Newsletter 2001

"Sheltering the Creative Spirit"

Home Up Site Index Author Index Mission Statement F. Waters' Biography Speeches On Writing Lyon's  Anthology Reviews Photo Album Artists in Residence B.Waters' Biography New Book Tributes to Frank Waters' Park Friends Frank's Car Opera Literary Critiques Fundraising & Membership Open Forum Bronzes Store Centennial Contact & Links FW Room, UNM Meeting Frank Waters Spirit Gypsy Wagon Workshop Events


Taos, New Mexico USA




The Frank Waters Foundation 

Newsletter, Vol. VIII, No. 14  December,          2001

Board of Directors
President: Barbara Waters
1st Vice President: Imogene Bolls
2nd Vice President: Mark Rossi
Secretary: Arleene Arnell
Treasurer: Mark Rossi
Arthur Bachrach, Nathan Bolls, Marilyn Luther, Tal Luther,
Renate Collins


You may click on a link below to view a particular section of the newsletter.

El Crepusculo    
We Need YOU    
FWCCC Press Release - Frank Waters Centennial Celebration  
FWCCC Call for Papers    
Dream Team    
T.N. Luther: Super Sleuth    
Frankıs Reply to Farahıs Question    
Foreword: Pure Waters    
 For Sale    

El Crepusculo

The following is an excerpt from a new posthumous collection of essays, speeches, and editorials to be published in May 2002 under the title Pure Waters: Frank Waters and The Quest For The Cosmic. The essay describes Waters' experience as the editor of a Taos newspaper between 1949 and 1951, and is strongly reminiscent of some of Jack Turner's fictional problems in the author's The Woman At Otowi Crossing.

   What a trying and yet exciting winter [1949-50] it was for me. The old flat bed press often broke down; the Linotype was always squirting lead, necessitating hours for repair. There was no folding machine. We had to fold by hand the printed sheets as they came off the press. I was never able to leave the shop until midnight on press day, walking home in freezing cold through the unlit plaza and street, through the dark snowy wilderness that is now a public park, to fall into bed exhausted. But what a sense of achievement we all felt ­ the greatest reward of small-town newsmen; we had finally put to bed another issue of El Crepusculo.

    The staff in the front office included several notable characters who covered all of our three racial groups with their different languages, traditions, and customs. Joe Fulton was our top-notch reporter for the major English section. He loved people, knew everyone in town, and possessed a file-cabinet memory. If there is anyone capable of writing the intimate history of Taos in that period, it is Joe.

   The Spanish section of two pages was edited by Felix Valdez, who like his father before him had worked on previous papers. A little, courtly man, he was an authority on the Spanish language, both as spoken in Spain and the current idiomatic Spanish of New Mexico. He possessed an uncounted store of old proverbs and folk beliefs, and was especially adept at reporting velorias with a literary flourish. For his section we obtained cartoons drawn by J.W. Marquez, a young man from a mountain village who had wandered into the office after taking a correspondence course. His weekly cartoon "Pepe y Pancho" portrayed two characters speaking in old colloquial Spanish, and depicting the simple, seasonal life of his mountain village.

   For Indian coverage we received a weekly column from both Taos Pueblo and Picuris Pueblo.

   Spud Johnson's "Horsefly" provided a page of humor, and Gertrude van Tijn's world news a digest of what was going on in the world outside. To counteract the other local paper's photographs of distressing car accidents and scenes of murder, I began the custom of featuring on the front page a photograph of the mountains or the Rio Grande, a huge Penitente cross, sacred Blue Lake, or a hedge of wild plums in blossom.

   My own chores were varied. I helped Joe with spot news, wrote feature articles and book reviews, edited all copy, read galley and page proofs, and spent Sundays writing two or three editorials. I continued to build up the paper: increasing the standard seven-column pages up to fourteen or sixteen, with forty-nine percent advertising, and a circulation of 3,000 including subscribers throughout the United States and several foreign countries.

   Every month that winter I sent Edward Cabot [the newspaper's owner] a full report of our progress, with suggested ways to reduce operating costs and increase circulation. To these he never replied. I didn't understand why until he returned, evincing his displeasure. He wasn't concerned about putting El Crepusculo on a paying basis; he wanted to use its annual deficit as an income tax write-off.

