Items Similar to Tennis (Tennis Tournament)
Want more images or videos?
Request additional images or videos from the seller
George Wesley BellowsTennis (Tennis Tournament)1921
1921
About the Item
George Bellows (1882-1925), Tennis (Tennis Tournament), lithograph, 1921, signed in pencil lower right, also signed and annotated by the printer Bolton Brown, imp lower left, and numbered 37. Reference: Mason 71, only state, from the edition of about 63. In very good condition, repaired tears in margins left and bottom not affecting image, with margins; 18 3/8 x 20 inches.
A superb impression, printed on a thin Japan paper.
A souvenir of the summers Bellows spent with his family at Middletown, Rhode Island. Emma Bellows can be seen wearing the black hat, sitting at the left. Critics have speculated that the Rhode Island lithographs and paintings provided unusual subject matter for Bellows, who often focused on social or political issues in his work, but a broader view of Bellows indicates that aesthetic considerations were generally of primary concern to him. For example, in this lithograph the spectators and setting are given greater primacy than the tennis match itself. Still, Bellows depicts the spectators, including his wife, as an elegant and rather pretentious group, a perspective consistent with his social viewpoint.
Bellows created two major paintings related to this lithograph: Tennis Tournament (at Newport), in the Metropolitan Museum of Art, New York; and Tennis at Newport in the National Gallery of Art, Washington, D.C. In addition there is at least one drawing nearly identical to Mason 71, Tennis at Newport, at the Arkansas Arts Center; he also created a smaller, less ambitious lithograph on the same subject (The Tournament, Mason 72).
- Creator:George Wesley Bellows (1882-1925, American)
- Creation Year:1921
- Dimensions:Height: 18.38 in (46.69 cm)Width: 20 in (50.8 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU51533160013
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
About the Seller
4.9
Recognized Seller
These prestigious sellers are industry leaders and represent the highest echelon for item quality and design.
Established in 2000
1stDibs seller since 2016
100 sales on 1stDibs
Typical response time: 3 hours
Associations
International Fine Print Dealers Association
- ShippingRetrieving quote...Ships From: New York, NY
- Return PolicyA return for this item may be initiated within 7 days of delivery.
More From This SellerView All
- Coffee HuskersBy George BiddleLocated in New York, NYGeorge Biddle (1885-1973), Coffee Huskers, 1928, lithograph, signed, titled and numbered [also inscribed ’43/Biddle/1928 in the plate]. Reference: Pennigar 77, Trotter 43. From the edition of 100, on Rives cream wove paper, with the Rives watermark. In excellent condition, probably never framed or matted, the full sheet, 13 1/4 x 9 3/4, the sheet 16 x 11 1/2 inches, archival mounting (mylar non-attached hinging between acid free boards glassine cover). A fine black impression. Biddle wrote of this lithograph, in 1943: “After scraping the tusche away…I worked back with a pensil (sic) and again with diamond. This all adds to the richness of texture and color.” This work produces a very sophisticated lithographic look, akin in some ways to drypoint work in etching. After Groton, Harvard College and Harvard Law (and several breakdowns) Biddle concluded that a conventional career in law was not for him; he decided on art, went to Paris, worked with Mary Cassatt and familiarized himself with modernist currents in art (as well as more traditional European art). After serving in WWI, and the dissolution of his marriage, he became interested in working outside of the European tradition (although his travels continued to include Europe, and he spent a period working under the influence of Jules Pascin in Paris in the mid-‘20’s). Coffee Huskers, like many of the Mexican and Haitian prints...Category
1920s American Realist Figurative Prints
MaterialsLithograph
- [Untitled] Beach SceneBy Harriet Keese LanfairLocated in New York, NYHarriet (Keese) Lanfair (1900-1988) lithograph, c. 1935, signed in pencil on lower right margin. Printed on a very light japan paper, with margins. A proof impression, with printers...Category
