“Just like you to be in the middle of the magic”—Kevin Costner
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Sale of the artwork in this catalog will be conducted by live auction on September 18, 2026 starting at 6.00 PM MDT. This catalog presents the artwork in lot order. For bidding and registration details, terms and conditions of sale, lot numbers, sale estimates, and additional photos and information, refer to the online catalog at jacksonholeartauction.com. ONLINE CATALOG
Direct all inquiries to info@jacksonholeartauction.com or 307.734.9739 — 2 —
MARK MAGGIORI RISE OF THE WESTERN LIGHTS
SOLO SHOW & AUCTION PRESENTED BY JACKSON HOLE ART AUCTION & FAR WEST JACKSON CENTER FOR THE ARTS | JACKSON HOLE, WY SEPTEMBER 18 – 19, 2026
130 E Broadway, PO Box 1568 | Jackson, WY 83001 307.734.9739 | jacksonholeartauction.com — 3 —
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What Have You Become?
Rise of the Western Lights: New Paintings by Mark Maggiori By Joshua Rose The time of considering Mark Maggiori a newcomer to the Western world is gone. My Friend Seth, a simple portrait of a dusty cowboy standing next to his trusty white horse whose forehead and mane catch the last bit of late-summer sun, was painted in 2013. Over thirteen years ago. That’s thirteen years of Mark hauling paints, brushes, and clothing to all corners of the West to accompany cowboys, ranchers, drifters, horses, Native guides, and friends into the wilderness to capture their likenesses and preserve these moments and these people for eternity. More than a decade of living, working, and being present in the lands of the West is an experience that cannot be taken lightly—an experience that has formed and shaped Mark into the person and artist he is today, and the artist behind this new exhibition at the Jackson Hole Art Auction, Rise of the Western Lights. Mark, as a teenager, was brought to the West by his family for an epic road trip that included visits to places like Canyon de Chelly, Monument Valley, Yosemite, the Grand Tetons, and countless places in between. The trip made an indelible impression on the young artist’s psyche, and in his mind, Mark vowed to return. And what a return it has been. “I have learned to be part of this place by living here and studying it. The clouds, the mesa, the bushes, the smell, the desert, the mountains, all of it,” says Mark. “I have also learned most of it by meeting the people who
live here. Native Americans and non-Native Americans. Cowboys and cowgirls. Workers of the land, believers of the land.” This is what has truly shaped Mark as a Western painter: spending these last thirteen years not just living in the West but traveling throughout the West — and making the time to meet the people, befriend those along the journey, and bring them into his life as well. A self-proclaimed extrovert, Mark is, above everything else, a people person, and besides the solitary moments he spends in the studio, he is continually surrounded by people. He cherishes the moments he gets to spend with his models and acquaintances on the various shoots he organizes around Arizona, New Mexico, Colorado, Montana, and Wyoming, and many of these people end up becoming his friends. Only after these true friendships are formed can Mark capture their likeness and spirit in his paintings. It is also through these friendships that Mark is able to open places and perspectives rarely seen by outsiders. Several years ago, Mark decided to paint Monument Valley. Monument Valley has been painted countless times, but Mark wanted his own encounter with the landscape to begin with permission. Mark knew that Monument Valley was on the Navajo Reservation, so when he decided to paint it, he wanted to do it in a way that respected both the land and the people who inhabit it. So, the first thing he did was call his friend
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the West. The Prophecy inspired several other wildlife paintings, which are also included in this exhibition.