   Tension between myself and Cabot began when he settled permanently in Taos, building a new modern house, and spending every day in the office. Publishing El Crepusculo now began to give him a sense of status, an itch for power, a feeling that through it he could mold public opinion. He began to give me illiterate editorials, which I threw into the waste basket. One of them created a rumpus. It demanded that the whole German race be obliterated as a result of the Nazi atrocities. I refused to publish it, and Spud and Mrs. Van Tijn agreed with my rejection. Charlotte [Cabot's wife] was indignant; she reminded me that I had no business refusing the publisher of a paper, which he had bought and was wholly financing, the right to express his own views. The editorial was not printed, but it left a bad taste in all of our mouths.

   From time to time Cabot also sent to my desk atrociously sentimental poems written in ungrammatical English. I referred them with deplorable tact to Charlotte, who in turn gave them to Spud to rewrite. We had moved into larger quarters, and Spud was in the office continually, writing and setting up his "Horsefly" with Charlotte. More and more the Cabots relied upon him for support, and to rewrite their occasional editorials, poems, and articles. So gradually there developed a noticeable rift between the Cabots and myself...

   We should have known [the newspaper's] fate from its name. For el crepusculo means not only the crepuscular light of dawn but of evening. How much fun we had, though, in its twilight hour!  F.W.

We Need YOU

   Much of this December newsletter is devoted to details of the FRANK WATERS CENTENNIAL climaxing at the end of July 2002; other relevant events will occur during the year of 2002 in Waters' hometown of Colorado Springs, where he attended Colorado College, and at the University of New Mexico, where most of his papers and the Frank Waters Room are located.

   Important writings will be published ­ including at least two books ­ on Waters' favorite concepts of universal unity and development of a higher consciousness worldwide, which desperately need actualizing in the real world today if we are to survive. These permanent records will help to serve as guidelines for our future. Publication of Waters' posthumous Pure Waters: Frank Waters and the Quest for the Cosmic is underway, with a release date of May 2002.

   Honorariums for New Mexico's top creative writers have begun to be contributed in the form of $1,000 sponsorships of individuals. The first of these, for instance, is John and Marilyn McConnell's $1,000 sponsorship of speaker Rudolfo Anaya. Each of the participants listed in the fact sheet article here needs some kind of financial sponsorship for this event.

   Entertainment, housing, publishing, printing, advertising, postage, bronze souvenir medallions ­ you name it. We need it. Any amount of money to cover Centennial costs or FWF operations will be appreciated. Just send a check made out to the Frank Waters Foundation Centennial Committee (FWFCC) or to the Frank Waters Foundation (an educational non-profit organization committed to creativity), and enclose the above donor form. For your benefit in making this tax deductible contribution, our non-profit tax identification number is 86-0723866.

   Again, we sincerely hope you will offer your financial support in the near future, and that you will take time to join us in Taos for this rare celebration next July 25 through 28. Activities elsewhere will be detailed here and on our Frank Waters website as soon as details are firm. We are especially grateful if your contribution already has been made in the earliest stages of our all-out effort.

Thank you!


FWCCC Press Release

Frank Waters Centennial Celebration  

FRANK WATERS CENTENNIAL: THE MAN AND THE MYTH (1902 -1995), a four-day event, will honor the one hundredth anniversary of writer Frank Waters' July 25 birth date with a gathering of distinguished writers and scholars. They will speak, read papers, and engage in a panel discussion on seven topics relevant to Waters. Major festivities will include dinner with guest speakers on Saturday and an outdoor barbecue on Sunday. Locally and statewide, July 25 has been proclaimed Frank Waters Day. Events are open to the public.

Dates of this Centennial are Thursday, July 25, 2002, through Sunday, July 28, 2002.

   Activities for the first three days will take place at the Mabel Dodge Luhan House in Taos, New Mexico. The fourth day of festivities, a modified Mountain Man event, will be held outdoors at the Frank Waters home in nearby Arroyo Seco.

