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George Wesley BellowsThe Hold Up, First State1921
1921
About the Item
Signed in pencil by the artist lower right
Titled "Hold Up" by the artist in pencil.
Signed by the printer Bolton Brown lower left.
Edition: 42 in this state
Note: In The Hold Up, second state (dark version) there are an additional 29 impressions
Condition: Excellent
Provenance: Estate of the artist
H. V. Allison & Co. (agent for the Bellows Trust)
Columbus Gallery of Art, Art Sales, Columbus Museum of Art
Private Collection, Columbus, Ohio
Note: When exhibited at Frederick Keppel & Company, the New York Times reviewer comments this was a "subject interpreted in the spirit of Dickens. With a hint of melodrama, a hint of comedy, and a pinch of realism."
An iconic "Ash Can" school lithograph. Along with Bellows image "Hungry Dogs", the two lithographs are the finest depicts of the Hell's Kitchen area of Manhattan during the post war years. Located just north of Bellows home and studio at 146 East 19th Street.
- Creator:George Wesley Bellows (1882-1925, American)
- Creation Year:1921
- Dimensions:Height: 11 in (27.94 cm)Width: 8.5 in (21.59 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Housed in the original H. V. Allison frame, with provenance labels on reverse.
- Gallery Location:Fairlawn, OH
- Reference Number:
George Wesley Bellows
George Bellows, an American artist, was born in Columbus, Ohio in 1882, the only child of a successful building contractor from Sag Harbor, New York. He entered Ohio State University in 1901, where he played baseball and basketball and made drawings for college publications. He dropped out of college in 1904, went to New York, and studied under Robert Henri (American, 1865 – 1929) at the New York School of Art, where Edward Hopper (American, 1882 – 1967), Rockwell Kent (American, 1882 – 1971), and Guy Pène du Bois (American, 1884 – 1958) were his classmates. A superb technician who worked in a confident, painterly style, Bellows soon established himself as the most important realist of his generation. He created memorable images of club fights, street urchins swimming in the East River, and the Pennsylvania Station excavation site and garnered praise from both progressive and conservative critics. In 1910 Bellows began teaching at the Art Students League and married Emma Story, by whom he had two daughters. After 1910 Bellows gradually abandoned the stark urban realism and dark palette characteristic of his early work and gravitated toward painting landscapes, seascapes, and portraits. Bellows helped organize the Armory Show in 1913, in which five of his paintings and a number of drawings were included. That year he was elected a full member of the National Academy of Design. He had leftist political views and contributed illustrations to the Socialist publication The Masses from 1912 to 1917. Bellows began to make lithographs in 1916 and his exceptional talent engendered a revival of interest in the medium. He worked in Maine, in Carmel, California, and in Middletown, Rhode Island, and was a founding member of the Society of Independent Artists and a charter member of the Association of American Painters and Sculptors. In 1919 he taught at the Art Institute of Chicago. Bellows, who never went to Europe, is regarded as a quintessential American artist whose vigorous style enabled him to explore a wide range of subjects from scenes of modern urban life to portraits of his daughters, to turbulent Maine seascapes. As an early biographer noted, Bellows “caught the brute force of the prizefighter, the ruggedness of the country pasture, the essence of childhood and recorded them appropriately not only for his own generation but for all time.”[1] [1] [Frederick A. Sweet], George Bellows: Paintings, Drawings and Prints (Art Institute of Chicago, IL, 1946). Robert Torchia September 29, 2016
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