Since 1988, Windsor Betts has assisted private collectors and estates in selling their exceptional Native American and Southwest artworks. Whether it’s a single significant piece or you’re navigating the deacquisition of a substantial collection, our specialists offer a discreet and informed alternative to the unpredictability of public auction.
To begin the process, send a brief note using the form below or call 505.820.1234. We respond within one to three business days.
To help us respond efficiently, please include as much of the following as you can in your message:
• The artist’s name
• The title of the work, if known
• Medium (oil on canvas, bronze, lithograph, and so on)
• Dimensions (height by width, or height for sculpture)
• Year of creation, if known
• Condition (excellent, good, fair, with or without frame)
• Provenance information you have, such as where and when the work was acquired
• Whether you have photographs available (we will follow up to request them)
If you are not sure about some of this information, that is fine. Send what you have and we will take it from there.
“We sold a painting there on consignment and the experience was positive. Thank you!”
- Seller, Google review
“Your collection is thoughtfully curated, your staff helpful and well-informed, and well researched and priced art.”
- Collector, Google review
Windsor Betts holds a 5.0 rating across more than 280 Google reviews. Read more of what collectors and sellers say about working with us on our About page or on Google.
Our brokerage services are designed for collectors and estate representatives who wish to sell works by well recognized Native American and Southwest artists. This includes paintings, works on paper, sculpture, pottery and related categories from the artists who define the field: Fritz Scholder, Allan Houser, T.C. Cannon, Kevin Red Star, Earl Biss, John Nieto, Dan Namingha, Tony Abeyta, Doug Hyde, James Havard, Alfred Morang, among others in the broader regional tradition.
If you hold works outside this specialty (for example, European painting, American modernism outside the Southwest tradition, or commercial reproduction art), we likely will not be the right match but will do our best to direct you to a more appropriate organization.
Deciding to let go of a significant artwork is rarely an easy or quick decision. From the first message through settlement, our process is designed to be clear and unhurried.
1. Initial inquiry
You contact us with basic information about the work: the artist, medium, approximate size, condition and a photograph if one is available. We review the inquiry and respond promptly, typically within one to three business days. Our initial assessment is based on what you share and on information we can verify. For works of significant value, we often request higher-resolution photographs or an in-person review before moving forward.
2. Assessment and market positioning
If we believe we can effectively serve you, we discuss timing, logistics and placement strategy. We research comparable sales while considering the specific qualities of the piece. This includes the artist’s current market position, period of the work, provenance context where available, and physical condition. We propose an approach tailored to the work and to your circumstances. Pricing conversations are direct and we work toward a price that is realistic for what the market supports and fair to you as the seller.
3. Brokerage agreement
If you and we agree to proceed, we provide a simple agreement with terms in writing: our commission, the placement period, insurance and handling arrangements. You retain ownership throughout. The gallery takes physical possession of the work for presentation, secure storage and active marketing to our collector network.
4. Sale and settlement
Once a buyer is secured, we handle the transaction professionally: payment processing, documentation, packing and delivery to the buyer. You receive settlement according to the agreed terms, typically within thirty days of the buyer’s full payment. Throughout the process, any questions will be clearly and promptly answered.
Specialist expertise, not generalist experience
Thirty-eight years of focused work in one field is different from broader gallery experience. Our specialists know the artists we handle in depth: their markets, career periods, and their current and historical pricing. When you place a Scholder or a Houser with us, you are working with an organization that has handled hundreds of works by these artists over decades.
An established collector network
Our clients include Native American and Southwest art collectors across the United States. Many have worked with us over decades. When we offer a work, we typically offer it first to collectors whose specific interests match the piece. This targeted approach produces better outcomes than exposing works to an undifferentiated public market.
Discretion by design
Public auction records are permanent and indexed to the work. For collectors who prefer that a placement remain private, whether for estate planning, tax considerations or personal reasons, brokerage offers a level of privacy that auction cannot match. Inquiries themselves are treated as confidential.
A structure aligned with your interest
Our fees are agreed in advance and stay consistent throughout the placement period. There is no buyer’s premium diluting what reaches you. There is no unsold-lot stigma affecting future value. There is no external pressure to sell within an auction schedule. We place when the right collector appears, which is typically the best outcome for both the seller and the work.
Many sellers instinctively consider public auction as the default channel for placing significant works. It is worth understanding how the two channels actually compare, particularly for recognized Native American and Southwest artists.
When auction makes sense
Auction works well for very exceptional works by very exceptional artists, where active competition among informed bidders can push prices above private-market expectations. A major Houser bronze with documented provenance through a well-known collection, a significant Scholder from a key series, a Cannon painting during a period of strong institutional attention: these can potentially achieve strong auction results.
Where private placement typically outperforms
For most works by known artists, an auction does not deliver what sellers expect. Pieces routinely sell at the low estimate or below. The competitive bidding dynamics that make headlines typically apply only to the highest tier. Meanwhile, auction carries costs that dilute seller proceeds substantially: seller’s commissions that typically start at 15 percent and buyer’s premiums of 25 to 32 percent affect bidding behavior, insurance, catalogue and marketing costs. A work that hammers at $30,000 returns significantly less than $30,000 to the seller once these costs are deducted.