   Among those participating will be Tony Hillerman, Rudolfo Anaya, John Nichols, Denise Chavez, Max Evans, Vine Deloria, Jr., Alexander Blackburn, Thomas Lyon, Joseph Gordon, Jose Martinez, William Edelen, Imogene Bolls, Mark Rossi, Rick Aragon, John Carson, Barbara Waters, and Tal Luther, who is Chairman of the Frank Waters Centennial Celebration Committee (FWCCC).

   Topics to be discussed will focus on the following: Frank Waters the Man, Frank Waters the Myth, Waters' Depiction of Indians, Waters' Depiction of Hispanics, Waters' Mysticism, Waters' Use of Myth, and Spirit of Place as Waters' Creative Inspiration. Papers are encouraged. Contact either email or website addresses of the FW Foundation.

   Keynote speeches, papers, and tributes prepared for the Centennial will be published to provide an ongoing, permanent record of the esteemed author, who has been called the "Grandfather of Southwest Literature." This is in keeping with the educational and creative goals of the Frank Waters Foundation, which conducts workshops, provides temporary housing for artistic persons, and publishes books. Pure Waters: Frank Waters and the Quest for the Cosmic, a posthumous book by Waters containing previously unpublished essays, speeches, and editorials, will be published in time for this celebration. Sculptor Mark Rossi will cast a bronze tribute medallion to be sold as a Centennial souvenir.

   Room accommodations are available at the historic Mabel Dodge Luhan House, 505-751-9686.

   For further information contact FWCCC, P.O. Box 1127, Taos, NM, 87571, 505-776-8117, 505-776-2356,, or

FWCCC Call for Papers

   You are invited to participate in the FRANK WATERS CENTENNIAL: THE MAN AND THE MYTH (1902 - 1995), to be held in Taos, New Mexico, on July 25-28, 2002, in honor of the author's work and birth date, July 25, 1902. Speeches, reading of papers, and a panel discussion by leading writers (such as Rudolfo Anaya, Tony Hillerman, and John Nichols) and scholars will take place at the Mabel Luhan House during the first three days. A barbecue and entertainment will occur outdoors at the Frank Waters residence on the last day, a modified Mountain Man event.

   Participation will consist of submitting one original unpublished paper to be read by a selection panel. If accepted, this paper will be read by its author at the Mabel Luhan House and published. Maximum length of papers is twelve (12) double-spaced pages, with a minimum of six (6) such pages. Reading time will be fifteen (15) minutes with a short general discussion period to follow. Due to publication timelines, we are striving for a deadline of April 1, 2002 (
NEW), for all papers. Entries should be mailed to the Frank Waters Foundation, P.O. Box 1127, Taos, NM 87571  Let us know as soon as possible if you plan to submit a paper. Seven topics for papers are offered:

 - Frank Waters the Man
 - Frank Waters the Myth
 - Waters' Depiction of Indians
 - Waters' Depiction of Hispanics
 - Waters' Mysticism
 - Waters' Use of Myth
 - Spirit of Place as Waters' Creative Inspiration

   The Committee does not make travel or lodging arrangements. We do encourage participants to stay at the Mabel Luhan House, 505-751-9686. To our regret, we do not have funds to offer honorariums to those submitting papers. But we know this will be a unique educational opportunity and an entertaining experience. We look forward to your involvement as an admirer of Frank Waters' literary work, and hope that you will share this Call For Papers with other potential participants as well as encourage others simply to attend. Periodically, we will be sending out further details ­ including registration forms ­ connected with our Celebration. We hope to see you there!

The Frank Waters Centennial Celebration Committee
505-776-8117 or 505-776-2356

Dream Team

   Working and socializing with Tal and Marilyn Luther are a joy. The pair has worked together constructively for so long that they are indeed a Dream Team who gets a job done with little or no friction, besides enriching social events with their own pure enjoyment of the moment. Marilyn has an appropriate joke for almost any occasion. And Tal will have something pertinent to say about literature, art, classical music (Mozart is his favorite), or Muggins, their curly-haired poodle mix who rules the roost. Although he politely remains in the car, Muggins gets to ride along on scenic Sunday drives to Red River for prime rib at Texas Red's or to Angel Fire on a week night for barbecued pork. He expects, and gets, his due.

