top of page

Thoughtfully Curated and Always Changing.

Santa Fe’s Largest Destination for Antiques, Fine Jewelry, Furniture, Art, and Estate Finds

sell antiques santa fe.jpg

Selling Antiques in Santa Fe?

Never Miss a Sale!

Sign up for our newsletter for upcoming sales, events and interesting information you didn't know you need.

Need an Estate Sale?

Here is How We Can Help

Follow us for News, Sales, Events & Fascinating Facts about our "Stuff"

July's Picks of the Month!

July's Picks of the Month!

In our second special guest episode of Watch Ya' Self, Evangelo presents a Grand Seiko Spring Drive GMT, one of the most technically impressive watches in the case.

✨Highlights include:

Spring Drive
True GMT
Flyer GMT
Zaratsu Polish
Hand Finished
Sapphire Bezel
Power Reserve
Smooth Sweep
Seconds/Month Accuracy
Japanese Craftsmanship
Full Set
Box & Papers

In our second special guest episode of Watch Ya' Self, Evangelo presents a Grand Seiko Spring Drive GMT, one of the most technically impressive watches in the case.

✨Highlights include:

Spring Drive
True GMT
Flyer GMT
Zaratsu Polish
Hand Finished
Sapphire Bezel
Power Reserve
Smooth Sweep
Seconds/Month Accuracy
Japanese Craftsmanship
Full Set
Box & Papers

Spratling’s work matters because it sits at the beginning of modern Taxco silver. Before his workshop, Taxco had a long history with silver mining, but it was not yet known for the kind of silverwork collectors recognize today.
What made Spratling distinct was his ability to take pre-Hispanic influence, modern design, and Mexican identity and turn them into a silver language that felt entirely new.
And that language did not stop with him. His workshop helped shape the next generation of Taxco silversmiths, including names collectors still look for today.
That is why collectors care.

Spratling’s work matters because it sits at the beginning of modern Taxco silver. Before his workshop, Taxco had a long history with silver mining, but it was not yet known for the kind of silverwork collectors recognize today.
What made Spratling distinct was his ability to take pre-Hispanic influence, modern design, and Mexican identity and turn them into a silver language that felt entirely new.
And that language did not stop with him. His workshop helped shape the next generation of Taxco silversmiths, including names collectors still look for today.
That is why collectors care.

Collectors are not paying for silver weight alone.
They are paying for design, history, and influence.
Spratling helped transform Taxco from a town associated with silver mining into one of the most important centers of Mexican silver design. His work blended pre-Hispanic influence with modern appeal, creating a look that became closely tied to Taxco silver.
His workshop also trained and influenced many of the artists who came after him, including Hector Aguilar, Antonio Pineda, and Los Castillo.
So when collectors buy Spratling, they are buying more than a bracelet, necklace, or brooch.
They are buying the beginning of modern Mexican silver.

Collectors are not paying for silver weight alone.
They are paying for design, history, and influence.
Spratling helped transform Taxco from a town associated with silver mining into one of the most important centers of Mexican silver design. His work blended pre-Hispanic influence with modern appeal, creating a look that became closely tied to Taxco silver.
His workshop also trained and influenced many of the artists who came after him, including Hector Aguilar, Antonio Pineda, and Los Castillo.
So when collectors buy Spratling, they are buying more than a bracelet, necklace, or brooch.
They are buying the beginning of modern Mexican silver.

New Mexican Spanish Colonial art grew out of Spanish and Mexican Catholic devotional forms, then developed its own regional character through local artists, local materials, and the needs of New Mexican churches, homes, and private prayer spaces.

That is why santos, bultos, retablos, nichos, crucifijos, and tinwork feel so closely tied to the Land of Enchantment.

Spanish Market celebrates the artists keeping these traditions alive. After Spanish Market, come wander the gallery. You’ll find these objects throughout the store.

New Mexican Spanish Colonial art grew out of Spanish and Mexican Catholic devotional forms, then developed its own regional character through local artists, local materials, and the needs of New Mexican churches, homes, and private prayer spaces.

That is why santos, bultos, retablos, nichos, crucifijos, and tinwork feel so closely tied to the Land of Enchantment.

Spanish Market celebrates the artists keeping these traditions alive. After Spanish Market, come wander the gallery. You’ll find these objects throughout the store.

If you’re visiting Santa Fe for Traditional Spanish Market, these are some of the words you’ll hear again and again: santos, bultos, retablos, nichos, crucifijos, and tinwork. Here’s a quick guide to what they mean, how to recognize them, and why they matter in New Mexican Spanish Colonial art.

