | 1981 | 22 x 30 | $ 2000 - $ 5000 | ||
Benita, St II | Lithograph | 1981 | 22 x 30 | $ 2000 - $ 3900 | ||
Bisbee | Lithograph | 1988 | 30 x 39.5 | $ 3000 - $ 4500 | ||
Blessing Way | Lithograph | 1997 | 24.5 x 41 | $ 4300 - $ 5500 | ||
Blue Corn | Lithograph | 1985 | 37 x 25.5 | $ 6500 - $ 6900 | ||
Blue Door | Lithograph | 1989 | 28 x 37 | $ 3200 - $ 5500 | ||
Blue Gem* | Lithograph | 1999 | 30 x 24 | $ 3000 - $ 5000 | ||
Born of Water 1975 | Lithograph | Unknown | Unknown | UnDet - $ 5500 | ||
Born of Water 1980 | Lithograph | 1980 | 30 x 22 | $ 2200 - $ 4500 | ||
Bosque Redondo | Lithograph | 1984 | 26 x 36 | $ 2700 - $ 5000 | ||
Breadmaker | Lithograph | 1988 | 29.5 x 37.25 | $ 3250 - $ 4500 | https://www.michaelgormangallery.com/product-page/breadmaker-1988-signed-lithograph-by-r-c-gorman | |
Cactus Flower | Lithograph | 1989 | 29.5 x 37 | $ 4000 - $ 3900 | ||
Canyon De Chelly (Night) | Lithograph | 1979 | 22 x 32 | $ 4500 - UnDet | ||
Canyon Harvest | Serigraph | 1984 | 38.5 x 58.5 | $ 6000 - $ 9500 | ||
Canyon Woman | Lithograph | 1989 | Unknown | $ 4300 - $ 6000 | ||
Canyon de Chelly (Day) | Lithograph | 1979 | 22 x 32 | $ 4500 - $ 8500 | ||
Canyon de Chelly (Day) Edition de Luxe | Lithograph | 1979 | 22 x 32 | $ 4500 - $ 8500 | ||
Canyon de Chelly (Night) Edition de Luxe | Lithograph | 1979 | 22 x 32 | $ 4500 - $ 8500 | ||
Canyon de Chelly Twilight | Lithograph | 1988 | 30 x 40 | $ 3300 - $ 7900 | ||
Carmen and Child | Lithograph | 1988 | 27 x 36 | $ 3850 - $ 6000 | ||
Carol's Blanket, St I | Serigraph | 1984 | 34 x 47 | $ 6500 - $ 12000 | ||
Carol's Blanket, St II | Serigraph | 1984 | 34 x 47 | $ 6500 - $ 7500 | ||
Carolina, St I | Serigraph | 1986 | 38 x 26 | $ 1800 - $ 3900 | ||
Carolina, St II | Serigraph | 1986 | 38 x 26 | $ 1800 - $ 3900 | ||
Cassandra | Lithograph | 2003 | 23 x 31 | $ 4650 - $ 6000 | ||
Catalina de Mora | Lithograph | 1989 | 37 x 29.5 | $ 4600 - $ 6000 | ||
Celestina | Lithograph | 1993 | 22 x 30 | $ 3000 - $ 3900 | ||
Ceremony | Lithograph | 1992 | 25 x 32 | $ 1220 - $ 3900 | ||
Cerrillos | Lithograph | 1998 | 30 x 24 | $ 2000 - $ 5000 | ||
Chama | Lithograph | 1982 | 21.25 x 27 | $ 2000 - $ 3900 | ||
Chamisa | Lithograph | 1992 | 27 x 36 | $ 1640 - $ 4500 | ||
Chela, St I | Lithograph | 1980 | 22 x 28 | $ 1800 - $ 6000 | ||
Chela, St II | Lithograph | 1980 | 22 x 28 | $ 3600 - $ 6000 | ||
Chief's Blanket, St I | Lithograph | 1980 | 20 x 16 | $ 3000 - $ 4500 | ||
Chief's Blanket, St II | Lithograph | 1980 | 20 x 16 | $ 3000 - $ 4500 | ||
Chili Peppers | Lithograph | 1987 | 27.5 x 35.25 | $ 8700 - $ 12000 | ||
Chili Picker | Lithograph | 1991 | 31.5 x 42 | $ 4200 - $ 6000 | ||
