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LOT 67008

67008: Eanger Irving Couse (American, 1866-1936) The Pi

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Eanger Irving Couse (American, 1866-1936) The Pictographs, 1919 Oil on canvas 24 x 29 inches (61.0 x 73.7 cm) Signed lower right: E.I. Couse Titled on the stretcher: The Pictographs Property from a Palm Beach Estate PROVENANCE: Anne Windfohr Marion, Fort Worth, Texas; Sotheby's, New York, May 27, 1999, lot 34; Private collection, Palm Beach, Florida, acquired from the above; Estate of the above. EXHIBITED: Lincoln Fine Arts Shop, Lincoln, Nebraska, March 1920; Palm Springs Desert Museum, Palm Springs, California, n.d. (on loan from Anne Marion). Eanger Irving Couse's The Pictographs of 1919 embodies the finest qualities of the artist's oeuvre: The romantic subject of the contemplative lone Indian in nature, kneeling at the base of a rock, lost in a seemingly meditative state as he works on the task at hand. Numerous ancient images appear on the rock surface behind him, and he is shown chiseling a new image into the surface, rather meticulously. In describing this subject Couse wrote, "The Rocky Mountain region abounds in pictographs cut into the rocks by the ancient Indians representing figures of men & animals & symbols of natural phenomenon. Having no written language, the Indians depicted their deeds & legends by pictorial representation on skin or the rocks...." In 1919, Couse was at the height of his career, having fully established himself within the Taos art community. In 1902, after decades of training in illustrious institutions, including the Chicago Art Institute, National Academy of Design in New York, and Académie Julian in Paris, the artist first heard about Taos through his friend and fellow artist Ernest Blumenschein, who described the incomparable light and fresh subjects that the town's environs had to offer. Enticed, Couse and his wife, artist Virginia Walker, began spending their summers in Taos, all too happy to leave behind the rat race of New York. In 1910, they refurbished a Spanish monastery there into a home and studio. Five years later, the Taos Society of Artists was formed, and Couse was elected its first president. His paintings from this period readily adopted a brighter palette and indigenous subjects, particularly the Pueblo Indians, whose gentle demeanor and artistic practices reminded him of the Chippewa Indians he had drawn as a boy in Saganaw, Michigan. Couse's celebrity in Taos continued to grow well after his family permanently settled there in 1927, due in large measure to the patronage of the Santa Fe Railroad, which published over twenty of his paintings on the cover of its annual calendar. We wish to thank Virginia Leavitt, granddaughter of E.I. Couse, for providing invaluable information on this lot, which will be included in her forthcoming catalogue raisonné of the artist's work. HID03101062020 © 2020 Heritage Auctions | All Rights Reserved
Condition Report: Glue lined canvas. Under UV exam, an approx. 1/2 inch thick oval line approximately 4 inches in dimeter, right of the figures head. The varnish fluoresces green. Fine craquelure, most visible in figures head.
Framed Dimensions 33.5 X 38.5 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"

Buyer’s Premium Per Lot: This auction is subject to a Buyer’s Premium of 25% on the first $300,000 (minimum $49), plus 20% of any amount between $300,000 and $3,000,000, plus 12.5% of any amount over $3,000,000 per lot

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Eanger Irving Couse (American, 1866-1936) The Pictographs, 1919 Oil on canvas 24 x 29 inches (61.0 x 73.7 cm) Signed lower right: E.I. Couse Titled on the stretcher: The Pictographs Property from a Palm Beach Estate PROVENANCE: Anne Windfohr Marion, Fort Worth, Texas; Sotheby's, New York, May 27, 1999, lot 34; Private collection, Palm Beach, Florida, acquired from the above; Estate of the above. EXHIBITED: Lincoln Fine Arts Shop, Lincoln, Nebraska, March 1920; Palm Springs Desert Museum, Palm Springs, California, n.d. (on loan from Anne Marion). Eanger Irving Couse's The Pictographs of 1919 embodies the finest qualities of the artist's oeuvre: The romantic subject of the contemplative lone Indian in nature, kneeling at the base of a rock, lost in a seemingly meditative state as he works on the task at hand. Numerous ancient images appear on the rock surface behind him, and he is shown chiseling a new image into the surface, rather meticulously. In describing this subject Couse wrote, "The Rocky Mountain region abounds in pictographs cut into the rocks by the ancient Indians representing figures of men & animals & symbols of natural phenomenon. Having no written language, the Indians depicted their deeds & legends by pictorial representation on skin or the rocks...." In 1919, Couse was at the height of his career, having fully established himself within the Taos art community. In 1902, after decades of training in illustrious institutions, including the Chicago Art Institute, National Academy of Design in New York, and Académie Julian in Paris, the artist first heard about Taos through his friend and fellow artist Ernest Blumenschein, who described the incomparable light and fresh subjects that the town's environs had to offer. Enticed, Couse and his wife, artist Virginia Walker, began spending their summers in Taos, all too happy to leave behind the rat race of New York. In 1910, they refurbished a Spanish monastery there into a home and studio. Five years later, the Taos Society of Artists was formed, and Couse was elected its first president. His paintings from this period readily adopted a brighter palette and indigenous subjects, particularly the Pueblo Indians, whose gentle demeanor and artistic practices reminded him of the Chippewa Indians he had drawn as a boy in Saganaw, Michigan. Couse's celebrity in Taos continued to grow well after his family permanently settled there in 1927, due in large measure to the patronage of the Santa Fe Railroad, which published over twenty of his paintings on the cover of its annual calendar. We wish to thank Virginia Leavitt, granddaughter of E.I. Couse, for providing invaluable information on this lot, which will be included in her forthcoming catalogue raisonné of the artist's work. HID03101062020 © 2020 Heritage Auctions | All Rights Reserved
Condition Report: Glue lined canvas. Under UV exam, an approx. 1/2 inch thick oval line approximately 4 inches in dimeter, right of the figures head. The varnish fluoresces green. Fine craquelure, most visible in figures head.
Framed Dimensions 33.5 X 38.5 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"

Buyer’s Premium Per Lot: This auction is subject to a Buyer’s Premium of 25% on the first $300,000 (minimum $49), plus 20% of any amount between $300,000 and $3,000,000, plus 12.5% of any amount over $3,000,000 per lot

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Time, Location
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USA, Dallas, TX
Auction House
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