1930s American Realist Figurative Prints
MaterialsLithograph
- Tatoo-Shave-HaircutBy Reginald MarshLocated in New York, NYReginald Marsh (1898-1934), Tattoo-Shave-Haircut, etching, 1932. Signed, titled (“Tattoo-Haircut-Shave”), dedicated (“for Arnold Newman”), and annotated (“Fourth State. First of Two Prints”). Reference: Sasowsky 140. On cream wove paper. In very good condition, with small margins (as trimmed, slightly irregularly, by the artist) (slight foxing in margins), remains of prior hinging verso; 9 7/8 x 9 3/4, the sheet 10 15/16 x 10 5/8 inches; archival matting. A very fine rich black impression; we have not seen impressions of comparable quality on the market. Provenance: Estate of Arnold Newman. Arnold Newman (1918-2006) was one of the great 20th Century masters of photography, and a friend of many leading artists; it is appears that Marsh took special care in printing this impression for Newman. Sasowsky calls for 10 states of Tattoo-Shave, based largely on Marsh’s notes. But the states are not clearly delineated (e.g., his States 3 and 4, one proof each, are characterized by Marsh as “Engraving added”; no information is given for State 5). The design for the print was complete in the first state, and subsequent state changes were not, apparently, major. This impression does not appear to differ in etching lines from the final state impression shown in Sasowsky. Its inscription (as a Fourth State, by Marsh), as well as its rich inking and quality, attest to its being a proof before the edition (of about 34 impressions), but the state of this print (and, presumably of many of the other several proof impressions) cannot at this time be stated with confidence. Marsh printed this impression personally (we recall his famous answer to a question about the size of his editions: “Since I do practically all my own printing, I do not limit the edition. The buyer limits the edition – he rarely buys, I rarely print”). Tattoo-Shave-Haircut depicts a scene in the Bowery, a section of New York’s Lower East Side, during the Great Depression. The building and train structures in the top half of the print recall Piranesi’s Carceri...Category
1930s American Realist Figurative Prints
MaterialsEtching
- Putting on the Coat (front)By Isabel BishopLocated in New York, NYIsabel Bishop (1902-1988), Putting on the Coat, etching, 1943, signed in pencil lower right and titled (Putting on Coat (front)) lower left margins. Reference: Teller 31. In excellen...Category
1940s American Realist Figurative Prints
MaterialsEtching
- At the ShowBy Jerome MyersLocated in New York, NYJerome Myers (1867-1940), At the Show, etching and drypoint, c. 1920, signed in pencil lower right. In good condition, with margins (paper losses upper corners), faint ink marks and ...Category
1920s American Realist Figurative Prints
MaterialsDrypoint, Etching
- The Bridge PartyBy Peggy BaconLocated in New York, NYPeggy Bacon drypoint The Bridge Party, signed, dated (Nov. 1918) and titled (Bridge) in pencil by the artist. Flint 3. In generally ok but rough condition as befits an early working ...Category
1910s American Realist Figurative Prints
MaterialsDrypoint
You May Also Like
- ReflectionsBy Will BarnetLocated in Buffalo, NY“Reflection, 1971” Medium: Color serigraph Signed and titled Ed: 121/225 Sheet: 30 x 23 in. Image: 22 x 14.5 in. Condition: ExcellentCategory
1970s American Realist Figurative Prints
MaterialsLithograph, Archival Paper
- A Letter from PicassoBy George DeemLocated in San Francisco, CAThis artwork titled "A Letter from Picasso" 1974 is a color lithograph on Wove paper by noted American artist George Charles Deem, 1932-2008. It is hand signed and numbered 157/300 i...Category
Late 20th Century American Realist Figurative Prints
MaterialsLithograph