Chimayo Chiles | Lithograph | 1992 | 27 x 36 | $ 3000 - $ 4900 | ||
Chimayo Day | Lithograph | 1982 | 22 x 30.25 | $ 3400 - $ 4500 | ||
Chimayo Night | Lithograph | 1982 | 22 x 30.25 | $ 3400 - $ 4500 | ||
Chinle | Lithograph | 1982 | 26.5 x 36 | $ 3500 - $ 4200 | ||
Chinle Ruby Throated Hummingbird | Lithograph | 1992 | 11 x 14 | $ 3200 - $ 14000 | ||
Chitsa, St I | Lithograph | 1980 | 20 x 24 | $ 3200 - $ 9000 | ||
Chitsa, St II | Lithograph | 1980 | 20 x 24 | $ 3200 - $ 9000 | ||
Chitsa, St III | Lithograph | 1980 | 20 x 24 | $ 7200 - $ 9000 | ||
Cholena, St I | Lithograph | 1980 | 17 x 16 | $ 1900 - $ 4500 | ||
Cholena, St II | Lithograph | 1980 | 17 x 16 | $ 1900 - $ 4500 | ||
Cholena, St III | Lithograph | 1980 | 17 x 16 | $ 1900 - $ 4500 | ||
Chuska Storm* | Lithograph | 1997 | 9.5 x 13.5 | $ 4000 - $ 5500 | https://www.michaelgormangallery.com/product-page/chuska-storm-1997-signed-lithograph-by-r-c-gorman | |
Chuska Woman | Lithograph | 1984 | 25 x 33.5 | $ 2400 - $ 4200 | ||
Cocheta, St I | Serigraph | 1979 | 28.5 x 40 | $ 2000 - $ 5200 | ||
Cocheta, St II | Serigraph | 1979 | 28.5 x 40 | $ 2000 - $ 3900 | ||
Cochiti | Lithograph | 1985 | 25.5 x 34 | $ 5500 - $ 7500 | ||
Colorado | Lithograph | 1992 | 22.5 x 30 | $ 4300 - $ 6500 | ||
Concha | Lithograph | 1987 | 25 x 35.25 | $ 6000 - $ 7200 | ||
Concho | Lithograph | 1979 | Unknown | $ 2100 - $ 5000 | ||
Contemplation | Lithograph | 1971 | 30 x 22 | $ 2200 - $ 3900 | ||
Contemplation | Lithograph | 1975 | Unknown | $ 4200 - $ 6500 | ||
Corn Lady | Lithograph | 1974 | 15 x 11 | $ 3000 - $ 5000 | ||
Corn Mother | Lithograph | 1971 | 30 x 22 | $ 8700 - $ 9900 | ||
Corn Woman | Lithograph | 1985 | 26 x 36 | $ 3500 - $ 4500 | ||
Crescent Moon | Lithograph | 1987 | Unknown | $ 3950 - $ 6000 | ||
Crystal | Lithograph | 1997 | 24 x 32 | $ 3950 - $ 5500 | ||
Damita, St I | Serigraph | 1979 | 27.5 x 40 | $ 2200 - $ 5000 | ||
Damita, St II | Serigraph | 1979 | 27.5 x 40 | $ 2200 - $ 3900 | ||
Daydreamer | Serigraph | 1983 | 27 x 36 | $ 1800 - $ 3900 | ||
De La Noche | Serigraph | 1991 | Unknown | Undetermined | https://www.michaelgormangallery.com/product-page/de-la-noche-1991-signed-serigraph-by-r-c-gorman | |
Doreen, St I | Serigraph | 1983 | 26.25 x 33.25 | $ 1800 - $ 3900 | ||
Doreen, St II | Serigraph | 1983 | 26.25 x 33.25 | $ 1800 - $ 3900 | ||
Dusk | Serigraph | 1990 | 19 x 25 | $ 2900 - $ 6000 | ||
Escalera | Lithograph | 1988 | 41 x 29.75 | $ 3000 - $ 5500 | https://www.michaelgormangallery.com/product-page/escelara-rc-gorman | |
Esta, St I | Serigraph | 1981 | 36.25 x 28 | $ 2600 - $ 5500 | ||
Esta, St II | Serigraph | 1981 | 36.25 x 28 | $ 2600 - $ 4500 | ||
Evelyn | Serigraph | 1988 | Unknown | $ 2700 - $ 4500 | ||