What is a santo? In New Mexican Spanish Colonial art, “santo” is the broad term for a sacred image. A santo can be a painted image, a carved figure, or part of a devotional setting. Bultos and retablos are both forms of santos.

What is a bulto? A bulto is a three-dimensional carved santo, often made from wood, gesso, paint, cloth, leather, or other materials. Historically, bultos have been used in both church and home devotional settings, especially in Mexico and New Mexico.

What is a retablo? In New Mexican Spanish Colonial art, a retablo is a painted devotional image, often depicting a saint, Christ, or the Virgin Mary. Retablos were especially important for private devotion and home altars.

What is a nicho? A nicho is a small shrine, display box, or devotional enclosure. It frames and protects a sacred image, carved santo, cross, or devotional scene. In New Mexico, nichos appear in many materials, including painted wood and tinwork.

What is a crucifijo? A crucifijo is a crucifix, or a cross with the figure of Christ. In Spanish Colonial and Mexican devotional art, crucifijos range from simple carved forms to highly expressive folk art objects. The Smithsonian American Art Museum uses “crucifijo” for a New Mexican carved and painted crucifix in its collection.

What is New Mexican tinwork? Tinwork became one of the most recognizable materials in New Mexican Spanish Colonial design. It was used for devotional frames, mirrors, crosses, nichos, and other sacred objects, especially as an accessible alternative to precious metals.

Spanish Market celebrates traditional Hispanic and Spanish Colonial art forms, including bultos, bultos en nicho, retablos, altar screens, tinwork, woodcarving, painted reliefs, furniture, weaving, and more. These objects are not just decorative. They reflect devotion, regional identity, material history, and generations of New Mexican crafts

If you’re visiting Santa Fe for Traditional Spanish Market, these are some of the words you’ll hear again and again: santos, bultos, retablos, nichos, crucifijos, and tinwork. Here’s a quick guide to what they mean, how to recognize them, and why they matter in New Mexican Spanish Colonial art.

What is a santo? In New Mexican Spanish Colonial art, “santo” is the broad term for a sacred image. A santo can be a painted image, a carved figure, or part of a devotional setting. Bultos and retablos are both forms of santos.

What is a bulto? A bulto is a three-dimensional carved santo, often made from wood, gesso, paint, cloth, leather, or other materials. Historically, bultos have been used in both church and home devotional settings, especially in Mexico and New Mexico.

What is a retablo? In New Mexican Spanish Colonial art, a retablo is a painted devotional image, often depicting a saint, Christ, or the Virgin Mary. Retablos were especially important for private devotion and home altars.

What is a nicho? A nicho is a small shrine, display box, or devotional enclosure. It frames and protects a sacred image, carved santo, cross, or devotional scene. In New Mexico, nichos appear in many materials, including painted wood and tinwork.

What is a crucifijo? A crucifijo is a crucifix, or a cross with the figure of Christ. In Spanish Colonial and Mexican devotional art, crucifijos range from simple carved forms to highly expressive folk art objects. The Smithsonian American Art Museum uses “crucifijo” for a New Mexican carved and painted crucifix in its collection.

What is New Mexican tinwork? Tinwork became one of the most recognizable materials in New Mexican Spanish Colonial design. It was used for devotional frames, mirrors, crosses, nichos, and other sacred objects, especially as an accessible alternative to precious metals.

Spanish Market celebrates traditional Hispanic and Spanish Colonial art forms, including bultos, bultos en nicho, retablos, altar screens, tinwork, woodcarving, painted reliefs, furniture, weaving, and more. These objects are not just decorative. They reflect devotion, regional identity, material history, and generations of New Mexican crafts

What’s Your Collecting Style?

Take the short quiz, count your A’s, B’s, C’s, and D’s, then read below for your result.

*HINT: Go with your gut, don’t think too much!

A’s) The Modernist:
You appreciate thoughtful design, clean lines, and pieces that feel just as relevant today as they did decades ago.

B’s) The Historian:
You collect stories as much as objects. Provenance, age, and character are what draw you in.

C’s) The Curator: You aren’t tied to one style. You choose pieces for their craftsmanship and how they work together.

D’s) The Treasure Hunter:
You’re always searching for the unexpected find. Estate jewelry, vintage watches, and one-of-a-kind discoveries are where the excitement begins.

What’s Your Collecting Style?

Take the short quiz, count your A’s, B’s, C’s, and D’s, then read below for your result.

