New Mexico Santero & Hispano Folk Art Books: A Collector's Authority Guide

By Josh Eldred · New Mexico Literacy Project · · ~5,800 words

Last verified May 2026 · Original research by Josh Eldred

In 1925 two Anglo writers and a circle of allied artists, scholars, priests, and Hispano village leaders founded the Spanish Colonial Arts Society in Santa Fe with a dual mission: preserve the surviving eighteenth- and nineteenth-century New Mexico Hispano religious folk art, and revive the village craft traditions that had passed from active production to estate-and-attic survival across the early-twentieth-century economic transformation of rural northern New Mexico. The next year they organized the first Santa Fe Spanish Market on the Plaza. That market has been held every summer since 1926. It is the oldest continuously running juried Spanish Colonial arts market in the United States, and the scholarly literature documenting the traditions it preserves and revives is one of the deepest regional folk-art literatures in American academic publishing. This is the collector's guide to that literature.

The New Mexico santero tradition runs continuously from the eighteenth century. Carved and gessoed and painted devotional sculpture (bultos), painted devotional panels (retablos), and large multi-panel altar screens (reredos) were produced for parish churches, morada chapels, and family altars across rural Hispano New Mexico for two centuries before serious scholarly attention arrived. The same villages produced colcha embroidery for bed coverings and altar cloths, tinwork frames and nichos, straw appliqué crosses, Río Grande blanket weaving on European-pattern looms, and wrought-iron architectural hardware. By the early twentieth century several of these traditions had functionally died out and the surviving eighteenth- and nineteenth-century objects were deteriorating in attics, moradas, and family altars. The Spanish Colonial Arts Society's founding mission was to reverse that decline. They largely succeeded.

Period One: The Founding, 1925-1959

Mary Hunter Austin (1868-1934, closed pool) arrived in Santa Fe in 1924 after a literary career anchored by Land of Little Rain (Houghton Mifflin 1903), the foundational Southern California desert nature-writing classic. She built her Santa Fe house on Camino del Monte Sol in 1925. Frank Applegate (1881-1931), an Illinois-trained painter and ceramicist who had arrived in Santa Fe in 1921, had been collecting Hispano santero work and traveling extensively in the northern New Mexico Hispano villages. The Austin-Applegate partnership produced the Spanish Colonial Arts Society in 1925 with a founding board that included Frank Mera (Santa Fe physician and longtime SCAS officer), John Gaw Meem (the Pueblo Revival architect, who designed the eventual Museum of Spanish Colonial Art), Cyrus McCormick (the harvester-company heir), and a rotating cast of Santa Fe artists and writers including some Taos Society of Artists members.

The 1928-1929 Las Trampas preservation campaign — the SCAS-led mobilization that secured federal highway realignment to protect the 1760 San José de Gracia mission church from me 75/76 demolition — established SCAS as a serious preservation organization beyond its Spanish Market commercial-revival function. Austin's literary network amplified the campaign nationally; the church survived; the precedent for New Mexico Hispano architectural preservation was established. Applegate's premature death in 1931 ended the founding partnership; Austin continued SCAS leadership until her own death in 1934. Austin's autobiography Earth Horizon (Houghton Mifflin 1932) is the principal primary source for the founding period; Augusta Fink's I-Mary: A Biography of Mary Austin (University of Arizona Press 1983) and Esther Stineman's Mary Austin: Song of a Maverick (Yale University Press 1989) are the major biographies.

The foundational pre-Boyd scholarly publication is Mitchell Wilder with Edgar Breitenbach, Santos: The Religious Folk Art of New Mexico (Taylor Museum of the Colorado Springs Fine Arts Center, 1943) — the catalog of the Taylor Museum's santero collection, which alongside the E. Boyd Collection at the Museum of International Folk Art constitutes the second-most-important institutional santero holding in the country. The Taylor Museum collection was substantially assembled in the 1930s by Cady Wells, Alice Bemis Taylor, and others; Wilder's catalog gave the field its first comprehensive attribution-and-stylistic-analysis treatment. The 1943 Taylor Museum first edition is a Tier 1 collector target — small print run, oversized format, the foundational scholarly artifact preceding E. Boyd's 1946 Saints and Saint Makers.