   Marilyn is a fine hostess, a gourmet cook, and a well-known artist who shows her oil paintings at Susan Wilder Fine Art Gallery in Taos and Johnson's Gallery in Madrid, New Mexico. Her work has attracted numerous collectors; and in 1998 one of her landscapes was awarded first place in representational art at the select "Taos Invites Taos" show, part of an annual fall arts festival, where year after year she has been invited to display her paintings. "My work has been called representational in a contemporary manner," she clarifies. Influenced by expressionists and Van Gogh, her landscapes are "homages to Southwestern light," according to one art critic. Marilyn says, "For me, all things are spiritual, and I try to put a sense of joy and peace into every painting."

   Her large easel looms to the right of her husband's desk, and her new computer is tucked in opposite his work space. He says, "It's been hard for Marilyn to paint full time. Besides raising a family, she has always helped me in my business."

   At one time Marilyn worked for the government near Independendence, Missouri, at a location shared with Remington Arms Company where Talmage Luther was employed. Introduced when her boss engineered a meeting, the couple later married in 1959; their only child, Faith, was born in 1963. Tal, a New Englander by birth and a Yale gradulate, went on to become Wage Administrator at Remington, a subsidiary of DuPont. After frequent visits to northern New Mexico and Tal's retirement in 1986, the Luthers moved permanently from Prairie Village, a suburb of Kansas City, Missouri, to Taos.

   "I never took any art instruction at Graceland College in Iowa," Marilyn explains, " since my parents cautioned me that artists starve to death." And that's about right, usually. I had a natural talent and the inclination, but didn't consider it part of my life until a neighbor gave me a starter set of oils for Mother's Day as she thought I'd done so much for her. I cannot remember why she thought that, or how she knew it was the perfect gift. I didn't cry when she gave it to me, but tears poured down my face when I opened its lid and saw the oils and accessories.

   "Painting then possessed me like a fever. I cooked and kept our place looking neat, and cared for my husband and baby, but every single spare minute was spent with those paints. I was filled with energy and stayed up late. Then I almost got colitis, and almost is bad enough for anyone. I left painting alone until I was well. When I went back to it, I found that I had control and discipline, and my priorities were in order. I have learned that you cannot really be a good painter without this control."

Her husband interrupts, "Please, Marilyn. Please! Come and help me with this."

   A collector par excellence who specializes in book-collecting, Tal at one time or another has collected treasures ranging from paintings and rugs to Indian pottery and Staffordshire china.  He recently sold his Tony Hillerman and John Nichols book collections to universities but still has the largest Frank Waters collection in the world, numbering more than 1900 items. Several times a year he issues a catalog typed by his wife and listing books for sale, a project they have undertaken together since 1962 when Tal began his book dealer business in earnest as a spare-time pursuit.

Paul Hutton writes in his foreword to an updating of Tal's bibliography, Custer High Spots, that twenty years later it is still a "valuable guide" and "remains the first book to consult...Luther cut through the morass of Custer publications ­ the vast majority of which are worthless ­ to pick the very best books on Custer divided into useful categories and with illuminating commentary." In writing of Tal's Kansas City days Hutton states that the collector was also "one of the great dealers in Western Americana." He continues, "Luther ranked among the top of a truly extraordinary group of bookmen. His catalogs were eagerly awaited by a host of collectors in many fields, and none more so than the Custer collectors. His prices were always fair, his book grading impeccable, and his knowledge of the field unsurpassed."

   Luther has written another book titled Collecting Taos Authors, which is illustrated by his wife; three monographs on Custer; and ten articles about Santa Fe authors for Book Talk. He edited and wrote an introduction for Important First in Missouri Imprints 1808-1858 and has written papers like the one partially excerpted from Studies in Frank Waters in this newsletter. He is reticent about his poetry, long an interest.

   Tal shares with Marilyn a love of gardening. Their Taos home is a casual masterpiece of good taste ­ warmed outside with a riot of flowers and inside with exotic orchid plants, thousands of books, paintings by New Mexico's premier artists, and a loving snapshot gallery on the refrigerator door featuring special friends and relatives like their three grandchildren: Zoie, Joshua, and Haven Hensley.

