Ernest Leonard Blumenschein

Canada (18741960 ) - Artworks
BLUMENSCHEIN Ernest Leonard White Sun

Scottsdale Art Auction /Apr 2, 2011
177,116.54 - 247,963.16
203,320.00

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Artworks in Arcadja
16

Some works of Ernest Leonard Blumenschein

Extracted between 16 works in the catalog of Arcadja
Ernest Leonard Blumenschein - Taos Canyon In Winter

Ernest Leonard Blumenschein - Taos Canyon In Winter

Original 1945
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Gross Price
Lot number: 112
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Description:
Ernest Leonard Blumenschein (1874-1960) Description: Taos Canyon in winter, circa 1945, signed lower left: E.L. Blumenschein, unframed oil on canvas laid to canvas, 38'' H x 55'' W, est: $6000/8000. Note: This painting will be included in the forthcoming Ernest Leonard Blumenschein catalogue raisonne. Condition Report: Visual: The canvas mounted on new stretchers with new keys. Tacking edges intact. Blacklight: An 'T'-shaped area of touch-up approximately 8'' x 7'', an associated 3'' scattered area of touch-up and some other spots in the upper left. Other more minor spots of touch-up including: a 2'' diameter area in the lower right quadrant, a scattered area of spots of touch-up in the upper center, a 2'' scattered area of touch-up in the center and a few other spots throughout. Notes: This painting will be included in the forthcoming Ernest Leonard Blumenschein catalogue raisonne Provenance: Estate of Helen Green Blumenschein, daughter of the artist, 1989; Private Collection, Arizona, acquired from the above; Private Collection, Danville, CA 38'' H x 55'' W Ernest Leonard Blumenschein (1874-1960 Taos, NM) unframed oil on canvas laid to canvas circa 1945
Ernest Leonard Blumenschein - Taos Valley Reflections

Ernest Leonard Blumenschein - Taos Valley Reflections

Original
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Gross Price
Lot number: 76185
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ERNEST LEONARD BLUMENSCHEIN (American, 1874-1960) Taos Valley Reflections Oil on canvas 26 x 26 inches (66.0 x 66.0 cm) Signed lower left: E.L. Blumenschein THE HOGAN FAMILY COLLECTION PROVENANCE: Jim Fowler's Period Gallery (West), Scottsdale, Arizona, 1979 (label verso). Estimate: $150,000 - $250,000. Condition Report*: Original canvas. Areas of possible inpaint in the sky. Other areas of fluorescing are likely due to pigment. Craquelure throughout. Minor frame abrasion in the lower left corner. Framed Dimensions 37 X 37 Inches *Heritage Auctions strongly encourages in-person inspection of items by the bidder. Statements by Heritage regarding the condition of objects are for guidance only and should not be relied upon as statements of fact, and do not constitute a representation, warranty, or assumption of liability by Heritage. All lots offered are sold "AS IS". View large image(s) of this item Service and Handling Description: Requires 3rd Party Shipping (view shipping information) Sales Tax information | Terms and Conditions Bidding Guidelines and Bid Increments
Ernest Leonard Blumenschein - White Blanket And Blue Spruce