Evie, St I | Serigraph | 1979 | 22 x 30 | $ 2500 - $ 4000 | ||
Evie, St II | Serigraph | 1979 | 19 x 25.5 | $ 2500 - $ 4000 | ||
Ginny | Serigraph | 1990 | 19 x 25 | $ 3000 - $ 5200 | ||
Gossips | Serigraph | 1977 | 27.75 x 19.75 | $ 2700 - $ 9000 | ||
Grace | Serigraph | 1979 | 32 x 23.625 | $ 2500 - $ 3900 | ||
Janis, St I | Serigraph | 1984 | 31.5 x 38 | $ 3000 - $ 3900 | https://www.michaelgormangallery.com/product-page/janis-state-i-1984-by-r-c-gorman | |
Janis, St II | Serigraph | 1984 | 31.5 x 38 | $ 4300 - $ 3900 | ||
Jessica | Serigraph | 1988 | 19 x 25.5 | $ 1800 - $ 5500 | ||
Jubilee | Lithograph | 2000 | 25.5 x 32 | $ 2500 - $ 5000 | https://www.michaelgormangallery.com/product-page/jubilee-2000-by-r-c-gorman | |
Kay-Bah | Serigraph | 1991 | Unknown | $ 2600 - $ 5500 | ||
Kirsten | Serigraph | 1989 | Unknown | $ 1700 - $ 3900 | ||
Klah | Lithograph | 1976 | 22 x 30 | $ 4700 - $ 6000 | https://www.michaelgormangallery.com/product-page/klah-1976-by-r-c-gorman | |
Madrid | Lithograph | 1997 | 9.5 x 13.5 | $ 4000 - $ 5500 | ||
Marie, St I | Serigraph | 1985 | 32 x 37.5 | $ 1600 - $ 3900 | ||
Marie, St II | Serigraph | 1985 | 32 x 37.5 | $ 1600 - $ 3900 | ||
Mimbres Woman | Lithograph | 1989 | 36 x 29.5 | $ 1640 - UnDet | ||
Mothers-in-Law | Serigraph | 1977 | 22 x 31 | $ 2000 - $ 3900 | ||
Myra | Serigraph | 1991 | 25 x 19 | $ 2200 - $ 4200 | ||
Navajo Dancer, St I | Serigraph | 1979 | 30 x 22 | $ 2500 - $ 4000 | ||
Navajo Dancer, St II | Serigraph | 1979 | 30 x 22 | $ 2500 - $ 4000 | ||
Navajo Manta | Serigraph | 1977 | 22 x 17 | $ 1200 - $ 3900 | ||
Navajo Mother and Child | Serigraph | 1979 | 38 x 28 | $ 2900 - $ 5500 | ||
Navajo Summer | Serigraph | 1977 | 16 x 22.75 | $ 1500 - $ 4500 | ||
Nicole | Serigraph | 1990 | 19 x 25 | $ 1500 - $ 3900 | ||
Night, St I | Serigraph | Unknown | 22 x 20 | UnDet - $ 4800 | ||
Night, St II | Serigraph | Unknown | 22 x 20 | UnDet - $ 3900 | ||
Pajeha, St I | Serigraph | 1980 | 22 x 30 | $ 2000 - $ 4500 | ||
Pajeha, St II | Serigraph | 1980 | 22 x 30 | $ 2000 - $ 4500 | ||
Pottery Keeper, St I | Lithograph | 1977 | 22 x 30 | $ 5900 - $ 15000 | ||
Pueblo Potter, St II | Lithograph | 1978 | 22 x 30 | $ 3000 - $ 5500 | ||
Ranchos Twilight | Lithograph | 1988 | 31.75 x 42 | $ 5500 - $ 7200 | https://www.michaelgormangallery.com/product-page/ranchos-twilight-1988-by-r-c-gorman | |
Red Concho | Lithograph | 1989 | $ 4400 - UnDet | |||
Seated Woman, St I | Serigraph | Unknown | 29 x 39.5 | Undetermined | ||
Seated Woman, St II | Serigraph | Unknown | 29 x 39.5 | Undetermined | ||
Sisters-in-Law | Serigraph | 1977 | 19.75 x 27.75 | $ 2300 - $ 4600 | ||