   As in their home, the Luthers' community endeavors in Taos have centered on the arts. Tal has served as a top officer, on the board of directors, or as a member of Harwood Museum, Taos County Historical Society, Taos Art Association, New Mexico Book League, Friends of the Taos Library, and the Frank Waters Society. In addition to participating in some of these same organizations, Marilyn has belonged to the local garden club, and is secretary of docents for the Van Vechten Lineberry Taos Art Museum and an associate member of Taos Watercolor Society.

Important to us is the couple's volunteer work on the board of directors of the Frank Waters Foundation and on the Frank Waters Centennial Celebration Committee. With Tal serving as chairman of the latter and Marilyn as secretary, leadership and teamwork flourish simultaneously. Exuding optimism, enthusiasm, humor, and warmth, a typical meeting moves smoothly toward objectives. An easy give-and-take and a free flow of creative ideas characterize interactions; each personıs contribution is valued. Marilynıs sharp, detailed minutes and organizational skills keep us on track. And good contacts cemented over the years are helpful in fundraising and participation. When Tal says he'll try to get Tony Hillerman as a speaker at our Centennial, for instance, he gets his man.

The humanitarian goals of this creative Dream Team, along with its humanity, make it one of the odds-on favorites to prevail in our great game of Life.

Barbara Waters


T.N. Luther:
Super Sleuth

These paragraphs are excerpted from Luther's long essay "Updating Terence A. Tanner's Bibliography Frank Waters," followed by a relevant statement from Waters.

   One advantage of being a book dealer as well as a collector is that you handle many more copies of books than the average collector. Thus you may make certain discoveries as to variant printings, or be able to solve problems the answers to which have eluded bibliographers.

   We all owe a great deal of knowledge to Terence Tanner's great bibliography of Frank Waters. It is truly a monumental work, especially valuable in giving us insights into Waters' keen mind and those of his publishers by quoting much of their correspondence relating to the eventual book publication.

   There have been some discoveries, however, that had eluded Tanner, most probably due to lapses of Frank's memory or the incomplete records of the publishers of Waters' books whom Terry consulted. Most of the discoveries have been of a minor nature, but should be of interest to the serious collector.

   There are three Waters contributions to periodicals which received no listing in Tanner. The scarcest of these appeared in Taos: A Deluxe Magazine of the Arts, 1951. This magazine was put together by the then Taos poet-printer Judson Crews, and was a brilliant idea. It contained Frank Waters'  "Masks Without Meaning," a truly beautiful and perceptive essay on Taos.

Although intended to be a periodical, it exists in only this first issue. A letter from its editor indicates that there were only 125 copies issued, mostly given to those who had paid for advertisements in the magazine. The magazine consisted of loose pages of different colored stiff paper in a folder. It was of small folio size, and, in addition to Frank's essay, contained an original one-page essay on Victor Higgins by Mabel Dodge Luhan.

   There were original poems by Wendell Anderson, Spud Johnson, Scott Greer, and Crews himself, among others. There was a short article by Spud Johnson on Carl Van Vechten, and reproductions of art work by Tom Benrimo, Dorothy Brett, Victor Higgins, Beatrice Mandelman, Louis Ribak, Alfred Rogoway, Henry Miller, Rebecca James, and others. A wonderful photo of Andrew Dasburg and Victor Higgins playing chess, and others by Mildred Tolbert, were included. It is sad that the magazine was a commercial failure, as this was the beginning of the golden age of modern art in Taos, and there were many accomplished writers.

   In point of time, there was a Frank Waters letter in Playboy Magazine of November, 1967, lending support to Vine Deloria, Jr's book Custer Died for Your Sins.

Finally, "A Tribute to Brett," appeared in the Taos News, March 21, 1974, of six rather lengthy paragraphs. . .

   Cynthia Farah made a major contribution to Southwestern literature when she edited Literature and Landscape: Writers of the Southwest, published in 1988 by Texas Western Press. In addition to her photographs of fifty major authors, each author provided an answer to the question, "What role has the Southwestern landscape played in compelling you to write?" Most major authors of New Mexico, Arizona, and west Texas responded, including Frank ...                