Ernest Leonard Blumenschein - White Blanket And Blue Spruce

Original 1919
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Gross Price
Lot number: 71
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Description:
LOT 71 PROPERTY FROM THE WICHITA CENTER FOR THE ARTS ERNEST LEONARD BLUMENSCHEIN 1874 - 1960 WHITE BLANKET AND BLUE SPRUCE signed E.L. Blumenschein and dated 1919, l.l. oil on linen mounted on paperboard 700,000—900,000 USD measurements measurements 34 by 28 in. alternate measurements (86.4 by 71.1 cm) signed E.L. Blumenschein and dated 1919, l.l. oil on linen mounted on paperboard Acquired by the present owner directly from the artist, 1928 Colorado Springs, Colorado, Colorado Springs Fine Art Center,Ernest L. Blumenschein Retrospective, March-April 1978Albuquerque, New Mexico, Albuquerque Museum; Denver, Colorado,Denver Art Museum; Phoenix, Arizona, Phoenix Art Museum, InContemporary Rhythm: The Arts of Ernest L. Blumenschein, June2008-June 2009, pp. 139-40, illustrated in color p. 142 Ernest Blumenschein's artistic career began at an early age withformal training in music, which instilled in him both disciplineand dedication to the arts. While attending the Cincinnati Collegeof Music at the encouragement of his father, Blumenschein tookclasses at the Art Academy of Cincinnati, where his passion forpainting evolved into a lifelong career. Blumenschein's interest inthe American West started while he was continuing his art studiesat the Académie Julian in Paris; there he met three young Americanartists -- Bert Phillips, Eanger Irving Couse and Joseph HenrySharp. Sharp told stories of his time spent sketching in NewMexico, a spark which ignited and developed in Blumenschein ayearning to explore the West as soon as the opportunity presenteditself. Returning from Paris in 1896, Blumenschein quickly settledinto a successful career as an illustrator in New York, and wasable to venture out west on a sketching trip with Phillips by 1898.Their travels were disrupted when a broken wagon wheel left themstranded just twenty miles north of Taos. Blumenschein carried thewheel on horseback into the valley to have it repaired and wasstunned by the sight of the vast mountains and desert plateaus ofnorthern New Mexico. He vowed to live and paint in thisextraordinary place some day, but could only stay a few monthsduring this short trip. Over the next decade, Blumenschein movedbetween New York, Paris and Giverny working on commissions frommagazines and painting portraits, variously exhibited in the ParisSalons and the Salmagundi Club. First returning to Taos in thesummer of 1911, he visited yearly, before relocating therepermanently in 1920.In 1915, Blumenschein, along with Phillips, Couse, Sharp, OscarBerninghaus and W. Herbert Dunton, founded the Taos Society ofArtists "to promote the highest possible standards in painting, toeducate the public about the western scene through their art, tocirculate joint exhibitions for the purpose of sales and mutualpromotion, and to encourage excellence in allied forms of art suchas sculpture, architecture, music and literature" (Peter H.Hassrick, In Contemporary Rhythm: The Art of Ernest L.Blumenschein , Norman, Oklahoma, 2008, p. 94). Together, yet intheir individual styles, they painted the local culture and peopleof Taos while forming a blossoming art colony. They sought topreserve their subjects' Native American heritage by celebratingits traditions and extolling their modern day lives. Blumenscheingreatly respected the Taos people for their dignity and religiousintegrity and sympathized with the difficulties they faced as aculture in transition, endangered by the increasingly dominantAnglo-Christian way of life. His stance on social issues expresseditself in the close bonds he established with his Indian models andthe often empathetic viewpoint he brought to his portraits. MaryCarroll Nelson writes, "He adopted a brighter palette and he gaverein to an intuitive, mystical understanding of his Indiansubjects, portraying not just their appearance but also theiremotions" (The Legendary Artists of Taos , New York, 1980, p.31).According to Blumenschein's daughter Helen, her father's earlyyears as a Taos resident were "completely happy" and allowed him torealize his full potential as an artist. He began to
Ernest Leonard Blumenschein - White Sun

Ernest Leonard Blumenschein - White Sun

Original 1939
Estimate:

Price:

Gross Price
Lot number: 216
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Description:
Artist : Blumenschein, Ernest Title : White Sun Date of Birth and Death : 1874-1960 Medium : Oil on canvas Dimensions : 20 x 16 inches Signed : Signed lower right and dated 1939 AuctionLocation: 7176 E Main Street, Scottsdale, Arizona, 85251, United States Taxes: CS (1.65%) SA (7.3%) Buyer's Premiums: From (Incl.) To (Excl.) Premium 0.00 500,000.00 15% 500,000.00 Infinite 12% Shipping Details: No InfoAvailable Payment Details: Wire instructions: First Fidelity Bank 7401 E. Camelback Road Scottsdale, AZ 85251 Account Name: Scottsdale Art Auction Route # 122105184 Account # 6448301028 We accept all major credit cards and paypal up to$10,000.00 Accepted Payment Methods: See Payment Details BUYER’’’’SPREMIUM The purchase price payable by the Purchaser shall be the total of the final bid price PLUS A PREMIUM OF FIFTEEN PERCENT (15%) on any individual lot in the amount upto and including $500,000; TWELVE PERCENT (12%) on anyindividual lot on the amount in excess of $500,000. This premium is inaddition to any commissions or other charges payable by the consignor. Auction The art illustrated in this catalogue will be offered for sale onApril 2, 2011 by Scottsdale Art Auction, LLC on premises at 7176 MainStreet, Scottsdale, Arizona. Telephone Bidding As a courtesy to clients who are unable to attend the sale, atelephone and order (absentee) bid service will be offered as staff and timeallow. Scottsdale Art Auction, LLC shall not be responsible for any errorsor omissions or failure to execute such bids. Contact ScottsdaleArt Auction, LLC at (480) 945-0225 (or register online) early for arrangements as telephone lines will be allocated on a first comebasis. Scottsdale Art Auction, LLC will arrange for telephone lines onlots with a minimum estimate of $5,000 and over. Absentee Bidding and Fax Confidential absentee bid orders for auction items may alsobe completed and will be executed by Scottsdale Art Auction, LLCon behalf of the Purchaser during the auction. Scottsdale ArtAuction, LLC shall not be responsible for any errors or omissions orfailure to execute such intent to purchase orders or auction bids. This catalogue, as may be amended by posted notice or oralsalesroom announcement, represents Scottsdale Art Auction, LLC’’’’s entireagreement with any and all purchasers of the Property listed herein. Thefollowing are Procedures, Terms and Conditions on which all suchProperty listed is offered for sale by Scottsdale Art Auction, LLC as agentfor various owners or other Consignors: 1. Scottsdale Art Auction, LLC reserves the right to withdrawProperty at any time before or at the sale and shall have no liability forsuch withdrawal. 2. All Property will be sold “AS IS”. With respect to each lotof Property, Scottsdale Art Auction, LLC does not make anyguarantees, warranties or representations, expressed or implied, as to merchantability or fitness for a particular purpose, thecorrectness of the catalogue or the authenticity or description of the Property,its physical condition, size, quality, rarity, importance,medium, provenance, exhibitions, literature or historical relevance.No statement, anywhere, whether oral or written, whether made inthe catalogue, an advertisement, a bill of sale, a salesroom posting or announcement, or elsewhere, shall bedeemed such a warranty, representation or assumption of liability. In noevent shall Scottsdale Art Auction, LLC be responsible forgenuineness, authorship, attribution, provenance, period, culture, source,origin or condition of the purchased Property and no verbal statementsmade regarding the Property either before or after the sale of theProperty, or in any bill of sale, invoice or catalogue or advertisement orelsewhere shall be deemed such a guarantee of genuineness, orauthenticity. Notwithstanding the foregoing, if within ten (10) calendar daysafter the purchase of any lot of Property, the Purchaser provides anopinion by a recognized authority on the artist and gives notice in writingto Scottsdale Art Auction, LLC that the lot is not authentic, andreturns the purchased lot to Scottsdale Art Auction, LLC, within ten (10)days of its purchase in the same condition as when sold, thenScottsdale Art Auction, LLC will refund the full purchase price to thePurchaser. It shall be in the sole discretion of Scottsdale Art Auction, LLCas to whether the opinion provided by the Purchaser is an opinion bya recognized authority on the artist. 