Private placement through Windsor Betts works differently. We price based on what the market genuinely supports for the specific work. We present the work selectively to collectors whose interests match. For the majority of Native American and Southwest works we handle, this approach typically yields higher net proceeds to the seller than that of an auction, while also being considerably more discreet.
Longer-term considerations
A work that passes through auction becomes part of a permanent public record. For works that do not sell or that sell at weak prices, this record can affect future value. For works by living artists, weak auction results also affect the broader primary market for those artists, which matters both ethically and for the long-term value of your holdings. Private placement carries no such permanent shadow.
In short
Auction is most appropriate for very exceptional works where competitive bidding, among informed collectors, is likely to drive prices above private-market expectations. For the broader majority of works by known Native American and Southwest artists, private placement through a specialist brokerage typically produces better net proceeds, greater discretion and fewer downside risks.
Our role as a reputable node in the provenance chain of Native American and Southwest art is documented in the catalogues of the major auction houses. Works that have passed through Windsor Betts have been subsequently offered through Sotheby’s, Bonhams, Heritage Auctions, Doyle, Wright, Santa Fe Art Auction and John Moran Auctioneers.
This documented track record provides a concrete layer of confidence for collectors placing works with us. It confirms that our authentications hold up in scrutiny by the leading institutions in the field. It also means that works we place carry a documented association with a gallery whose provenance credibility is recognizable and verifiable.
For sellers evaluating where to place a significant work, this kind of external validation matters. A brokerage that does not appear in auction catalogues is difficult to evaluate from the outside. A brokerage whose works consistently pass through the major auction infrastructure has been vetted by independent institutional scrutiny over many years.
We actively seek works in the following categories.
Paintings by artists such as Fritz Scholder, Allan Houser, T.C. Cannon, Kevin Red Star, Earl Biss, John Nieto, Dan Namingha, Tony Abeyta, James Havard, Alfred Morang and others in the broader Native American and Southwest tradition.
Sculpture by artists such as Allan Houser, Doug Hyde, Fritz Scholder and Tony Lee along with other sculptors working within the Native American and Southwest tradition. Bronze is our strongest interest, with stone and mixed-media sculpture also considered. Browse our sculpture collection for a sense of what we handle.
Works on paper including lithographs, serigraphs, etchings and original drawings by major artists in the field. Signed and numbered editions from recognized print publishers are of particular interest. See current works on paper in the gallery.
Pueblo pottery from recognized potters, ledger art from contemporary practitioners and earlier historical works with documented provenance, kachinas by recognized Hopi carvers, and jewelry by established silversmiths. These categories are handled selectively, matching the specific work and artist to our collector network.
We do not place commercial reproduction art, or works outside the Southwest and Native American tradition that is our specialty. If your work falls outside our scope, we will communicate this directly and suggest appropriate alternatives.
How long does placement typically take?
Every placement is different. Some works sell quickly when the right collector is known, sometimes within weeks. Others take months to locate the right match. We are patient, and we do not push works that would achieve weak results if placed hastily. Typical placement periods are three to nine months. Individual works can move faster or slower depending on the specific artist and medium involved, and on prevailing market conditions.
What are your fees?
Our commission structure is agreed in writing before placement begins and is based on the specific characteristics of the work. We are happy to discuss our approach directly with you as part of the initial assessment. Our fees are transparent and consistent throughout the placement period, with no hidden costs beyond what is specified in the agreement.
Do you purchase works outright?
We operate primarily through private placement rather than direct purchase. This approach aligns our interests with yours, since our commission depends on achieving a good result for the work. In rare cases we may consider direct purchase for works that are particularly well-suited to immediate collector demand. This is the exception rather than the rule.
What if you cannot place my work?
Not every work fits our specialty, and not every market environment supports placement. If we determine during initial assessment that we are not the right match, we say so directly and suggest appropriate alternatives. If we take a work on and market conditions shift during the placement period, we discuss the situation with you and decide together how to proceed. In the end, the final decision is yours.
How do you authenticate works you accept?
Authentication is foundational to our practice. Every work we place is reviewed in person by our specialists, drawing on decades of direct familiarity with the artists and artworks we handle, and where appropriate we consult with additional experts and recognized authorities. We take responsibility for our authentications and address any concern that arises. For a fuller account of our approach to authenticity, see our guide to buying authentic Native American art.
Is my inquiry confidential?
Entirely. We understand that sellers often have personal or estate-related reasons for preferring discretion. Conversations with our specialists, including the existence of inquiries themselves, are treated as confidential. We do not publish or share seller information without explicit permission.
What if I just want a rough valuation without committing to a sale?
That is a reasonable starting point and a common one. Many sellers begin by simply understanding what a work is worth in the current market before deciding whether and when to sell. An initial assessment conversation carries no obligation. If you decide placement is not the right path, we respect that and you are welcome to approach us again later.
We typically respond to all inquiries within one to three business days. For time-sensitive placements or questions, please call 505.820.1234 directly.