 T.N. Luther

Frank's Reply to Farah's Question

   The belief that the global earth is a living organism has been held since ancient times by the great civilizations of the Middle and Far East, and by all Indian America from Central America to our own contemporary Southwest.

   I adhere to this belief myself, rather than to the dominating Anglo-American premise that the wealth is inanimate matter, mere real estate, to be exploited at will.

   Certainly every continent, country, and region has its own distinctive spirit of place, its own rhythm, which it imparts to its species of animals, plants, and human races. The drum beat of native Africa is different from that of Indian America, although both echo the pulse of one common life force.

   The vibratory quality of even a neighborhood or barrio in a large city, apart from its cultural milieu, can be sensed immediately. It exudes a feeling of peace or hostility without apparent cause, just as we feel attraction or repulsion to a person we meet for the first time.

   Places have always affected me like this. Not only the Southwest as an area which seems to imbue the strongest creative life force, but the various localities which have drawn and held me. All of my books, in some way, are about these places and about persons who have been affected by their distinctive influences.    FW

Foreword - Pure Waters: Frank Waters and The Quest for The Cosmic

   For Frank Waters fans, the word "continued" will automatically insert itself before 'quest' in the subtitle of this book. They know that his life and writings were one continuous search for cosmic awareness, whether conscious or unconscious. He envisioned a future brightened by an advanced state of human consciousness. He foresaw ­ and at times experienced ­ a cosmos or universe distinctive for its order, intuition harmony, and unity superseding duality. On his granite memorial are carved his words from The Man Who Killed the Deer, "We will meet again, as equal parts of one great life." In the subtitle of Mexico Mystique he calls this giant step forward "The Coming Sixth World of Consciousness."

   Richard Bucke's Cosmic Consciousness, published in 1901, strongly influenced Frank from his twenties onward. Bucke contended that four stages of intellect exist. According to him, the lowest is that of the senses, derived from basic "percepts."  Next, stemming from more advanced "recepts," is the simple consciousness of animals. With his superior "concepts," man has reached the third level, consciousness of self. And a few persons have achieved the final stage ­ our eventual goal ­ of cosmic consciousness, or the "intuitive mind."

   A century after the book was published, mention of these terms is made here in Frank's speech "Words." Bucke thought that his friend Walt Whitman possessed traits typical of those who have touched upon the highest stage. Most important are intuition, morality, compassion, spirituality, simplicity, charisma, optimism, oneness with nature, openness to revelation, and lack of self consciousness that inhibits creativity. Frank Waters, too, evidenced these qualities in his long search for illumination. They can be sensed in the following pages.

   The order of the cosmos fascinated Frank, as readers will notice here in the final chapter. This, his favorite essay, is the culmination of his many years spent researching the Mesoamerican calendar and related civilizations. Frequently called the Aztec Calendar, its mathematics actually predate that civilization by centuries. These convoluted calculations are based upon precise astronomical observations, not astrology. Correlated astrology, which contributed to the downfall of the Aztecs, Waters viewed from a mytho-psychological perspective. What he truly marveled at was the larger, orderly view that linked age to age from ancient to modern times and beyond, an achievement resonating with the highest level of consciousness. It is not so strange after all to find a strong rational element balancing the mind of a man who was preponderantly, and by heritage, an intuitive. And it will hearten the non-rational to learn that this chapter reads just as well when numbers are merely skimmed as it does when they are carefully studied. Itıs the wonder that matters.

   The human role in a self-inclusive universe is that of learner. Waters always regarded himself as such. As a grown man writing The Colorado, for example, he repeatedly referred to himself as "the boy." In Mountain Dialogues, chapter by chapter he passed on his learnings to date, several of them mathematically oriented, as he does here. He disliked being called a "mystic," possibly because he saw himself not as a master of the esoteric but as an eternally questing student of the universe.

   For change of pace, this book alternates essays with speeches and editorials. Generally, his essays were to Frank teaching stories which had helped to point his way. His speeches reveal the intricacies of his mind and writing. The editorials selected are the twinkle in his eye, noticed by anyone who ever met him. Imagine. In the same book an editorial about pushing a wheelbarrow up Pikes Peak and a speech comparing themes of Buddhism to American Indian religion. This was the complete unabridged Frank Waters: a brilliant, many-faceted enigma.