*HINT: Go with your gut, don’t think too much!

A’s) The Modernist:
You appreciate thoughtful design, clean lines, and pieces that feel just as relevant today as they did decades ago.

B’s) The Historian:
You collect stories as much as objects. Provenance, age, and character are what draw you in.

C’s) The Curator: You aren’t tied to one style. You choose pieces for their craftsmanship and how they work together.

D’s) The Treasure Hunter:
You’re always searching for the unexpected find. Estate jewelry, vintage watches, and one-of-a-kind discoveries are where the excitement begins.

Watch Ya' Self: Special Guest edition
We're joined by our friend Evangelo. He has single-handedly consigned more watches with us than anyone else, so it's safe to say he knows a good watch.

Today we're taking a look at Squale's dive watch homage to the Rolex MilSub.
Highlight's include:
🟢Swiss Made
🟢Sellita SW200
🟢Tight Bezel
🟢Zero Bezel Play
🟢4x Micro-Adjust
🟢Solid Bracelet
🟢Faux Patina Lume
🟢Entry-Level Value
🟢Box & Papers
🟢Under $1,000

Watch Ya' Self: Special Guest edition
We're joined by our friend Evangelo. He has single-handedly consigned more watches with us than anyone else, so it's safe to say he knows a good watch.

Today we're taking a look at Squale's dive watch homage to the Rolex MilSub.
Highlight's include:
🟢Swiss Made
🟢Sellita SW200
🟢Tight Bezel
🟢Zero Bezel Play
🟢4x Micro-Adjust
🟢Solid Bracelet
🟢Faux Patina Lume
🟢Entry-Level Value
🟢Box & Papers
🟢Under $1,000

David Rudolph describes himself as a “disciple of experience.”
Instead of trying to perfectly recreate what he sees, he works from memory, instinct and reaction. He talks about the process as if it is a collaboration between him and the piece.
It changes the way you look at the finished piece. Instead of asking “what is it supposed to be?” you start asking what parts came from experience, emotion, or memory.

David Rudolph describes himself as a “disciple of experience.”
Instead of trying to perfectly recreate what he sees, he works from memory, instinct and reaction. He talks about the process as if it is a collaboration between him and the piece.
It changes the way you look at the finished piece. Instead of asking “what is it supposed to be?” you start asking what parts came from experience, emotion, or memory.

And what makes their work compelling:

Movement. Drama. Recognition. Remington’s bronzes have become some of the most familiar images in Western art.

His bronzes often feel like a story caught mid-action, with figures and animals that feel present and alive.

Her figures feel deeply human. The strength of the work is not just anatomy or likeness, but feeling.

Houser’s work carries regional meaning without feeling decorative or literal. It has strength, simplicity, and lasting presence.

His bronzes can offer a different kind of presence within the category, less strictly Western, but still grounded in form, material, and craft.

Our Market: For Santa Fe collectors, seasonal visitors, and second-home owners, that combination matters and easy to imagine in a home.

And what makes their work compelling:

Movement. Drama. Recognition. Remington’s bronzes have become some of the most familiar images in Western art.

His bronzes often feel like a story caught mid-action, with figures and animals that feel present and alive.

Her figures feel deeply human. The strength of the work is not just anatomy or likeness, but feeling.

Houser’s work carries regional meaning without feeling decorative or literal. It has strength, simplicity, and lasting presence.

His bronzes can offer a different kind of presence within the category, less strictly Western, but still grounded in form, material, and craft.

Our Market: For Santa Fe collectors, seasonal visitors, and second-home owners, that combination matters and easy to imagine in a home.

Most Fourth of July history posts start with the East Coast: colonial furniture, early American folk art, flags, founding documents. Santa Fe asks a different question: what does American history look like in a place shaped by Pueblo communities, Spanish colonization, Mexican rule, U.S. expansion, tourism, and collecting?

Santa Fe was founded as a Spanish colonial capital in 1610, long before the United States became a country. That matters because the region’s objects do not fit neatly into the usual “early American” antique categories. They come from a longer and more layered timeline.

Pueblo pottery, jewelry, textiles, carving, and other art forms come from distinct communities with their own histories, materials, techniques, and traditions. That specificity matters.

Spanish colonizers introduced Catholic devotional art forms, but santo creation became uniquely New Mexican. Local santeros developed their own processes, using regional materials like wood, pigments, gesso, tin, and carved nichos.

Before the railroad, Santa Fe was already connected through trade. The Santa Fe Trail moved goods, people, and ideas between Missouri and New Mexico, helping shape the city as a place of exchange long before it became a tourist destination.

