Moran /Apr 23, 2013
€4,618.94 - €6,158.58
Artworks in Arcadja22
Some works of Ernest Leonard BlumenscheinExtracted between 22 works in the catalog of Arcadja
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Ernest Blumenschein (New Mexico/New York, 1874-1960) Portrait of a Native American Pueblo Elder, signed lower right "Blumenschein" and inscribed lower left "Taos", inscription verso on stretcher, oil on canvas, 16-3/4 x 14-7/8 in.; modern gilt wood frame, crackle with some limited cupping, stretcher marks, recently cleaned and stretcher tightened, deterioration to portions of tacking edge, restretched; frame with abrasions Lot Notes: Ernest Blumenschein and his friend Bert Phillips discovered Taos in 1898 when their wagon broke down. It was the closest town for repairs. The kindness of the Taos Pueblo and the beauty of surrounding landscape of the town would later draw Blumenschein back. He became the most famous proponent of the Taos Artists Colony, a group that was seeded in 1898 with Phillips. This portrait is appealing as it depicts the rather famous Pueblo, Ben 'Cause' Lujan. He was portrayed by other Taos artists as well, including Joseph Henry Sharp. It is interesting to note that the portrait has a luminous light and color that is inherent in the Taos landscape. It is as if the sun is setting on the person in an allegory of age.
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E. L. Blumenschein, "Love of Life" oil on canvas, 1905. Initialed bottom right, "BL". Canvas: 31.75"H x 20.325"W; Framed: 37"H x 25.75"W. LITERATURE: Jack London, illustration from "Love of Life," first published by McClure's Magazine, Vol. 26, Dec., 1905, pp. 144-158 (illustrated, p. 150, one of four color plates--this being number three--based on original oils by Blumenschein). Caption below said illustration reads: "His mirth was hoarse and ghastly, like a raven's croak, and the sick wolf joined him. Howling lugubriously". NOTE: Original published pamphlet comprised of pp. 144-158 + 4 color plates by E.L. Blumenschein illustrations, disbound and removed from original volume included with this lot. Ernest L. Blumenschein (American, 1874-1960).
Auction: Heritage -May 2, 2015 - DallasLot number: 77149
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ERNEST LEONARD BLUMENSCHEIN (American, 1874-1960) Taos Indian Chief Oil on canvas laid on board 16 x 20 inches (40.6 x 50.8 cm) Signed and inscribed lower left: E.L. Blumenschein, Taos PROPERTY FROM THE COLLECTION OF JUDSON C. AND NANCY SUE BALL PROVENANCE: Gerald P. Peters Gallery, Santa Fe, New Mexico, 1984; Private collection, 1984-92; Gerald P. Peters Gallery, Santa Fe, New Mexico, 1992; Private collection; Owings-Dewey Fine Art, Santa Fe, New Mexico; Biltmore Galleries, Scottsdale, Arizona, 1999. EXHIBITED: Cincinnati [Art] Museum, Cincinnati, Ohio, "Paintings of American Indians and Their Country by Ernest L. Blumenschein," February 1928 (as Indian Profile with Red Bonnet); Museum of Art of the American West, Houston, Texas (in association with the Gerald Peters Gallery, Santa Fe, New Mexico), "Masterworks of the Taos Founders," September 10-November 25, 1984 (as Indian with Headdress). LITERATURE: G. Maxon-Edgerton, ed., American Art of the Taos School: A Selection of Paintings from the Gerald Peters Collection. Santa Fe, New Mexico, 1978, n.p., pl. 51, illustrated; Masterworks of the Taos Founders, exhibition catalogue, Museum of Art of the American West, Houston, Texas (in association with the Gerald Peters Gallery, Santa Fe, New Mexico), 1984, n.p., pl. 12, illustrated. After permanently settling in Taos in 1919, Ernest Blumenschein reworked his monumental Pueblo Indian painting from 1915, The Chief's Two Sons, from which the present lot, Taos Indian Chief (also known as Indian Profile with Red Bonnet and Indian with Headdress), ultimately emerged. In The Chief's Two Sons, Blumenschein created a narrative and symbolic double-portrait, where two virile Pueblo warriors, each wearing a war bonnet and holding an eagle-feather