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Arnold Rönnebeck
1930s Black and White Lithograph of House at Gregory Point, Colorado Landscape

1937

About the Item

This original lithograph by renowned modernist Arnold Ronnebeck (1885-1947) depicts a charming home in Gregory Point, near Central City, Colorado. Created during the 1930s, this piece is part of a limited edition of 25 prints, showcasing Ronnebeck's distinctive style and mastery in capturing the Western landscape. Presented in a custom frame with archival materials, the print's outer dimensions are 23 ¼ x 18 ½ inches, with the image size measuring 19 ¼ x 13 ¼ inches. This vintage lithograph is in excellent condition and is free from any visible damage—please contact us for a detailed condition report. Provenance: Estate of Arnold Ronnebeck Shipping: Expedited and international shipping options are available—please reach out for a personalized quote. About Arnold Ronnebeck: Arnold Ronnebeck was a pioneering modernist sculptor, lithographer, and museum administrator, known for his deep involvement in European and American avant-garde circles in the early 20th century. After studying in Berlin and Paris, Ronnebeck became a key figure in the Precisionist movement, renowned for his cityscape lithographs and his powerful depictions of American landscapes. Ronnebeck settled in Denver in 1926, where he became a prominent figure in the local art scene. As the director of the Denver Art Museum from 1926 to 1930, he contributed to the development of its collection of modernist and Native American art. In addition to his work as a museum administrator, he was a professor of sculpture at the University of Denver and a respected figure in American modernist circles. His lithographs from the 1930s, including this one of Gregory Point, reflect his admiration for Colorado’s landscapes and mining towns. These prints are highly regarded for their detailed and dynamic portrayal of the Western environment. Ronnebeck’s works are housed in prominent collections such as the Smithsonian American Art Museum, Denver Art Museum, and Colorado Springs Fine Arts Center. His legacy as an artist and educator continues to influence American modernist art today. Exhibitions and Collections: Ronnebeck’s works have been exhibited at major venues such as the Whitney Museum of American Art, the Art Institute of Chicago, and the Denver Art Museum, and his pieces are held in the collections of renowned institutions like the Smithsonian American Art Museum and the Brooklyn Museum. For more information about this lithograph or Arnold Ronnebeck’s legacy, please feel free to contact us.
  • Creator:
    Arnold Rönnebeck (1885 - 1947)
  • Creation Year:
    1937
  • Dimensions:
    Height: 23.25 in (59.06 cm)Width: 18.5 in (46.99 cm)Depth: 1.5 in (3.81 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Framing:
    Frame Included
    Framing Options Available
  • Condition:
    Very good vintage condition. Detailed condition report is available upon request.
  • Gallery Location:
    Denver, CO
  • Reference Number:
    Seller: 139721stDibs: LU27310741452

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Mine Near Continental Divide, Black White Colorado Mountain Landscape Winter
By Arnold Rönnebeck
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Lithograph on paper titled 'Mine Near Continental Divide' by Arnold Ronnebeck (1885-1947) from 1933. Depicts a black and white winter scene of a mine in the mountains with snow on the rooftops and hillsides. Presented in a custom frame measuring 18 ¼ x 22 ¼ inches. Image size measures 10 ¼ x 14 ½ inches. Provenance: Estate of the Artist, Arnold Ronnebeck Expedited and international shipping is available - please contact us for a quote. About the Artist: Modernist sculptor, lithographer and museum administrator, Rönnebeck was a noted member of European and American avant-garde circles in the early twentieth century before settling in Denver, Colorado, in 1926. After studying architecture at the Royal Art School in Berlin for two years beginning in 1905, he moved to Paris in 1908 to study sculpture with Aristide Maillol and Émile-Antoine Bourdelle. While there he met and befriended American modernist painter, Marsden Hartley, of whom he sculpted a bronze head that was exhibited at the Salon d’Automne in Paris in 1912 and the following year at Hartley’s solo show of paintings at Alfred Stieglitz’s Gallery 291 in New York. A frequent guest of Gertrude Stein’s Saturday "evenings" in Paris, she described Rönnebeck as "charming and always invited to dinner," along with Pablo Picasso, Mabel Dodge (Luhan) and Charles Demuth. After the outbreak of World War I in 1914, Rönnebeck returned to Germany where he served as an officer in the German Imperial Army on the front lines. Twice wounded, including in the Battle of Marne in France, Kaiser Wilhelm II awarded him the Iron Cross. During the war Hartley fell in love with Rönnebeck’s cousin, Lieutenant Karl von Freyburg, who was killed in combat. As a tribute to Freyburg, Hartley created Portrait of a German Officer (1914) now in the Metropolitan Museum of Art in New York. After the war Rönnebeck traveled in Italy with German writer, Max Sidow, and German poet, Theodor Daubler, doing a series of drawings of Positano and the Amalfi Coast that formed the basis for his lithographs on the subject. The death of his finacée, the young American opera singer Alice Miriam in 1922 and his own family’s increasing financial problems in post-World War I Germany led him to immigrate to the United States in 1923. After living briefly with Miriam’s family in Washington, DC, he moved to New York where he became part of the avant-garde circle around Alfred Stieglitz. His essay, "Through the Eyes of a European Sculptor," appeared in the catalog for the Anderson Gallery exhibition, "Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs & Things, Recent & Never Publicly Shown, by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O’Keeffe, Alfred Stieglitz." In New York Rönnebeck began producing Precisionist-style lithographs of the city’s urban landscapes which he termed "living cubism." Some of them were reproduced in Vanity Fair magazine. Through Stieglitz he met Erhard Weyhe head of the Weyhe Gallery who, with its director Carl Zigrosser, arranged Rönnebeck’s first solo American exhibition in May 1925 at the gallery in New York. Comprising some sixty works – prints, drawings and sculpture – the show subsequently traveled on a thirteen-month tour of major American cities. Until the end of his life, the gallery represented him, along with other American artists Adolf Dehn, Wanda Gag, Rockwell Kent, J.J. Lankes, Louis Lozowick, Reginald Marsh and John Sloan. In the summer of 1925, as the guest of Mabel Dodge Luhan, Rönnebeck first saw Taos, New Mexico, which Marsden Hartley had encouraged him to visit. It was there that he met his future wife, Louise Emerson, an easel painter and muralist. A year later they were married in New York before relocating to Denver. He served as director of the Denver Art Museum from 1926 to 1930 where he invited Marsden Hartley to lecture on Cézanne’s art in 1928. Rönnebeck fostered the development of the museum’s collection of American Indian art and the curation of modernist art exhibitions. In addition to his work at the museum, he was professor of sculpture at the University of Denver’s College of Fine and Applied Arts from 1929 to 1935, and wrote a weekly art column in the Rocky Mountain News. His best known Denver sculptures from the late 1920s in bronze, copper, stone, wood and terra cotta include a reredos, The Epiphany, at St. Martin’s Chapel; The History of Money (six panels) at the Denver National Bank; The Ascension at the Church of Ascension; and the William V. Hodges Family Memorial at Fairmount Cemetery. At the same time he did a series of terra cotta relief panels for La Fonda Hotel in Santa Fe, New Mexico. In the 1930s his bas-relief aluminum friezes of stylized Pueblo and Hopi Indian Kachina masks...
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