Trina Jae Reid, a well-known Diné model, artist, and activist, and ask her if it was possible to visit the area and paint on location. Trina reached out to a close friend and fellow Diné tribal member who had land in Monument Valley and asked him if it was okay for Mark to visit the area and paint. The man agreed, and soon after, Mark was there to paint and photograph on location. Because Mark took the time to make this connection, he was also shown some special places off the beaten path, several of which became the subjects of his canvases. Call of the Ancestors, a painting in this exhibition, came from that original visit, and the rider is Trina’s son, Eli Secody. This exemplifies how Mark’s friendships with the people he meets across the West inform and enrich his paintings and create the full circle of his Western experiences. “Here, the rider is both an apparition of an ancestor coming to communicate with a present person and a present person coming to communicate with the ancestors through the stars and the northern light,” says Mark. “He is inviting you to come to this place of beauty, to step into a spiritual world that is the Diné country in Arizona.” Another important moment in Mark’s career relevant to this current exhibition occurred in 2024, when he completed the monumental painting The Prophecy (45 x 70 inches). The Prophecy is not only the largest painting in this exhibition, but also his first painting to focus on wildlife. In fact, when Mark created this painting, he had no idea the exhibition would ultimately debut in an epicenter of wildlife in America, Jackson Hole, Wyoming. But that, again, shows the interconnectedness of Mark’s journey through
“The Prophecy is a painting I had a vision of,” says Mark. “A painting I had inside my soul and had to put to canvas. There is a prophecy among some tribes that says one day the buffalo will return. He has already returned to some places, but the prophecy is talking about something bigger, giant, deep, and new. Something we can’t really picture. It’s not my place to talk about it.” Master of Dreams (35 x 38 inches), Mathó (26 x 39 inches), and Wolf Medicine (8 x 10 inches) are the other wildlife paintings in this exhibition. These paintings represent the latest evolution of Mark’s work, and like the earlier cowboys and Native figures, they come out of his deep love of the West and his desire to capture the freedom and imagination of the spirit of the West on canvas. Mathó is of particular importance. This painting represents the subject matter literally calling to Mark in an attempt to bring him back into the world of mystery and imagination. “I was born in a big forest in France,” says Mark. “I grew up climbing trees and imagining all the beasts that live in these forests. The bear is a medicine animal. It represents strength and protection, but also reflection. And this is where I am with this painting today. There is a connection between this bear and us as humans. The grizzly bear is staring at me and asking, ‘Where have you been? What have you become?’” From the people he has befriended to the landscapes and wildlife that continue to call him back, Mark Maggiori’s journey through the West has become more than a study of place—it has become a lifelong conversation with its people, stories, spirit, and
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mysteries. Rise of the Western Lights is the culmination of that journey so far, a testament to an artist who has moved beyond simply observing the West to becoming deeply immersed in it, preserving its enduring spirit while continuing to discover what it has yet to reveal.
“To know it, you must walk. Bleed until it’s dark. Drown in its rivers. Then its name becomes clear.”
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A Note from the Artist This body of work returns to the American West as something both monumental and fragile — a place where light, weather, silence, and immense landscapes can still overpower human presence. Over the past three years, my work has evolved both technically and emotionally. I have pushed further into atmosphere, scale, and abstraction within realism, allowing the paintings to become quieter, more suggestive, and more immersive. Riders move through vast landscapes, storms gather over open country, animals stand almost as witnesses, and skies become characters of their own. I am drawn to those suspended moments — twilight, changing weather, the silence before nightfall — when something feels as though it is about to happen. The West remains mythic to me, but I am not interested in recreating the past through nostalgia. I want to paint what the West feels like now: emotionally, spiritually, and visually. Ultimately, these paintings are less about geography than about human emotion confronting immensity — solitude, resilience, freedom, uncertainty, and wonder. I hope that, in front of these paintings, people slow down. That the scale, texture, and light create an experience beyond the literal subject matter, leaving room for silence, mystery, and imagination.