fan, proudly stand and appear to converse in front of a panoramic sweep of cottonwood trees and an adobe settlement; their youth, strength, upright stature, and connectedness -- the boy on the right turns toward his brother, angling his feather fan in a parallel gesture -- point to the future prosperity of the tribe. Designed as an exhibition piece, the 34 x 70" canvas toured over the next three years to the Pennsylvania Academy of the Fine Arts in Philadelphia, the National Academy of Design in New York, and the Art Institute of Chicago, and was widely recognized as one of Blumenschein's most successful and important works. The Chief's Two Sons recalls Blumenschein's other large-scale, multi-figure portraits from the 1910s, including Wise Man, Warrior, and Youth (1912, location unknown), a pyramidal arrangement of three generations of Pueblos; the critically acclaimed The Peacemaker (The Orator) (1913, The Anschutz Collection, Denver, Colorado), depicting a warrior holding a white "peace" cloth and trying to reconcile the rift between two Pueblo chiefs; and The Chief Speaks (1917, private collection), where a bonneted chief in white robes, flanked by a youth and an old man, majestically poses before the Sangre de Christo Mountains. In these paintings, Blumenschein explored not merely the psychological relationships among tribe members, but also Post-Impressionist techniques: "the Post-Impressionist, [he] observed, deals in 'large, flat masses,' simple, harmonized colors, 'decorative composition,' and 'imaginative' expressions that reflect 'personal feelings'" (P. Hassrick and E. Cunningham, In Contemporary Rhythm: The Art of Ernest L. Blumenschein, Norman, Oklahoma, 2009, p. 87). Blumenschein was known to rework certain of his canvases, often years later, as well as reuse certain props, costumes, or models. In the early 1920s, he cut The Chief's Two Sons in half and painted over the background to make two distinct portraits, Eagle Fan (originally the left half; Denver Art Museum, Denver, Colorado) and Eagle Feather, Prayer Chant (originally the right half; Colby College Museum of Art, Waterville, Maine). Now silhouetted against a simple white background, the son in Eagle Feather, Prayer Chant becomes a decorative configuration of lines and colors -- the rich earth tones of his body offset by the brighter reds, greens, and yellows of his war bonnet. Blumenschein featured this same Plains Indian headdress with red-dyed eagle feathers, green-dyed downy feathers, beaded brow band, and ermine side drops in other paintings, notably Taos Indian Holding a Water Jar (1911, Gerald Peters Gallery, Santa Fe, New Mexico), The Chief Speaks (1917, private collection), and The Red War Bonnet (private collection). The present work, Taos Indian Chief, circa 1927, is a cropped variation of Eagle Feather, Prayer Chant and of the related 1927 painting Eagle Wing Fan (location unknown). In Eagle Wing Fan, Blumenschein again renders the son in profile, with a close-eyed, open-mouthed dreamy expression, and wearing the Plains Indian headdress (the side drops replaced by a rosette). The only significant additions are a red cloak on the arm of the chief and a background with a mesa beneath purple clouds. Art historian Peter H. Hassrick notes that Blumenschein exhibited both this portrait and a related painting of the small bluff, Mesa Near Abique, New Mexico (Haub Collection, Tacoma Art Museum, Washington) at the Cincinnati [Art] Museum in 1928. Blumenschein's emphasis in these works on textural brushwork and flattened shapes of bold color underscores his continued experimentation with Post-Impressionism, what ensured his success among the Taos modernists. We wish to thank Peter H. Hassrick for providing invaluable catalogue information.
Auction: Moran -Apr 23, 2013 - Los-angelesLot number: 112
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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
Auction: Heritage -Nov 10, 2012 - DallasLot 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