Elizabeth Boyd White, later Hall, publishing as E. Boyd (1903-1974, closed pool) arrived in Santa Fe in the 1920s as a painter and gradually shifted into curatorial and scholarly work on the Hispano folk art collection at the Museum of New Mexico. Her first major publication, Saints and Saint Makers of New Mexico (Laboratory of Anthropology, Santa Fe, 1946), is the foundational mid-twentieth-century treatment of the santero tradition. The 1946 first edition is now genuinely scarce — small Laboratory of Anthropology print run, ex-library copies dominate the surviving population. The book was reissued in a revised expanded edition by UNM Press in 1998 under Robin Farwell Gavin's editorship, with substantial post-Boyd scholarship incorporated; the 1998 UNM Press revised expanded is the standard contemporary working reference.

Boyd was appointed Curator of the Spanish Colonial Department at the Museum of New Mexico in 1951, a position she held until her death in 1974. Across that period she built the E. Boyd Collection at what is now the Museum of International Folk Art's Hispanic Heritage Wing — the principal institutional santero collection in the world. Her posthumous comprehensive synthetic treatment, Popular Arts of Spanish New Mexico (Museum of New Mexico Press 1974), is the standard one-volume reference covering all six Hispano folk art media — santero devotional art, colcha embroidery, tinwork, straw appliqué, Río Grande weaving, and ironwork — with extensive object-photograph plates and attribution discussion. Signed copies of either Boyd book (she signed at MOIFA events and Santa Fe bookstore events) command meaningful premium; the 1974 Popular Arts first hardcover with original dust jacket is the standard collector target.

Period Two: Academic Consolidation, 1970-1995

The second generation of New Mexico Hispano folk art scholarship is centered on three figures: Thomas J. Steele SJ, William Wroth, and Marta Weigle, with substantial supporting work from Christine Mather, Lonn Taylor, Yvonne Lange, and the curatorial program at the Museum of International Folk Art.

Thomas J. Steele SJ, Jesuit priest and Regis University (Denver) professor, produced Santos and Saints: The Religious Folk Art of Hispanic New Mexico (Calvin Horn Publisher, Albuquerque, 1974 first edition; Ancient City Press subsequent editions through fourth revised 2003). Steele's methodology organized santero work by saint depicted — My Lady of Guadalupe (Nuestra Señora de Guadalupe), San Acacio, San Antonio, San Isidro the patron of farmers, San Rafael, Santo Niño de Atocha, Nuestra Señora de los Dolores, San Francisco, Christ Crucified — with extensive Catholic scriptural and devotional context for each. The book introduces what is now the standard santero iconographic vocabulary to English-language readers and remains the most-assigned santero reference in college courses. The 1974 Calvin Horn first hardcover with original dust jacket is the Tier 2 collector target; the Ancient City Press subsequent editions are working references with the fourth revised 2003 incorporating substantial post-1974 scholarship.

William Wroth, independent scholar of Hispano religious folk art, produced Christian Images in Hispanic New Mexico: The Taylor Museum Collection of Santos (Taylor Museum of the Colorado Springs Fine Arts Center, 1982) — the updated and expanded Taylor Museum collection catalog supplanting the 1943 Wilder-Breitenbach treatment. Wroth's companion works include The Chapel of My Lady of Talpa (Colorado Springs Fine Arts Center 1979) — a single-chapel monograph of the Las Trampas-adjacent Talpa morada interior, demonstrating the Hispano village morada-and-reredos system in situ — and Images of Penance, Images of Mercy: Southwestern Santos in the Late Nineteenth Century (University of Oklahoma Press 1991). The 1982 Christian Images in Hispanic New Mexico first hardcover with dust jacket is the Tier 2 collector target; the volume is technical, well-illustrated, and remains the definitive Taylor Museum collection reference.

Marta Weigle (1944-2018, closed pool), UNM professor of anthropology and American Studies, produced the canonical Penitente brotherhood scholarship. Brothers of Light, Brothers of Blood: The Penitentes of the Southwest (UNM Press 1976 first hardcover, paperback reissue 1989) is the standard modern scholarly treatment of the Hermandad de Nuestro Padre Jesús Nazareno — the Catholic lay confraternity that has operated in northern New Mexico and southern Colorado since at least the early nineteenth century, maintains moradas across the rural Hispano villages, conducts Lenten and Holy Week observances, and historically commissioned substantial santero work for morada interiors. Weigle's methodology drew on substantial brotherhood cooperation, archival research, and ethnographic fieldwork; the book remains the standard reference and replaced earlier sensationalist Anglo treatments. Weigle also edited Lorin W. Brown with Charles L. Briggs and Marta Weigle, Hispano Folklife of New Mexico: The Lorin W. Brown Federal Writers' Project Manuscripts (UNM Press 1978) — the Federal Writers' Project Hispano folklife corpus from the late 1930s edited into book form four decades later.

