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Photography, Prints and Drawings Learn More

Small works on paper often do well in an intimate setting such as the Harwood's gallery for Prints, Drawings and Photographs where the Museum presents changing exhibitions from the permanent collection as well as exhibitions of work on loan.

Drawing and printmaking have had a long and distinguished history in the Taos community. The Museum collection includes important examples by some of the earlier artists including Howard Cook, Joseph Imhof, who brought the first lithography press to Taos, Gene Kloss, Nicolai Fechin, and Walter Ufer.

The post World War II period of the Taos Moderns is represented by the works of Tom Benrimo, Andrew Dasburg, Earl Stroh, and Louis Ribak, while drawings and prints by Larry Calcagno, R.C. Ellis, Ken Price, Joe Waldrum, Vija Celmins, Wes Mills, and Bill Gersh document the work of more recent artists.

Artist: Harold Joe Waldrum
Title: La Sombra de la Iglesia de Nuestra Señora de Dolores en Cañon
Date: 1983-1985
Medium: Aquatint
Dimensions: Overall: 20 x 20 in. (50.8 x 50.8 cm)
Harold Joe Waldrum (1934-2003)
1983-1985
Harold Joe Waldrum
Artist: Harold Joe Waldrum
Title: La Sombra de la iglesia de San Francisco de Asis en Ranchos de Taos
Date: 1983-1985
Medium: Aquatint
Dimensions: Overall: 20 x 20 in. (50.8 x 50.8 cm)
Harold Joe Waldrum (1934-2003)
1983-1985
Harold Joe Waldrum
Artist: Harold Joe Waldrum
Title: La Sombra de la iglesia de San Jose en Las Trampas
Date: 1983-1985
Medium: Aquatint
Dimensions: Overall: 20 x 20 in. (50.8 x 50.8 cm)
Harold Joe Waldrum (1934-2003)
1983-1985
Harold Joe Waldrum
Artist: Harold Joe Waldrum
Title: La Sombra de la iglesia del pueblo Idelfonso
Date: 1983-1985
Medium: Aquatint
Dimensions: Overall: 20 x 20 in. (50.8 x 50.8 cm)
Harold Joe Waldrum (1934-2003)
1983-1985
Harold Joe Waldrum
Artist: Harold Joe Waldrum
Title: La Sombra de la machon atras de la capilla de San Antonio en Chacon
Date: 1983-1985
Medium: Aquatint
Dimensions: Overall: 20 x 20 in. (50.8 x 50.8 cm)
Harold Joe Waldrum (1934-2003)
1983-1985
Harold Joe Waldrum
Artist: Harold Joe Waldrum
Title: La Sombra de la puerta de la morada Truchas
Date: 1983-1985
Medium: Aquatint
Dimensions: Overall: 20 x 20 in. (50.8 x 50.8 cm)
Harold Joe Waldrum (1934-2003)
1983-1985
Harold Joe Waldrum
Artist: Harold Joe Waldrum
Title: La Sombra del canalon de la iglesia de San Miguel en El Valle
Date: 1983-1985
Medium: Aquatint
Dimensions: Overall: 20 x 20 in. (50.8 x 50.8 cm)
Harold Joe Waldrum (1934-2003)
1983-1985
Harold Joe Waldrum
Artist: Harold Joe Waldrum
Title: La Sombra en el campanario de la morada en Chacon
Date: 1983-1985
Medium: Aquatint
Dimensions: Overall: 20 x 20 in. (50.8 x 50.8 cm)
Harold Joe Waldrum (1934-2003)
1983-1985
Harold Joe Waldrum
Artist: Harold Joe Waldrum
Title: La Sombra hacia el este del vestuario de la Santo Tomas Apostol en Ojo Sarco
Date: 1983-1985
Medium: Aquatint
Dimensions: Overall: 20 x 20 in. (50.8 x 50.8 cm)
Harold Joe Waldrum (1934-2003)
1983-1985
Harold Joe Waldrum
Artist: Harold Joe Waldrum
Title: La Sombra y la cruz negra de la capilla de la Sangre de Cristo en Cuartelez
Date: 1983-1985
Medium: Aquatint
Dimensions: Overall: 20 x 20 in. (50.8 x 50.8 cm)
Harold Joe Waldrum (1934-2003)
1983-1985
Harold Joe Waldrum
Artist: Earl Stroh
Title: Le Retour d'Ulysse
Date: 1992
Medium: Pastel
Dimensions: Overall: 30 x 21 in. (76.2 x 53.3 cm) frame: 36 1/2 x 28 in. (92.7 x 71.1 cm)
Earl Stroh United States (United States, 1924 - 2005)
Buffalo, NY
1992
Earl Stroh
Artist: Barbara Latham
Title: Little Girl
Date: 1930
Medium: Oil painting
Dimensions: Overall: 24 x 20 in. (61 x 50.8 cm)
Barbara Latham United States (United States, 1889 - 1989)
“I had lived under the brilliant western sky all summer, but I had never experienced such brilliance, contrasted with such fragrant desert. … I loved Taos from the moment I stepped off the train.” "I’ve been very happy here." "And I’m still having fun with my art."

Known as an accomplished painter, printmaker, and children’s book illustrator, Barbara Latham had idea of her life’s creative trajectory from an early age. At eight years old Barbara Latham won a scholarship to attend a weekend drawing class, and it sparked the young girl’s innate love of art. Shortly after high school, Latham began her more serious artistic studies at the Norwich Academy and Pratt Institute in New York City, as well as summer workshops with Anderw Dasburg at the Students League Summer School in Woodstock, New York. After a corporate stint on Madison Avenue making greeting cards, Latham relocated to the art colony of Taos, New Mexico.

It was in Taos that Latham would meet her eventual husband and fellow artist, Howard Cook. The two were introduced through Victor Higgins, and enjoyed a nurturing partnership spanning more than fifty years. The two traveled extensively through South America, Mexico, and Europe, largely the result of Cook’s Guggenheim Fellowship awards in 1932, and again in 1934. It was from these new, exotic vistas that the couple gathered unfamiliar subject matter and expanded their techniques. Much of what went into Latham’s first children’s book, “Pedro, Nina, and Perrito,” was cultivated during these travels.

In 1938, Latham and her husband purchased a home in Talpa, New Mexico. It was to become the base for a prolific artistic output, featuring everything from playful community scenes to wildlife, and landscapes in her signature stop-action style. Some of Latham’s most notable works include: “View from Our House in Talpa,” “Decoration Day,” “Tourist Town, Taos,” “Getting Ready for the Rabbit Hunt,” and “Rio Grande in the Spring.”

In 1967 the couple lived seasonally in Roswell, New Mexico, after Cook was awarded with the first artist-in-residence at the newly conceived Roswell Museum. By 1976, Howard Cook’s health was failing to the point where the couple relocated once more to a retirement home in Santa Fe. After her husband’s passing in 1980, Latham continued to travel and paint until her own passing in 1989.

https://sites.google.com/site/parsonsartists/home/barbara-latham
1930
Barbara Latham