Spirit, St I | Serigraph | 1979 | 29 x 40 | $ 1900 - $ 3900 | ||
Spirit, St II | Serigraph | 1979 | 29 x 40 | $ 1900 - $ 3900 | ||
Star Gazer | Lithograph | 1990 | 30.75 x 35.75 | $ 4000 - $ 5500 | https://www.michaelgormangallery.com/product-page/star-gazer-1990-by-r-c-gorman | |
Sunset Woman | Lithograph | 1988 | Unknown | $ 2900 - $ 4200 | ||
Suzy, St I | Serigraph | 1982 | 25.5 x 34 | $ 2500 - $ 3900 | ||
Suzy, St II | Serigraph | 1982 | 25.5 x 34 | $ 2500 - $ 3900 | ||
Tamara, St I | Serigraph | 1986 | 32 x 35.75 | $ 2000 - $ 3900 | ||
Tamara, St II | Serigraph | 1986 | 32 x 35.75 | $ 2000 - $ 3900 | ||
Taos Flowers | Lithograph | 1990 | 33 x 45 | $ 5700 - $ 7200 | ||
The Gatherers, St II | Lithograph | 2001 | 29 x 41 | $ 3000 - $ 5200 | https://www.michaelgormangallery.com/product-page/the-gatherers-state-ii-2001-by-r-c-gorman | |
Tonto Pot, St II | Lithograph | 1979 | 22 x 30 | $ 4900 - $ 7500 | ||
Tonto Woman | Lithograph | 1992 | 29.5 x 36 | $ 3000 - $ 6000 | ||
Twilight | Serigraph | 2000 | 25 x 19.5 | $ 1900 - $ 3900 | ||
Walking Woman, St I | Serigraph | 1979 | 39 x 30.5 | $ 3200 - $ 5000 | ||
Walking Woman, St II | Serigraph | 1979 | 39 x 30.5 | $ 3200 - $ 3900 | ||
Whispers | Lithograph | 1989 | 29.5 x 36.5 | $ 3500 - $ 4000 | https://www.michaelgormangallery.com/product-page/whispers-rc-gorman | |
Winona, St I | Serigraph | 1981 | 32 x 27 | $ 3000 - $ 3900 | ||
Winona, St II | Serigraph | 1981 | 32 x 27 | $ 3000 - $ 3900 | ||
Woman From Maui, St I | Serigraph | 1983 | 28.5 x 33.5 | $ 1900 - $ 3900 | ||
Woman From Maui, St II | Serigraph | 1983 | 28.5 x 33.5 | $ 1900 - $ 3900 | ||
Woman From Third Mesa | Lithograph | 1988 | 27 x 36 | $ 4600 - $ 4500 | ||
Yosi | Serigraph | 1977 | 18.5 x 12.75 | $ 900 - $ 5900 | ||
Yossi-Bah | Serigraph | 1988 | 19 x 25 | $ 1800 - $ 5200 | ||
Zia, St I | Lithograph | 1978 | 22 x 30 | $ 4500 - $ 15000 | ||
Zia, St II | Lithograph | 1978 | 22 x 30 | $ 8200 - $ 15000 |
Paintings, Drawings & Sketches
This section is currently being updated....
R.C. did thousands of one-of-a-kind paintings drawing and sketches. From a young age, R.C. showed an artistic inclination and loved drawing. Through his studies, he completed many-many drawings and was also known to include very fast sketches with some of his signatures.
The Posters
This section is currently being updated...
I estimate R.C. produced thousands of posters for the Navajo Gallery as well as for events, openings, promotions of his work, and for several festivals around the world.
These often are as cherished as original works, especially if signed. Lines would extend for blocks, of those waiting to meet R.C. and have a poster signed. Today, these poster still hold a value.