Supplementary canonical works from this period include Thomas Steele and Rowena Rivera, Penitente Self-Government: Brotherhoods and Councils 1797-1947 (Ancient City Press 1985 first); Christine Mather, Native America: Arts, Traditions, and Celebrations (Clarkson Potter 1990); and Susan Nelson Mayer (with multiple co-authors), The Spanish Royal Frontier: Mission Trail State Historic Park (NMHPD various dates).

Not sure what you have? Text me a photo at 702-496-4214 and I'll tell you what I see.

Period Three: The Spanish Market Revival Generation, 1995-Present

The third generation of New Mexico Hispano folk art scholarship is centered on the Spanish Colonial Arts Society curatorial team (Robin Farwell Gavin, Donna Pierce, and successors) and on the independent scholarly project led by Larry Frank.

Donna Pierce, Mayer Curator of Spanish Colonial Art at the Denver Art Museum and longtime SCAS scholarly advisor, has been the most prolific contemporary author and editor in the field. Donna Pierce and Marta Weigle eds., Spanish New Mexico (Museum of New Mexico Press 1996, two volumes) is the comprehensive contemporary survey covering both the colonial-period objects and the modern Spanish Market revival. Pierce's Companion Painters and Friends: Mexican Colonial Religious Art from the Frederick and Jan Mayer Collection (Denver Art Museum 1998) extends the regional analysis into the wider Mexican colonial context that underlies the New Mexico santero tradition. The two-volume 1996 Spanish New Mexico Museum of New Mexico Press matched set fine-condition is the Tier 2 collector target — the two volumes are sold together and matched-set integrity matters.

Robin Farwell Gavin, Curator emerita of Spanish Colonial Collections at the Museum of International Folk Art and former director of curatorial affairs at the Spanish Colonial Arts Society, has been the principal contemporary curator and scholarly editor of the santero canon. Gavin's Traditional Arts of Spanish New Mexico: The Hispanic Heritage Wing at the Museum of International Folk Art (Museum of New Mexico Press 1994) is the standard catalog of the foundational E. Boyd-built MOIFA collection. Gavin also edited the UNM Press 1998 revised expanded edition of Boyd's Saints and Saint Makers, incorporating substantial post-1974 scholarship. Robin Farwell Gavin and Donna Pierce, with Alfonso Pleguezuelo and Thomas J. Steele SJ, Spanish Colonial Painting and Sculpture (Smithsonian Books 2007) extends the canonical treatment into a Smithsonian-anchored synthesis.

Larry Frank, independent scholar and longtime northern New Mexico dealer-collector, produced A Land So Remote: Religious Art of New Mexico 1780-1907 (Red Crane Books, Santa Fe, 2001), a three-volume comprehensive visual reference with high-quality color plates and provenance documentation. The three volumes — Religious Wood Sculpture in New Mexico (vol. 1), Religious Paintings in New Mexico (vol. 2), and Architecture, Furniture, and Wood Carving (vol. 3) — together constitute the most ambitious visual survey of the New Mexico santero tradition ever published. The matched three-volume set in fine condition is a Tier 1 collector target; individual volumes broken from the set should be priced at a meaningful discount. Frank also produced supplementary monographs including Indian Silver Jewelry of the Southwest 1868-1930 (New York Graphic Society 1978) and A New Look at Ancient Pottery (Schiffer 1990).

Contemporary scholars carrying the field forward include Charles M. Carrillo (PhD anthropology UNM, multi-time Spanish Market grand-prize-winning santero, scholarly author of Saints of the Pueblos 2000 and Hispanic New Mexican Pottery 1997); Felix López (Española valley santero and writer); Ramón José López (Santa Fe master of both bultos and reredos); Marie Romero Cash (santera and author of Built of Earth and Song: Modern Religious Architecture of New Mexico and Living Shrines: Home Altars of New Mexico); Tey Marianna Nunn (curator and scholar, Sin Nombre: Hispana and Hispano Artists of the New Deal Era UNM Press 2001); and the curatorial-and-scholarly programs at the Museum of Spanish Colonial Art and Museum of International Folk Art on Museum Hill.