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Boys of Gallatin, 2026
pencil and graphite on paper 8 1/2 x 12 inches
A drawing of all the cowboys who participated in a rodeo photoshoot I organized last summer in Montana. — 10 —
Leland Uphill, 2025
pencil and graphite on paper 9 1/4 x 8 1/4 inches
A sketch of Leland from a photoshoot in New Mexico, summer 2025. — 11 —
Nanazho, 2024
pencil and graphite on paper 10 1/4 x 14 3/4 inches
This is the preliminary sketch for my painting, Call of the Ancestors — 12 —
This ink drawing I recently did is of my friend Rey. Rey was wearing an ancient Navajo blanket here. In the Navajo culture, the cross often represents the four directions. In Diné philosophy, the four directions are not just coordinates on a map. They are living principles connected to creation, balance, the sacred mountains, colors, and the cycles of life. I invite you to research on that subject because it is very fascinating and will help you understand better the philosophy of those who were here before us.
The Four Directions, 2025
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ink on paper 22 1/2 x 17 1/2 inches
These elk sketches are from an elk I photographed in Wyoming back in 2021.
Elk Study 1, 2026
pencil on paper 10 x 7 3/4 inches
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Elk Study 2, 2026
pencil on paper 10 1/2 x 8 inches
Elk Study 3, 2026
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pencil on paper 10 1/2 x 8 inches
This is a sketch of Clancy Russell during a rodeo photoshoot I did in the summer of 2025 in Montana.
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Clancy, 2025
pencil and graphite on paper 9 x 8 1/4 inches — 17 —
He Didn’t Wanna Cross, 2026
acrylic on panel 10 x 10 inches
A memory of last summer on the banks of Rio Chama in New Mexico. Tommy brought a young horse that got scared and didn’t wanna cross the river. Leland showed some serious skills and camaraderie to help his friend cross safely. It was such a great moment of overcoming fear for that young horse. — 18 —
Ain’t Stopping for Nothing, 2026
acrylic on panel 20 x 16 inches
This was a really cool moment to paint, of two incredible cowboys that I photographed last summer. Leland and James. I love the movement and the dynamic here that remind me of some old western posters. — 19 —
Montana Drifters, 2026
pencil on paper 7 5/8 x 12 7/8 inches
A sketch from my most recent art reference trip to Gallatin, Montana in July 2026. — 20 —
Wild Times, 2024
ink on paper 21 x 20 7/8 inches
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The wolf is the old law of the wilderness made flesh. He belongs to no throne and bows before no man, yet he walks in perfect accord with the order of the earth. He is silence and roams in a parallel sphere. Among many Native nations, he is the keeper of instinct, the silent teacher of loyalty, courage, and the sacred bond between the individual soul and the tribe. His howl is not loneliness, but a voice cast into the night to answer the mountains, the stars, and the hidden spirit moving through all living things. He is a myth. He is medicine. My fascination for the wolf goes back to the time I discovered the Hayao Miyazaki movie Mononoke Hime. I used to draw the wolves from the movie and study their anatomy. The way they walk and the small, subtle visual differences from dogs.
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Wolf Medicine, 2026
oil on canvas 8 x 10 inches — 23 —
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Bear, 2026
charcoal powder and India ink on paper 32 x 39 1/2 inches
This is a large drawing I did in mixed media, using charcoal, ink, and graphite powder. I photographed that bear in 2017 during a trip to Wyoming. — 25 —
I was born in a big forest in France. I grew up climbing trees and imagining all the beasts that live in these forests. At my grandparents’ house, my grandpa being Russian, he had a reproduction of an Ivan Shishkin painting with bears in a forest. I think this painting is engraved in my subconscious, and I carried it with me. In art school, I was copying Studio Ghibli backgrounds to learn how to paint trees and leaves, then working with Disney, I learned the technique from the movie Tarzan to make the forest feel alive. The forest and its creatures. Always. Then when I saw the movie The Revenant, that bear scene completely struck me. I could never forget. From this image of a Grizzly from Montana, I wanted to put him in a different setup, a lot more ethereal and surreal than the environment he was in. So I pulled from the symbolism and the traditional meanings of the bear in The Native American culture. The bear is a medicine animal. Represents strength and protection but also reflection. And this is where I am with this painting today. From this bear to us humans, us and all the madness we are dropping every day around the world. Maybe this bear can bring the question: where were you? What have you become?