Title | Image | Year Released | Prominent Text | Total Dimenstions | Image Size (Approx) | Complete Image? | See Also |
|---|---|---|---|---|---|---|---|
Jonie (perhaps) | 1991 | R.C. Gorman <> Artistic Gallery Scottsdale Arizona <> February 21, 1991 | No | ||||
Pottery Keeper | No | Potter Keeper, Lithograph | |||||
Yes | |||||||
Nakai | 1995 | R.C. Gorman | Navajo Gallery • Taos | Yes | ||||
La Dulce | 1992 | Rio Grande Gallery / Santa Fe | Yes | ||||
Woman With Grapes | 1990 | 3rd Annual New Mexico Wine Festival at Bernalillo | Yes |
Ceramics
In 1977, R.C. was in Tubac, AZ working under the tutelage of Maxine Guy (d. Dec 27, 1992, age 80, Tubac) and decorated a number of large vessels with Tom Forgey. [Monthan]
Beginning in the late 1970s, R.C. began producing ceramic platters and vases in Taos with Grycner Studio. R.C. decorated vases and platters of various sizes with his artwork. Grycner studio employed several artists to hand copy these into editions. Unfortunately, I do not have a complete record of these editions, but i have documented about 80 known to exist.
"Repose", 1986 - Gorman Edition with R.C. Gorman and Grysner Studio
The Bronzes
R.C. completed 28 bronze sculpture-editions between 1977 and 1997. Most were in small editions of 5-10.
There is a wonderful anecdote of how he got started in the book R.C. GORMAN: A Retrospective by Doris Monthan.
A complete list of his bronzes can be found in R.C. GORMAN: THIRTY YEARS IN TAOS Edited by Virginia Dooley
Books by and about R.C. Gorman
Autobiographical / Biographical
R.C. Gorman, The Radiance Of My People / R.C. Gorman. Santa Fe Fine Arts, Inc., 1992
187 pages, 170 illustrations, 127 full color plates
Hardback
Cloth with Dust Jacket
Cloth with Sleeve
Paperback
Chuck Henningsen and Stephen Parks / New York Graphic Society, R.C. Gorman / a portrait. Little, Brown and Company, 1983
(Youth)
Spring Herman / Enslow, R.C. Gorman: Navajo Artist. Enslow Publishers, Inc., 1995
Nudes and Foods Series
Virginia Dooley, Nudes & Foods, Gorman Goes Gourmet. Northland Press, 1981
Virginia Dooley, Nudes & Foods, Gorman Goes Gourmet, Volume II. Navajo Gallery, 1989
Virginia Dooley, R.C. Gorman's / Nudes & Foods / In Good Taste. Clear Light Publishers, 1994
Virginia Dooley, R.C. Gorman / Nudes & Foods IV / The Millenium Edition. Navajo Gallery, 2000
Artbooks: Coffee Table, Reference, & Collectable
Ben Q. Adams and Richard Newlin, R.C. Gorman: The Graphic Works. Taos Editions, Ltd., 1987
Hardback
Fabric Cover, Special Limited Edition, Numbered & Signed
Fabric Cover with Dust Jacket
R.C Gorman - Northland Press Series:
Doris Monthan, R.C. Gorman/ The Lithographs. Northland Press, 1978
1st printing - 1978
2nd printing -
3rd printing -
4th printing - 1983
Mary Beth Green, R.C. Gorman/ The Drawings. Northland Press, 1981
fourth printing - 1983
R.C. Gorman - introduction by Tricia Hurst, R.C. Gorman / The Posters. Northland Press, 1980
Paper
Cloth
Limited
Doris Monthan, R.C. Gorman/ The Lithographs. Northland Press, 1990
208 p.
Virginia Dooley, R.C. Gorman: Thirty Years in Taos / featuring the complete bronzes. Navajo Gallery, 1998
The Radiance Of My People / R.C. Gorman. - See Autobiographical
Related Books: Gorman Family, Contributions by R.C.
Art & Biographical Book about R.C. 's Father
Henry & Georgia Greenberg, Carl Gorman's World. University of New Mexico Press, 1984
1 ed
2 ed - see "Power of a Navajo"
Henry & Georgia Greenberg - forward by R.C. Gorman, Power Of A Navajo / Carl Gorman: The Man and His Life. Clear Light Publishing, 1996
Art & Biographical Book about R.C.'s Uncle
Steven Curtis, Navajo Silversmith Fred Peshlakai: His Life & Art. Schiffer Publishing, Ltd., 2014
(Linked to the author's website)