   His essays on Houston Branch, El Crepusculo, and Dr. Bright help us to see how Waters practically and intuitively learned it was best for him to remain a maverick loner. "River Trips," "Notes on Los Angeles," and "The Manby Mystery" demonstrate not only his mastery of descriptive writing but the influence of place upon every aspect of his growth. Waters once wrote, "All of my books, in some way, are about these places which have drawn and held me and about persons who have been affected by their distinctive influences." "The Horses" and "The Guru and the Fox" convey his love of nature and animals, as do several editorials. In his fine speeches "Visions of the Good," "Prelude to Change," and "The Regional Imperative," he shares with readers part of his greater vision. All is a merging of the human role on earth with one's universal obligations. . .

Barbara Waters, editor
Arroyo Seco, New Mexico


Early School Days in Colorado Springs: with Frank Waters and Charles Hathaway, video tape, $30 + $3 postage.

Sundays in Tutt Library with Frank Waters, introduction by Joseph Gordon, softcover $20. Frank's speech given in Colorado Springs in 1985. Last available copies. Book collector Tal Luther says, " . . . a valuable collector's item."

Signed Frank Waters posters, $35 + $5 postage. Unsigned, $20 + $5 postage.
€ Fechinıs Frank posters, framed, glass, $500 each.

Notecard packs (6 cards) featuring Fechin's portrait of Frank, $10 + $3 postage each. Notecards by Judith Bronner of Waters surroundings,$2.50 each.

Taos Landmarks and Legends, text and 115 pen-and-ink drawings (including the Frank Waters Foundation) by Bill Hemp, clothbound $34.95, softcover $19.95.

First editions of Brave Are My People; Flight from Fiesta; Frank Waters: Man and Mystic; Terence Tanner's bibliography Frank Waters; Back-Alley Boys by C. Hathaway; Celebrating the Coyote by B. Waters, and Advice for the Climb by Imogene Bolls.

Bronzes:  Bust of Frank, $2,500; Bronze Sculpture of Frankıs Hand, $250; Bronze Mask, $750; Bronze Plaque, $1,000 (all bronzes by Mark Rossi; shipping not included).

From the John Gilchriese Collection:

1. 1 copy: Frank Waters: A Bibliography, Terence A. Tanner (HB/Dust Jacket/Presentation/ Signed) - $100
2. 2 copies: Frank Waters: A Bibliography, Terence A. Tanner (HB/DJ/Signed) - $90
3. 1 copy: To Possess The Land, (PB/DJ/Pres/Signed) - $25
4. 1 copy: Masked Gods, (HB/No DJ/Pres/Signed) - $120
5. 1 copy: Masked Gods, (HB/No DJ) - $100
6. 1 copy: Mexico Mystique, (PB/Pres/Signed) - $20
7. 1 copy: Book of the Hopi,
(Uncorrected Proof/Spiral Binding/Wrapper/Signed/Presentation/No Photos) - $1,250
8. 1 copy: Frank Waters: A Retrospective Anthology, Charles L. Adams (PB/Signed) - $25
9. 1 copy: The Colorado, (PB/Pres/Signed) - $25
10. 2 copies: Pike's Peak,    (HB/DJ/Pres/Signed) - $55 each
11. 1 copy: Pike's Peak, (HB/Dam DJ/Pres/Signed) - $50
12. 1 copy: Flight From Fiesta, (HB/DJ/Pres/Signed) - $45
13. 3 copies: Flight From Fiesta, (PB/Signed) - $30 each
14. 1 copy: Flight From Fiesta,    (PB/Signed ³Frank²) - $25
15. 1 copy: Flight From Fiesta,    (PB/Pres/Signed) - $35
16. 1 copy: Leon Gaspard, (HB/DJ/Pres/Signed/Fenn Ed) - $160
17. 1 copy: Leon
Gaspard, (boxed edition) - $300

18. "Studies in Frank Waters," Charles Adams, Ed: 1 copy; Vol. XIX;  8 copies Vol. X - $20 ea.


For more information, please contact The Frank Waters Foundation 


Newsletter- 2002


Newsletter- 2001


Newsletter- 2000



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