3. Scottsdale Art Auction, LLC and/or Auctioneer reserves theright to reject any bids. The highest bidder acknowledged by theAuctioneer shall be the Purchaser. In the event of any dispute betweenbidders, the Auctioneer will have absolute and final discretion to eitherdetermine the successful bidder or to re-offer and resell the Property itemin dispute. After the sale, Scottsdale Art Auction, LLC’’’’s record offinal sale shall be conclusive. 4. At the fall of the Auctioneer’’’’s hammer, the Purchaser shall (a)be acknowledged by bidder number by the auctioneer, (b) pay thehammer price and a buyer’’’’s premium as outlined above. In addition,Purchaser may be required to sign a confirmation of purchase. All sales arefinal with no exchanges or returns. 5. Unless exempted by law, the Purchaser will be required to payany and all Arizona state and local sales tax or, in the event ofdeliveries outside the state, it is the Purchaser’’’’s responsibility to pay anyapplicable compensating use tax of another state on the total purchaseprice. 6. Terms for all purchases will be cash, check or credit card (VISA/MasterCard/American Express) with settlement andpayment due in full the day of the sale unless otherwise arranged. Allmonies shall be made payable to Scottsdale Art Auction, LLC. At thediscretion of Scottsdale Art Auction, LLC, payment will not be deemed tohave been made in full until funds represented by checks have beencollected or the authenticity of bank or cashier’’’’s checks has beenconfirmed. Credit cards will not be accepted for purchases in excess of$10,000 on the total amount purchased at the sale. 7. No item of Property may be paid for or removed fromScottsdale Art Auction, LLC during the sale. After the sale has beencompleted and after the purchase price has been paid in full, Property mustbe removed from the saleroom at the Purchaser’’’’s expense not laterthan three business days following the sale. Scottsdale Art Auction, LLCwill, as a service to Purchasers, arrange to have Property packed,insured and shipped, all charges at the expense and entire risk ofPurchaser. 8. Some items of Property may be offered subject to a “reserve”or confidential minimum price below which the item will not be sold.In such instances, Scottsdale Art Auction, LLC may implement thereserve by bidding through the Auctioneer on behalf of the Consignor. Inno event shall the reserve exceed the low estimate in thecatalogue. 9. Neither Scottsdale Art Auction, LLC, nor Auctioneer, norConsignor make any representations whatsoever that the Purchaser of a work ofart will acquire any reproduction rights thereto. 10. These Conditions of Sale and any other applicable conditions,as well as the Purchaser’’’’s and Scottsdale Art Auction, LLC’’’’s rightsand obligations herein shall be governed by, construed and enforcedin accordance with the laws of the State of Arizona. If theseconditions are not complied with by the Purchaser, Scottsdale Art Auction, LLCmay, in addition to other remedies available by law, including,without limitation, the right to hold the Purchaser liable for the totalpurchase price stated on the Confirmation of Purchase Invoice, either (a)cancel the sale and retain as liquidated damages any and all paymentsmade by the Purchaser or (b) resell the Property privately or at publicauction on three days’’’’ notice to the Purchaser for the payment ofany deficiency in the purchase price and all costs includinghandling charges, warehousing, the expense of both sales, thecommissions, reasonable attorneys’’’’ fees, any and all other charges due andincidental damages. 11. Bidding on any item indicates your acceptance of these termsand all other terms announced at the time of sale whether bidding inperson, by phone, by Internet, by absentee bid, or through arepresentative. 12. In most instances, sculpture measurements do not include base.In measurements for two dimensional art, height precedes width anddoes not include frame. 13. Bidding increments will normally follow the pattern belowbut may vary at the sole discretion of the Auctioneer. Estimate Increment Estimate Increment Under 2,000.............................100 20,000–50,000......................2,500 2,000–5,000 .............................250 50,000–100,000.....................5,000 5,000–10,000............................500 over 100,000........................10,000 10,000–20,000.......................1,000
Ernest Leonard Blumenschein - Untitled (mountain Wood Gatherers)