Major Santeros: Eighteenth-Century Through Contemporary

The eighteenth- and nineteenth-century santeros known by attribution to E. Boyd, Wroth, Steele, Pierce, and contemporary scholars include the Laguna Santero (active 1796-1808, named for the Laguna Pueblo mission reredos and other documented work), the Truchas Master/Pedro Antonio Fresquís (active 1780-1840, the Las Trampas San José de Gracia reredos and other High Road work), José Aragón (active 1820-1835), José Rafael Aragón (active 1820-1862, the most prolific identified santero with hundreds of attributed works across NM museums), Juan Miguel Herrera, José Benito Ortega, the Quill Pen Santero (named for the fine line work, active mid-nineteenth century), and Molleno/the Chili Painter (active 1804-1845, named for the distinctive chili-pepper-shaped decorative motif).

The early-twentieth-century revival generation centered on Cordova NM and the López family: José Dolores López (1868-1937) created the modern Cordova school of unpainted aspen carving (a stylistic break from the painted santero tradition, with deeply chip-carved aspen showing the tool marks and grain rather than gesso-and-paint surface treatment); his son George López (1900-1993, NEA National Heritage Fellow 1982) continued and extended the tradition into the post-war Spanish Market system. The Cordova school continues into the contemporary generation through George López's daughter Sabinita López Ortiz and her descendants.

Patrocinio Barela (1900-1964 Taos) is the modernist santero whose distinctive flattened simplified compositions received WPA support in the 1930s, entered the Museum of Modern Art collection through a 1936 New York exhibition, and influenced both later folk-art-revival santeros and mainstream sculptors. Barela worked outside the SCAS Spanish Market system and is recognized as a singular figure rather than as part of a school. Edward Gonzales and David L. Witt produced Spirit Ascendant: The Art and Life of Patrocinio Barela (Red Crane Books 1996), the principal Barela monograph.

Contemporary masters working in the Spanish Market system include Charles M. Carrillo (PhD UNM, multi-time Grand Prize winner, his Saints of the Pueblos 2000 is a contemporary scholarly reference), Luis Tapia (MacArthur Foundation honor, working in a contemporary-figurative idiom that extends rather than reproduces the traditional santero vocabulary), Felix López (Española valley, also a noted writer), Ramón José López (Santa Fe), Marie Romero Cash, the contemporary Ortiz family of Cordova, the Espinosa family of Las Vegas/Taos, and dozens of other Spanish Market practitioners. Spanish Market awards (Grand Prize, Master's Award, Best of Show, individual-medium awards) are tracked annually by SCAS and constitute a significant attribution-and-collecting reference for contemporary work.

Sitting on a shelf of these? I buy collections across Albuquerque and I'll tell you honestly what's worth what. Text me at 702-496-4214.

Seven Institutional Anchors

Spanish Colonial Arts Society (Santa Fe, founded 1925) — the organizing body, operator of the annual Santa Fe Spanish Market, and parent organization of the Museum of Spanish Colonial Art.

Museum of Spanish Colonial Art (Santa Fe, on Museum Hill at 750 Camino Lejo, opened 2002) — the SCAS-founded museum holding the principal SCAS collection of Spanish Colonial period and Spanish Market objects from 1926 forward. Designed by John Gaw Meem-influenced contemporary Pueblo Revival architecture.

Museum of International Folk Art (MOIFA) (Santa Fe, on Museum Hill at 706 Camino Lejo, opened 1953) — the Florence Dibell Bartlett-founded museum whose Hispanic Heritage Wing holds the E. Boyd Collection, the principal institutional santero collection in the world. Florence Bartlett's founding donation of her international folk art collection was supplemented by Boyd's 1951-1974 curatorial program.

Taylor Museum for Southwestern Studies (Colorado Springs Fine Arts Center, now FAC at Colorado College) — the Cady Wells / Alice Bemis Taylor-built santero collection that is the second-most-important institutional holding after the E. Boyd MOIFA collection, documented in the 1943 Wilder-Breitenbach and 1982 Wroth catalogs.

Las Trampas San José de Gracia Church (Las Trampas NM, on the High Road to Taos) — the 1760 adobe mission church saved by the 1928-1929 Austin-Applegate preservation campaign, with original Truchas Master / Pedro Antonio Fresquís reredos and one of the most architecturally intact eighteenth-century interiors in New Mexico. National Historic Landmark, parish-active.

