Homes and haunts

View of the courtyard at the Abiquiu house with chamisa; visible are the cracked adobe walls, lintels, vigas, and a portion of the hallway in shadow with elk antlers and the Zaguan door.

View of the courtyard at the Abiquiu house with chamisa; visible are the cracked adobe walls, lintels, vigas, and a portion of the hallway in shadow with elk antlers and the Zaguan door, adjacent doorway in black shadow in foreground.

View of the courtyard at the Abiquiu house with chamisa; visible are the cracked adobe walls, lintels, vigas, and a portion of the hallway in semi-shadow with elk antlers and the Zaguan door.

View of the courtyard at the Abiquiu house with chamisa; visible are the cracked adobe walls, lintels, vigas, and a portion of the hallway in shadow. Visible on the viewers left is a reflection in window of Georgia O'Keeffe taking the photograph.

View of the adobe exterior of O'Keeffe's Abiquiu house as seen from the courtyard; chamisa and paving tiles lead up to the shadowed hallway with the Zaguan wooden slatted door and elk antlers mounted on the wall.

Exterior room at the Abiquiu house with latillas (juniper or alder branches) used for the ceiling; graphic shadows of the crisscrossing ceiling branches on the floor and wall.

Adobe wall with graphic abstract shadows; the overhead latillas and pine vigas from the Roofless Room have cast horizontal and vertical shadows on the walls.

Roofless Room at the Abiquiu house with latillas (juniper or alder branches) used for the ceiling; shadows of the crisscrossing ceiling branches on the floor and wall.

Roofless Room at the Abiquiu house with latillas (juniper or alder branches) used for the ceiling; shadows of the crisscrossing ceiling branches on the floor and wall.

Adobe wall with abstract shadows; the overhead latillas and pine vigas from the Roofless Room cast horizontal and vertical shadows on the walls.

Roofless Room at the Abiquiu house with latillas (juniper or alder branches) used for the ceiling; the door to the house is open, shadows of the crisscrossing ceiling branches on the floor and wall.

Abstract graphic composition of the salita door at O'Keeffe's Abiquiu house. O'Keeffe frames the photograph as a flat adobe textured wall with the doorway as a black vertical rectangle; a large diagonal shadow cuts across the wall from viewer upper right to viewer left, a large chamisa bush is in the lower left corner.

Abstract graphic composition of the salita door at O'Keeffe's Abiquiu house. O'Keeffe frames the photograph as a flat adobe textured wall with the doorway as a black vertical rectangle; a large diagonal shadow cuts across the wall from viewer upper right to viewer left, a large chamisa bush is in the lower left corner.

Abstract graphic composition of the salita door at O'Keeffe's Abiquiu house. O'Keeffe frames the photograph as a flat adobe textured wall with the doorway as a black vertical rectangle; a large diagonal shadow cuts across the wall from viewer upper right to viewer left, a large chamisa bush is in the lower left corner.

Flat abstract view of the black Salita door against the textured adobe wall at the Abiquiu house; triangular shadow cuts across the picture plane, chamisa bush in lower left corner.

Sent to Charles Wickham Moore as 1959 New Year’s greeting. Handwritten by GOK in black ink on verso: "Just to remind you of//Abiquiu and greet you//for Xmas and 59//Sorry you do not come.//I can't promise anything as//funny as Alans Story but//it is good here as you know//G."

Photograph of Salita Door taken by Georgia O'Keeffe in 1956 or 1957 and mailed as a postcard to Anita O'Keeffe Young in 1958.

Handwritten by Georgia O'Keeffe in black ink on verso: "Mrs. Robert R. Young//'The Towers'// N. Co Rd.//Palm Beach//Florida" and "My greetings to you both for//58—My world is like this when you come in//G"

Stamped by post office: "Jan//23//A.M.//1958."

Research and presentation materials created by Sarah L. Burt, former staff member of The Georgia O'Keeffe Foundation, relating to Georgia O'Keeffe's historic properties, specifically the Abiquiu home and studio. Materials date from 1979 to 2002 and include correspondence, writings, research material, and photographs.

Interior view of the Abiquiu house living room with furniture in shadow, white slipcovered chair near picture window, rocks on window ledge, view of large tree (possibly in snow) through window.

Interior view of the Abiquiu house living room with white slipcovered furniture in semi-shadow, plants, large tree through picture window.

Interior view of the Abiquiu house living room with furniture in shadow, white slipcovered chair near picture window, rocks on window ledge, view of large tree (possibly in snow) through window.

View looking toward O'Keeffe's studio; visible are chamisa and native shrub, double doors, cracked adobe wall with a stack of bricks adjacent to the studio doorway.

O'Keeffe frames her Abiquiu house as a flat plane of textured adobe; the darkened studio door is to the left, small native shrubs and a pile of bricks are in the foreground.

Portrait of Todd Webb smiling and holding a cigarette while standing in the doorway of the Salita with one hand leaning against the wall, with one knee bent and wearing a light colored shirt with a light meter cord around his neck. The sleeves of his shirt are rolled up and in the two breast pockets are a pen and a small case, most likely a light meter case. Photograph likely printed by Todd Webb.

View of the Abiquiu courtyard with the "Butterfly Chair" and the wooden wellhead cover with a single black rock resting on it, cracked adobe wall with wooden door, a row of pavement stones on the dirt ground.