Ernest Leonard Blumenschein - Untitled (mountain Wood Gatherers)

Original 1926
Estimate:

Price:

Lot number: 92
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Ernest Leonard Blumenschein (1874-1960) Untitled (Mountain Wood Gatherers) signed 'E.L. Blumenschein/Taos' (lower left) oil on canvas 23 x 50 in. (58.4 x 127 cm.) Painted circa 1926. Provenance The artist. Private collection, Colorado. Private collection, New Mexico. Literature A.B. Scott, The Taos Society of Artists: Masters & Masterworks, Santa Fe, New Mexico, 1998, p. 37. R.R. White, The New Mexico Painters, Santa Fe, New Mexico, 1999, p. 37, no. 27. Smithsonian Institution, Smithsonian American Art Museum, Variations on America: Masterworks from American Art Forum Collections, exhibition catalogue, Washington, D.C., 2007, p. 135, illustrated. P. Hassrick and E.J. Cunningham, In Contemporary Rhythm: The Art of Ernest L. Blumenschein, exhibition catalogue, Norman, Oklahoma, 2008, pp. 177-78, illustrated. Exhibited Washington, D.C., Smithsonian Institution, Smithsonian American Art Museum, Variations on America: Masterworks from the American Art Forum Collections, April 13-August 3, 2007. Lot Notes Displaying an early talent for both music and painting, Ernest Blumenschein was encouraged by his father to attend the Cincinnati College of Music while taking additional classes at the nearby Art Academy of Cincinnati. This dual interest continued to New York where he enrolled at the Art Students League in 1892 while maintaining the prominent role of first chair violin at the National Conservatory of Music. A fortuitous meeting in 1894 at the Académie Julian in Paris with fellow American students E.I. Couse, Bert Geer Phillips, and Joseph Henry Sharp, would provide the framework that would define the rest of Blumenschein's illustrious career. "There I met Henry Sharp, who, learning of my interest in the American Indian told me of the village of Taos, where for a couple of weeks he had sketched. It was located at the foot of a mountain in New Mexico. I recall being impressed, as I pigeon-holed that curious name in my memory with the hope that someday I might pass that way." (P.J. Broder, Taos: A Painter's Dream, New York, 1980, p. 67) In order to secure a steady income upon his return to the United States, Blumenschein accepted an illustrator position with McClure's and in 1898 was sent on assignment to Arizona and New Mexico. Over the next several years, Blumenschein would spend time working in New York and Paris until 1910 when he had enough financial success to establish summer residence in Taos and devote his time to painting the local people and landscape he had become enamored with. In 1915, along with Phillips, Couse, Sharp, Oscar E. Berninghaus and W. Herbert Dunton, Blumenschein officially founded the Taos Society of Artists, "to promote the highest possible standards in painting, to educate the public about the western scene through their art, to circulate joint exhibitions for the purpose of sales and mutual promotion, and to encourage excellence in allied forms of art such as sculpture, architecture, music, and literature." (P. Hassrick, "In Search of the Real Thing, Blumenschein in the 1910s" in In Contemporary Rhythm: The Art of Ernest L. Blumenschein, exhibition catalogue, Norman, Oklahoma, 2008, p. 94) Fully immersing himself in the local culture, Blumenschein bought a small adobe home in Taos in 1919. Recognizing the rapidly changing life and the plight of the Indian, Blumenschein sought to preserve this swiftly evolving community and landscape with dignity and a sense of the majestic in his art. More-so than any other artist in the Taos society, Blumenschein realized in his art the natural association the Taos Indian felt to the land. In his struggle to find a compelling personal style while respecting his academic tradition, the artist found a sympathetic subject in the Taos Indian gravely pursuing his everyday ritual. The figures depicted in Untitled (Mountain Wood Gatherers) move through the landscape at a measured pace sharing the inevitability and authority of the surrounding environment. Behind the beautiful panoramic scenery captured in the present painting lies a passionate commitment to both the Indian cause and the cause of American artistic independence and contemporary aesthetic theories. Untitled (Mountain Wood Gatherers) tells of an intensely felt and closely observed world. Blumenschein reveals this intensity through his voluminous brushwork, the saturation of color and the rejection of easily decorative effects. The composition is pared down to minimal planes of light and shadow, with broad areas of quilted landscape dominated by towering hills and backlit clouds that saturate the canvas with luminosity and texture. An adamant supporter of the avant-garde Blumenschein sought to exploit the most current artistic trends in his painting, mingling Post-Impressionism into his deeply rooted traditional subjects. His emphasis of the geometric forms of the topical landscape is underscored by his strong sense of draftsmanship. Blumenschein uses vigorous diagonal lines to unite the scene and stimulate the eye with a constant current of energy in an otherwise quiet panorama of the northern New Mexico landscape. The dynamic structure of his compositions, coupled with his use of a strongly contrasting warm and cool palette of boldly applied paint, serve to further underscore the harmony of man and nature. Depicted from a slightly elevated vantage point, Blumenschein is able to establish a distance from this quiet procession and in doing so, present the panoramic scene in a powerfully simple and universal manner that retains the romantic and mystical qualities that remain the hallmarks of his distinct style. Blumenschein's fine reputation rests both on his skill as an artist and the accuracy with which he recorded the magnificent terrain and way of life in Taos. Untitled (Mountain Wood Gatherers) is a superlative example of the artist's realization of this remarkably beautiful and compelling part of the Southwest, composed with an accuracy and sureness of palette and draftsmanship that would come to define Blumenschein's career. A faithful depiction of the place he first saw in 1898, Blumenschein summarized his reverence for Taos in a 1939 interview. "If I could picture in words the superb mountains, the moving grandeur of great plains, the sunshine that makes people happy, the storms that inspire paintings and books, the grand forests of pine and spruce and juniper, the beautiful streams, the out-door life of work and sports, it would be New Mexico, the land where my great adventure was started...and where it has long continued." (as quoted in Taos: A Painter's Dream, p. 65)
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