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Mathó, 2026
oil on panel 26 x 39 inches
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Isn’t a bucking bronc the perfect metaphor of our lives? What do you think? This painting is there to express an incredible ride. To bring my vision to Life, young cowboy and rodeo champion, Ernie Johnson jumped on this Bronc, late in the afternoon of July 2025 in Gallatin Gateway, Montana. His ride was epic. To everyone out there who’s trying to stay on the saddle of life: Hang Tight! It’s worth the shot
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Life Is a Bronc, 2025
oil on panel 41 x 45 inches — 29 —
I’ve always seen the fall season as the “bouquet final” of the nature cycle...like at a firework show, at the end they give you all the Shazam. Well, experiencing fall in northern New Mexico is something one will never forget. This painting is of a memory from 2020...when some friends and I went up to the aspen groves and escaped from the madness that was going on in the world at that time and drowned our souls in the forest of gold.
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A Forest of Golden, 2026
oil on linen 20 x 30 inches
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If life is a book, those who do not explore unknown lands only read the first page. Whoever we are, wherever we come from. We must wake up every morning with the conviction that everything is possible, that we can use this day to make a difference in our world. This painting is a metaphor for this idea, these characters who set out on an adventure, with the desire to discover new paths, to create them, to shape them, so that others can then follow them and rise too. Be the hero, because you can if you say so.
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Seek and You Shall Rise, 2024
oil on linen panel 42 x 60 inches — 33 —
The Northern Lights, or Aurora Borealis, is often seen as a manifestation of the Holy People (Diyin Dine’é), Supernatural beings who guide and protect the Navajo. It can symbolize their presence, like the ancestors in the sky, offering guidance or marking sacred occurrences. 2024 had some very strong phenomena of Aurora Borealis in Arizona and New Mexico. It was incredible to witness. I wanted to bring this into a painting featuring Eli Secody. Here, the rider is both an apparition of an ancestor coming to communicate with a present person and a present person coming to communicate with the ancestors through the stars and the northern light. He is inviting you to come to this place of beauty, to step into a magical world that is the Diné country in Arizona.
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Call of the Ancestors, 2024
oil on linen panel 42 x 60 inches — 35 —
When I was a child, this silhouette rose before me like an emblem from the deep currents of the soul. A figure of strength, of quiet authority, of that mystery which lives behind the visible world. Only later, when life carried me to America, did I begin to understand the long history from which such a presence emerges. In meeting the Native people of this land, in hearing their stories, I found that every life carries a universe, and every tradition is a continent of thought. The figure in this painting is Moses Brings Plenty, who I first met in 2016. Nearly ten years passed before I set brush to canvas. For some subjects, one must cultivate not merely skill, but readiness of spirit. The portrait asks for the painter to rise to it. My friend Dee Crowfeather offered words that echo the truth of this piece: “There is a Spiritual Presence here that brings forth the Spirits of the Leaders and Chiefs of Long Ago. Mark’s interpretation of this Sacred Warrior brings back to life the Indigenous Ways that once roamed the Great Plains. ‘The Power’ carries us beyond our small circumference of self. The Chief and his Majestic Horse look into the Unknowing of Time, wondering what lies ahead for the People of the Red Road in an uncertain future. So much of Native American history had begun to be erased. Their trials surpassed what the world had known. The story here carries the Essence of Native Identity and Dream. Mark urges us to think beyond the canvas. It brings forward the deep emotional Power, Beauty, Sorrow, and Pain of the Native People as a Whole. Alone we each face the Great Abyss of Life.” This Epic Painting, The Power, of our friend Moses Brings Plenty, has touched the Heart and Soul of this Lakota Medicine Man. And so it is, as it has always been. Though I was not born of this lineage, I feel bound to honor it with reverence. No story is mine to take; each is given to me through friendship, trust, and time. I paint only with the permission of those who walk these paths, hoping that my brush may carry a fraction of their truth. — 36 —
The Power, 2025
oil on linen panel 27 x 32 inches — 37 —
They call it “Dragon Rock” because of its very distinctive dragon shape. As the sun comes low and the shadows stretch, the dragon slowly comes out...and takes you along through the dark of dusk. The immensity of these rock formations is always mind-blowing in person. I tried to convey that feeling by scaling it the way it really is.