Tramp art is not specific to Santa Fe, but it fits this part of the story because railroads changed how people, goods, materials, and tastes moved across the country. Objects like this remind us that American material culture often traveled far from where it started.

After New Mexico became a state, Santa Fe leaders promoted a unified regional look to attract tourism and revive the local economy. That choice is part of why the “City Different” looks so different from Las Vegas, New Mexico, with its Victorian storefronts and railroad-era architecture.

At the same time modernism, industry, and urban life were reshaping much of the country, New Mexico attracted artists looking for older landscapes, adobe towns, Native subjects, and Western scenes. The result was not just documentation. It helped build the collectible image of the Southwest.

Santa Fe collecting is layered because the city’s art market is layered. Spanish M

Most Fourth of July history posts start with the East Coast: colonial furniture, early American folk art, flags, founding documents. Santa Fe asks a different question: what does American history look like in a place shaped by Pueblo communities, Spanish colonization, Mexican rule, U.S. expansion, tourism, and collecting?

Santa Fe was founded as a Spanish colonial capital in 1610, long before the United States became a country. That matters because the region’s objects do not fit neatly into the usual “early American” antique categories. They come from a longer and more layered timeline.

Pueblo pottery, jewelry, textiles, carving, and other art forms come from distinct communities with their own histories, materials, techniques, and traditions. That specificity matters.

Spanish colonizers introduced Catholic devotional art forms, but santo creation became uniquely New Mexican. Local santeros developed their own processes, using regional materials like wood, pigments, gesso, tin, and carved nichos.

Before the railroad, Santa Fe was already connected through trade. The Santa Fe Trail moved goods, people, and ideas between Missouri and New Mexico, helping shape the city as a place of exchange long before it became a tourist destination.

Tramp art is not specific to Santa Fe, but it fits this part of the story because railroads changed how people, goods, materials, and tastes moved across the country. Objects like this remind us that American material culture often traveled far from where it started.

After New Mexico became a state, Santa Fe leaders promoted a unified regional look to attract tourism and revive the local economy. That choice is part of why the “City Different” looks so different from Las Vegas, New Mexico, with its Victorian storefronts and railroad-era architecture.

At the same time modernism, industry, and urban life were reshaping much of the country, New Mexico attracted artists looking for older landscapes, adobe towns, Native subjects, and Western scenes. The result was not just documentation. It helped build the collectible image of the Southwest.

Santa Fe collecting is layered because the city’s art market is layered. Spanish M

Our biggest seller this summer? Bronze! it It makes sense for Santa Fe buyers, bronze can carry regional identity without feeling too kitschy or touristy.

Our biggest seller this summer? Bronze! it It makes sense for Santa Fe buyers, bronze can carry regional identity without feeling too kitschy or touristy.

What makes someone creative? Talent, education, opportunity?

When I first sat down with David Rudolph, I thought we were going to spend most of our time talking about sculpture and painting. Instead, almost every conversation about art turned into a conversation about, well… life.

The more I listened back to the interviews, the more I realized I wasn’t just editing videos about an artist. I was editing a series of conversations about creativity itself.

Whether you’re an artist, a collector, or simply curious about the creative process, I hope these conversations make you think about creativity a little differently

What makes someone creative? Talent, education, opportunity?

When I first sat down with David Rudolph, I thought we were going to spend most of our time talking about sculpture and painting. Instead, almost every conversation about art turned into a conversation about, well… life.

The more I listened back to the interviews, the more I realized I wasn’t just editing videos about an artist. I was editing a series of conversations about creativity itself.

Whether you’re an artist, a collector, or simply curious about the creative process, I hope these conversations make you think about creativity a little differently

We had a very unique oil on canvas by New Mexico artist Ed Sandoval come in. He is best known for his portraits of "Los Viejitos", or “the old people,” walking down a path surrounded by New Mexico’s vivid scenery. So imagine our surprise to see something like this.

We had a very unique oil on canvas by New Mexico artist Ed Sandoval come in. He is best known for his portraits of "Los Viejitos", or “the old people,” walking down a path surrounded by New Mexico’s vivid scenery. So imagine our surprise to see something like this.

.pro-gallery-wix-wrapper {display: block !important;} .pro-gallery-wix-wrapper .gallery-item-container {opacity: 1 !important; display: block !important;}

suscribe

blue dog pin-2.jpg

w&b(transparency)-03.png

For over 40 Years, Serving the Santa Fe

and New Mexico Community

bottom of page