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Ernest Leonard Blumenschein

Canada (18741960 ) - Artworks
BLUMENSCHEIN Ernest Leonard Taos Valley Reflections

Heritage /Nov 10, 2012
118,166.06 - 196,943.44
209,948.70

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Artworks in Arcadja
18

Some works of Ernest Leonard Blumenschein

Extracted between 18 works in the catalog of Arcadja
Ernest Leonard Blumenschein - Love Of Life

Ernest Leonard Blumenschein - Love Of Life

Original -
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Lot number: 58
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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).
Ernest Leonard Blumenschein - Taos Indian Chief

Ernest Leonard Blumenschein - Taos Indian Chief

Original -
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Price: Not disclosed
Lot number: 77149
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Description:
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.
Ernest Leonard Blumenschein - Taos Canyon In Winter

Ernest Leonard Blumenschein - Taos Canyon In Winter

Original 1945
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Lot 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
Ernest Leonard Blumenschein - Taos Valley Reflections

Ernest Leonard Blumenschein - Taos Valley Reflections

Original
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Lot number: 76185
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Description:
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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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
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