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Dragon Rock, 2025
oil on panel 24 x 36 inches
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At first Glance, you might see two riders - “Indians,” as history has often generalized. But Look Closer. Ray on the left and Peter on the right. Each is a world unto himself: a son, a brother, a storyteller, a guardian of tradition, a bearer of dreams and burdens. They are Tiwa men, part of a living culture with roots deeper than any frontier. How often do we reduce people to labels, missing the richness of their stories? We don’t know them, so we assume everything. But when we take the time to listen and see beyond the surface, we uncover shared humanity. Empathy grows, and with it the possibility of understanding peace. Always. The Tiwa people, like many Indigenous communities, have preserved their identity and traditions despite centuries of challenges. Their stories are not relics of the past but living narratives that continue to shape their communities today. May this piece serve as a gentle reminder: Every person we encounter carries a depth of experience and identity. Let’s strive to see beyond the immediate and embrace the full tapestry of human stories. We are all one. We are a lot more. We are mankind.
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Tiwa, 2025
oil on panel 40 x 50 inches — 41 —
For more than a decade, I have been painting the American West. I’ve always tried to be true to the West & the feelings that this place gives me. My love for it comes from childhood and has never left me. My pull to it has de-rooted me from native France and brought me to the Arizona red dirt. I have learned to be part of this place by living here and studying it. The clouds, the mesa, the bushes, the smell, the desert, the mountains, all of it. I have also learned most of it by meeting the people who live here. Native Americans and non-native Americans. Cowboys and Cowgirls. Workers of the Land, believers of the land. In this painting, I want you to feel what it’s like to witness a sunset in Arizona. When spring turns to summer, and the air is crisp, and we feel so free. Free to dream, Free to be, Free to imagine we can be anything.
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All Star West, 2025
oil on panel 45 x 60 inches — 43 —
A painting I had a vision of. A painting I had inside my soul and had to put on canvas. This painting is my West. A poem to the buffalo and every living creature, an ode to earth and sky.
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The Prophecy, 2024
oil on canvas 45 x 70 inches
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Siblings share the same ground of origin. The same parents, the same walls, the same wounds, the same memories. Even when their paths diverge, there remains that shared memory no one else in the world can ever fully understand. Unlike friendships or romance, brotherhood and sisterhood exist before choice. We do not choose our siblings, and that is precisely what gives the bond its almost primitive strength. It often survives conflict, time, and distance. When you look at your brother or sister, you sometimes see another version of yourself. You also see your parents. You see you. They know your roots, your flaws, your childhood fears, and your old dreams. They remind you where you come from when life shapes you. Growing up together forges an instinct to protect. Very early on, we learn to defend, to share, to forgive, to endure. In many lives, the very first real sense of solidarity is born there. Standing together against the outside world. As we grow older, we realize that siblings often become the last guardians of the family’s past. When parents age or disappear, they become a kind of final emotional refuge. They carry the story of the bloodline, the ancestors, the family name, and the memory. The two figures in my painting grew up in the dust of South Texas. Skin like leather, they were raised beneath the sun and in the saddle, moving to the rhythm of horses and among the thorns of cactus country. They are brothers and they are cowboys. They are Texan blood.