- Social Realist Lithograph Moses Soyer WPA Artist Hudled RefugeesBy Moses SoyerLocated in Surfside, FLMoses Soyer (December 25, 1899 – September 3, 1974) was an American social realist painter. Soyer was born in Borisoglebsk, Russian Empire, in 1899. His father was a Hebrew scholar, writer and teacher. His family emigrated to the United States in 1912. Two of Soyer's brothers, Raphael (his identical twin) and Isaac were also painters. Soyer's wife, Ida, was a dancer, and dancers are a recurring subject in his paintings. Soyer studied art in New York, first at Cooper Union and later at the Ferrer Art School, where he studied under the Ashcan painters Robert Henri and George Bellows. He had his first solo exhibition in 1926 and began teaching art the following year at the Contemporary Art School and The New School. He died in the Chelsea Hotel in New York while painting dancer and choreographer Phoebe Neville. He was included in the show “American Modernism – Paintings from the Dr. and Mrs. Mark S. Kauffman Collection,” along with 30 leading masters of American modernism, which captured the essence of a revolutionary era...Category
Mid-20th Century American Realist Figurative Prints
MaterialsLithograph
- Girl in Ballerina Dress (Thonet Chair) Color Lithograph, American ModernistBy Philip PearlsteinLocated in Surfside, FLGirl in Ballerina Dress, c. 1970 Color lithograph printed on wove paper, hand signed in pencil and numbered 22/75, with the inkstamp of the publisher, Landfall Press, Chicago (they have published an eclectic list of many important artists including Christo, Judy Chicago, David Levinthal and Jack tworkov to name a few.) Philip Pearlstein is an influential American painter best known for Modernist Realism nudes. Cited by critics as the preeminent figure painter of the 1960s to 2000s, he led a revival in realist art. He is a Distinguished Professor Emeritus with paintings in the collections of over 70 public art museums. Philip M. Pearlstein was born on May 24, 1924 in Pittsburgh, PA. He attended Saturday morning classes at Pittsburgh's Carnegie Museum of Art. In 1942, at the age of 18, two of his paintings won a national competition sponsored by Scholastic Magazine, and were reproduced in color in Life magazine. In 1942, he enrolled at Carnegie Institute of Technology's art school, in Pittsburgh, where he painted two portraits of his parents now held by the Carnegie Museum of Art, but after one year he was drafted by the US Army to serve during World War II. He was initially assigned to the Training Aids Unit at Camp Blanding, Florida, where he produced charts, weapon assembly diagrams and signs. In this role, he learned printmaking and the screenprinting process, and subsequently was stationed in Italy making road signs. While in Italy, he took in as much renaissance art as was accessible in Rome, Florence, Venice and Milan, and also produced numerous drawings depicting life in the Army. In 1946, sponsored by the GI Bill, he returned to Carnegie Institute, and first met Andy Warhol, who was attracted to Pearlstein because of his notoriety in the school, having been featured in Life magazine. During the summer of 1947, the three rented a barn as a summer studio. Immediately after graduating in June 1949 with a BFA, Pearlstein and Warhol moved to New York City, at first sharing an eighth-floor walkup tenement apartment on St. Mark's Place at Avenue A. He was eventually hired by Czech designer Ladislav Sutnar, mainly doing industrial catalog work, while Warhol immediately found work illustrating department store catalogs presaging Pop Art. In April 1950, they moved to 323 W. 21st Street, into an apartment rented by Franziska Marie Boas, who ran a dance class on the other side of the room. During this time, Pearlstein painted a portrait of Warhol, now held by the Whitney Museum of American Art. In 1950, Philip Pearlstein married Dorothy Cantor, with Andy Warhol in the wedding party...Category
1970s American Realist Figurative Prints
MaterialsLithograph
- Social Realist Original Lithograph Advertisement Moses SoyerBy Moses SoyerLocated in Surfside, FLMoses Soyer (December 25, 1899 – September 3, 1974) was an American social realist painter. Soyer was born in Borisoglebsk, Russian Empire, in 1899. His...Category
Mid-20th Century American Realist Figurative Prints
MaterialsLithograph
- LAST MOMENTS OF PRESIDENT LINCOLNLocated in Santa Monica, CAJ. F. BUFFORD PUBLISHER and PRINTER LAST MOMENTS OF PRESIDENT LINCOLN, April 15, 1865 Lithograph, very good impression. The 2 lower publishing lines ...Category
1860s American Realist Figurative Prints
MaterialsLithograph