El Santuario de Chimayó (Chimayó NM, on the High Road to Taos) — 1816 adobe shrine to the holy dirt (tierra bendita), the principal Hispano Catholic pilgrimage site in New Mexico, with substantial santero interior and continuous tradition of milagro and ex-voto offerings. The annual Holy Week walking pilgrimage from Albuquerque (and elsewhere) draws tens of thousands.

El Rancho de las Golondrinas (La Cienega NM, south of Santa Fe) — the living-history museum on a 1710 Spanish Colonial ranch site, with substantial santero and Hispano folk art collection and active demonstration of traditional crafts. Founded by Y.A. Paloheimo and Leonora Curtin Paloheimo in the 1960s, the property documented in /collecting-new-mexico-ethnobotany as part of the Acequia Madre House Three Wise Women lineage.

Five Identification Problems

Problem one: E. Boyd Saints and Saint Makers 1946 Laboratory of Anthropology first vs 1998 UNM Press revised expanded. The 1946 Laboratory of Anthropology first is genuinely scarce — small print run, ex-library copies dominate. The 1998 UNM Press revised expanded edition under Robin Farwell Gavin's editorship is hardcover, incorporates fifty-plus years of additional scholarship, and is the standard contemporary working reference. Collectors target both; signed Boyd 1946 inscribed copies trade upper-three-figure when fine.

Problem two: Steele Santos and Saints 1974 Calvin Horn first vs Ancient City Press subsequent editions. The 1974 Calvin Horn Publisher Albuquerque first hardcover with dust jacket is the collector target. Steele revised the book through four editions with Ancient City Press, with the fourth revised 2003 the most current text but the first hardcover the artifact. Steele signed extensively at Catholic-affiliated events; signed firsts trade premium.

Problem three: Larry Frank A Land So Remote three-volume set integrity. The three Red Crane Books 2001 volumes were sold as a matched set; estate breakups frequently separate them. Complete matched-jacket three-volume sets fine condition are Tier 1; single-volume offerings should be priced at a meaningful discount. Verify all three volumes by full title page rather than spine before pricing a complete set.

Problem four: Spanish Market exhibition catalog ephemera. SCAS Spanish Market annual exhibition catalogs from the late 1920s through 1950s are scarce single-staple saddle-stitched ephemera that fail the standard book-attribution durability test. They survived in SCAS member files, retired curatorial collections, and a handful of well-curated regional library holdings. Catalogs from 1980s-present are more accessible. Complete or near-complete catalog runs are collector trophies.

Problem five: santero attribution authentication. Eighteenth- and nineteenth-century santero work circulates in the secondary market with attribution claims that range from documented (Laguna Santero, José Rafael Aragón, Truchas Master) to speculative. Serious collectors check attribution against E. Boyd, Wroth, Pierce, and Frank reference photographs and accept only documented or well-supported attributions. Contemporary Spanish Market work is well-documented by Market records but signed work is preferred to unsigned. NMLP routes santero objects (not books) to specialist dealers and museums; this guide covers the BOOKS about santeros, not the santero objects themselves.

Inherited a library and not sure where to start? Call or text 702-496-4214 — I handle this all the time.

Three-Tier Collector Market

Tier 1 trophy (mid-three-figure to low-four-figure): Signed E. Boyd Saints and Saint Makers Laboratory of Anthropology 1946 first edition fine condition; signed E. Boyd Popular Arts of Spanish New Mexico Museum of New Mexico Press 1974 first hardcover with original dust jacket; Mitchell Wilder and Edgar Breitenbach Santos: The Religious Folk Art of New Mexico Taylor Museum 1943 first; signed Larry Frank A Land So Remote three-volume Red Crane Books 2001 matched-set fine; signed Charles M. Carrillo Saints of the Pueblos 2000 first; SCAS Spanish Market annual exhibition catalogs from 1930s-1950s; signed Patrocinio Barela monographs; complete signed Spanish New Mexico Museum of New Mexico Press 1996 two-volume Pierce-Weigle matched set.