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Texan Blood, 2026
oil on panel 40 x 40 inches — 47 —
It was early morning near Jenny Lake in the Grand Teton area. I was there with my friend Chris Elise, and we were gonna go photograph some cowboys up in Dubois. But in the early morning we decided that I would go paint some plein air of the Teton and he would take behind the scenes photos of me. It was super early and before setting my easel I decided to take photos of the Tetons at sunrise. And out of nowhere, some elk came running. The bull stopped for a second, and I was able to snap a pic of him as I had a 400mm on. This was in 2021. It took me 5 years to decide to paint it. Probably because it wasn’t the time before. And it was time now. As my friend Crowfeather told me, the Elk represents the keeper of the dreams in some Indigenous traditions. It roams between the two worlds, physical and visions. The way this one appeared to me was clearly otherworldly…from another realm
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Master of Dreams, 2026
oil on linen panel 35 x 38 inches — 49 —
The sagebrush whispers tales of the Old West, where the spirit lies free, in search of its quest. It’s dry. It’s endless. The Lord of the West wanders under the moon’s fiery crest, embracing the solitude, his heart unoppressed. In the equanimity of his soul, in a lone, soulful sound, he forever carries our dreams of freedom, breathing in the air of the immensity. Now step out and stare at the sky, the stars. When day breaks, we will go.
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Lord of the West, 2024
oil on linen 52 x 45 inches — 51 —
“Some called it the American Desert. Others, the Great Plains. But those phrases were invented by professors at universities surrounded by the illusion of order, and the fantasy of right and wrong. To know it, you must walk. Bleed until it’s dark. Drown in its rivers. Then its name becomes clear. Like God had decided to light this day with candles, the whole of Texas spread out before me. It was the most magnificent thing I had ever seen. Untouched by our dirty hands. To see it is to be silenced by it, made speechless by its endless uniformity. One must read the sun and stars like a sailor to navigate this place. We’ve seen nothing but grass for over a week. No grass, no birds, no snakes, not even a lizard, and no evidence the human race still exists. But the plains are littered with bones. The dirty hand of man can go unnoticed in a city because his dirty hand made the city. But in this place, where innocence is a mineral in the soil, the filth of our touch is an apocalypse. We have come too far to turn around.” — Elsa Dutton, 1883
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Stream of Dreamers Toward Other Suns, 2023 — 53 —
oil on linen 55 x 47 inches
Here he is, our ancestor, the sovereign steed. The animal that gives us everything. Like a mother, like a father, took us on his back and carried us beyond what we humans were capable of. We built empires on horseback, we explored the world, we waged wars. We pushed through battles and erected kingdoms. Always the horse was here, to carry us...and despite all, didn’t ask for nothing in return... because he knows better and stands above. The horse is the pristine reflection of our soul. Come close to the horse, and it will tell you who you are inside. The horse is powerful, fascinating, free, and generous. One day our paths crossed and he made us grow. Without horses. Humans would not have done anything that they did. Nothing. So let’s honor the animal that made us free. The animal represents freedom and helped build our independence, in every country in the world and since the dawn of time.
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Independence, 2024
oil on linen 37 x 60 inches
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This painting is about the journey of the Tiwa when they visit their sacred place called Blue Lake up in the Taos mountains
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Journey to Blue Waters, 2024
oil on canvas 48 x 49 inches — 57 —
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ARTIST BIO
Cowboy & Western Heritage Museum. As if struck by lightning, he immediately dropped everything and moved to Kingman, Arizona, a dusty desert outpost along Route 66. It was there he began to paint cowboys.
