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Arthur B. DaviesBaptism (or, Group of Ten Men – One Seated)1917
1917
About the Item
Arthur B. Davies (1862-1928), Baptism (or, Group of Ten Men – One Seated), drypoint on zinc, 1917, signed in pencil , printed in black on very thin laid paper. In very good condition, cockling top and bottom margins (result of printing process), the matrix excellent, 6 3/8 x 4 1/4, the sheet 9 1/2 x 8 1/2 inches. Reference: Czestochowski 52, second state (of 2), total printing unknown but small.
A fine rich impression of this great rarity (most of the other impressions are in museums), with substantial burr from the drypoint work, with platetone overall but carefully wiped to shed more light on the central figures.
An excellent example of Davies’s cubism, which he experimented with after the 1913 Armory Show (which he was instrumental in organizing). Here Davies begins with a characteristic composition – a complex Symbolist figural group – and re-works it in a modernist/cubist spirit. Baptism, and the few other cubist/modernist prints that Davies did at this time are important expressions of the growing American interest in modernist art; Baptism is one of his most successful achievements in this realm. After several more such works he returned to the “pre-modernist” Symbolist idiom which had earned him the esteem of his artist colleagues, and the reputation as one of the great American artists of his time.
- Creator:Arthur B. Davies (1862 - 1928, American)
- Creation Year:1917
- Medium:
- Movement & Style:
- Period:
- Condition:As described.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU51531870483
Arthur B. Davies
Born in Utica, NY in 1962, Arthur Davies sold his first sculpture — a small, detailed sailboat carved with a pocketknife — at the age of 12 for $25. After the 1913 Armory Show, Davies began to regularly cast small bronze sculptures and reliefs from wood carvings, and later from clay. These pieces were carved from life on occasion but more often from sketches. As Bennard B. Perlman notes in The Lives, Loves, and Art of Arthur B. Davies (1999), "experimentation in a three-dimensional medium was akin to his use of abstraction in painting, except that color was eliminated, allowing him to concentrate on the angular break up of shapes without the added complexity of considering hue, value, and intensity." Davies exhibited internationally, saw his work enter major public and private collections, and at the time of his death, the Metropolitan Museum of Art organized a large memorial exhibition. Today Davies’ artworks can be found in numerous public collections, including the Metropolitan Museum of Art; Museum of Fine Arts, Boston; Phillips Collection, Washington, D.C.; Art Institute of Chicago; National Gallery of Art; Philadelphia Museum of Art; and Minneapolis Institute of Arts.
(Biography provided by Driscoll Babcock Galleries)
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