Tier 2 collector targets (low-to-mid three-figure): Thomas J. Steele SJ Santos and Saints Calvin Horn 1974 first hardcover with dust jacket; William Wroth Christian Images in Hispanic New Mexico Taylor Museum 1982 first; Marta Weigle Brothers of Light, Brothers of Blood UNM Press 1976 first hardcover; Pierce-Weigle Spanish New Mexico Museum of New Mexico Press 1996 two-volume unsigned matched set; Gavin-Pierce et al. Spanish Colonial Painting and Sculpture Smithsonian 2007 first; Robin Farwell Gavin Traditional Arts of Spanish New Mexico Museum of New Mexico Press 1994 first; Wroth The Chapel of My Lady of Talpa 1979 first; Lorin W. Brown et al. Hispano Folklife of New Mexico UNM Press 1978 first; Thomas Steele and Rowena Rivera Penitente Self-Government Ancient City Press 1985 first; Edward Gonzales and David L. Witt Spirit Ascendant: The Art and Life of Patrocinio Barela Red Crane 1996 first; Tey Marianna Nunn Sin Nombre UNM Press 2001 first; Marie Romero Cash Living Shrines first.

Tier 3 working library (upper-two-figure to low-three-figure): Subsequent printings of all above; Boyd Saints and Saint Makers 1998 UNM Press revised expanded paperback editions; Steele Santos and Saints Ancient City Press 1982/1990/2003 revised editions; SCAS Spanish Market annual show catalogs from 1980s-present; Museum of Spanish Colonial Art exhibition catalogs; MOIFA exhibition catalogs; Hispanic Heritage Wing publications; Christine Mather Native America Clarkson Potter 1990; standard regional-history paperbacks from Ancient City Press, Sunstone Press, Red Crane Books; Spanish Market Magazine back issues.

NMLP Intake Position

Hispano folk art books arrive in NMLP donation pickups regularly — particularly from Santa Fe Spanish Colonial Arts Society member estates, Northern New Mexico Hispano family libraries (Mora, Las Vegas NM, Taos, Truchas, Chimayó, Española, Velarde, La Cienega), Albuquerque Catholic-parish-leadership estates, and Santa Fe arts-community estates. The donor surface — sustained by tax-deductible contributions — concentrates in the rural High Road to Taos corridor (Hispano family libraries inherited across generations), in Santa Fe (SCAS members, Museum of Spanish Colonial Art donor patterns, retired curatorial professional estates), and in Albuquerque (UNM-Spanish-Colonial-Studies-faculty, Catholic Center / Archdiocese-affiliated estates, Hispano-heritage-organization member estates).

NMLP routes Tier 1 trophy items through its book evaluation and resale services to specialist Spanish Colonial dealers (Adobe Gallery Santa Fe, Owings Gallery, Morning Star Gallery for material-culture objects, the Santero Bookshop Cordova when active) or to specialist auction houses (Heritage Western Americana, Bonhams Books and Manuscripts, Skinner). Tier 2 trade firsts route through SellBooksABQ standard hand-sort. Tier 3 subsequent printings and softcover reissues route to APS Title I schools (the New Mexico history and Spanish-language curriculum requirement makes Hispano folk art trade reprints valuable to ABQ middle and high schools), UNM Children's Hospital reading program, the regional research-library partnership network, and Little Free Library stocking.

Important note on objects (not books): NMLP does NOT accept santero objects, bultos, retablos, colcha pieces, tinwork, straw appliqué, Río Grande blankets, or other Hispano material-culture pieces in donation pickups. Those objects belong with specialist dealers, museums, or family lineage holders, and I route donor inquiries about objects to the Spanish Colonial Arts Society, Adobe Gallery, the Museum of Spanish Colonial Art accessions program, or appropriate specialist channels. The same caution applies with greater intensity to morada interior objects (bultos, reredos panels, ritual paraphernalia from Penitente chapter houses): these objects belong inside the brotherhood community and not in private collections; specialist channels handle provenance questions with appropriate cultural-protocol sensitivity. Free statewide pickup with no condition limit and no minimum quantity applies to the BOOKS only — schedule your pickup or text/call 702-496-4214.

Have a collection you need evaluated? I come to the house, assess everything, and handle it all in one visit. Call 702-496-4214.

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Cite This Guide

Eldred, J. (May 2026). New Mexico Santero & Hispano Folk Art Books: A Collector's Authority Guide. New Mexico Literacy Project.

https://newmexicoliteracyproject.org/new-mexico-santero-folk-art-books-collecting

Content is original research by Josh Eldred. Licensed under CC BY 4.0. Cite with attribution.