Born and raised far from the American West, but nurtured in its warmth in absentia, Mark Maggiori has, in the course of less than a decade, become one of the signature voices within Western art and the larger world of American contemporary realism. His paintings speak to the grandeur of the Southwest: rugged, windswept plains wrapped in sage and rabbitbrush. Sandy valleys enclosed within imposing ridgelines that glow in fading golden sunsets. Riders lost in thought and framed against the vastness of the sky as they cut fresh paths through untouched wilderness. Clouds exploding silently in the heavens, caressing the edges of the void. These are the hallmarks of the artist, who has a deep and abiding love for the West, its people and its mythology. Mark was born in France and raised in an environment where arts and culture were paramount. He studied professionally at Académie Julian in Paris and later at Walt Disney Animation France, where he explored color, composition and narrative. Before his art career could fully launch, he took a vital deviation into music with the metal band Pleymo. As the group rose to fame in France and in larger circles all around Europe, Mark would seek out new art experiences, including as a photographer and director of music videos. Years later, he would venture to the United States, fondly recalling a coast-to-coast car trip he took with his uncle when he was 15 years old. He settled first in Los Angeles, where he would meet his wife, Petecia Le Fawnhawk. Together they spent two years traveling the backroads of America taking photographs and searching for vintage clothing. During a stop in Oklahoma City to visit Petecia’s father, Mark discovered Western art at the National
Recognition would come quickly, first with Maxwell Alexander Gallery, where his work was shown with some of the top contemporary painters in the country. Early group exhibitions would lead to a succession of solo shows and invitations to some of the most prestigious Western museum exhibitions, including Night of Artists in Texas and the Masters of the American West in Los Angeles. His sustained efforts in the world of Western art have led to awards at museum exhibitions, sell-out gallery shows, auction records, placement in important private and public collections, numerous magazine covers and an immense crossover appeal that has brought the American West to new audiences. Recent milestones include a monumental and recordbreaking solo show at Legacy Gallery in March 2023 in Scottsdale, Arizona, as well as the placement of the first painting of Black cowboys at the Briscoe Western Art Museum in San Antonio, Texas. Mark and Petecia have also nurtured their own successful group show, Far West, which aims to celebrate rising and contemporary Western artists from coast to coast. At the end of the day, though, it all comes down to his paintings. Mark has taken a relatively simple formula—timeless Western subjects, saturated colors, earthy textures, exquisite detail, expansive outdoor settings—and wrapped it in a complex and richly layered philosophy about the American West, a place of exploration, reinvention and unrestricted creativity. It’s a place that exists in the past, but Mark brings its power into the present. — Michael Clawson, Executive Editor, Western Art Collector
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AWARDS & SELECTED EXHIBITIONS 2026 Rise of the Western Lights, Jackson Hole Art Auction – Jackson Hole, Wyoming 2025 The FAR WEST Show, Preacher Gallery – Austin, Texas 2024 The FAR WEST Show, Arcadia Gallery – New York, New York 2023 Beyond Golden Skies, Legacy Gallery – Scottsdale, Arizona 2021 20th Anniversary Night of Western Artists, Briscoe Western Art Museum – San Antonio, Texas 2020 Patron’s Choice Award at the Autry’s Masters of the American West – Los Angeles, California 2019 Don B. Huntley Spirit of the West Award at the Autry’s Masters of the American West, September – Los Angeles, California Mark Maggiori: One With the Sky & Thomas Blackshear: Western Nouveau, Trailside Gallery – Jackson Hole, Wyoming Sunset Group Exhibit, Maxwell Alexander Gallery – Los Angeles, California Masters of the American West, The Autry Museum of the American West, January – Los Angeles, California 2018 Don B. Huntley Spirit of the West Award at the Autry’s Masters of the American West, September – Los Angeles, California Masters of the American West, The Autry Museum of the American West, January – Los Angeles, California 2017 Sam Houston Award at the Briscoe Western Art Museum’s Night of Artists – San Antonio, Texas Mark Maggiori, Lonesome Souls, Maxwell Alexander Gallery, December – Los Angeles, California Quest for the West, Eiteljorg Museum – Indianapolis, Indiana Night of Artists, Briscoe Western Art Museum – San Antonio, Texas 2016 William B. Travis Award for Patron’s Choice at the Briscoe Western Art Museum’s Night of Artists – San Antonio, Texas Logan Maxwell Hagege, Mark Maggiori and G. Russell Case: The Wild Bunch, Gerald Peters Gallery, July – Santa Fe, New Mexico Night of Artists, Briscoe Western Art Museum – San Antonio, Texas 2015 Mark Maggiori: Alone in the Wild, Maxwell Alexander Gallery, October – Los Angeles, California 2014 Two-artist show with Brett James Smith, Maxwell Alexander Gallery, October – Los Angeles, California
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