Arnold Ronnebeck Art
1885-1947
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.
After World War I 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.
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.
In Colorado, the subject matter of his lithographs became the state’s landscape and its mining towns, as well as Native Americans from the pueblos in neighboring New Mexico. By the early 1930s Colorado’s old mining towns became a popular genre for artists because they were easily accessible, and their architectural components provided a welcome break from the nineteenth-century panoramic landscape tradition and the overwrought cowboy-and-Indian subject matter of the previous generation. As an amateur actor and music enthusiast, Rönnebeck had an additional connection with Central City.
In June 1947, some five months before his death, the Denver Art Museum organized a solo exhibition of his sculptures, watercolors and prints.
© copyright Stan Cuba for David Cook Galleriesto
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Artist: Arnold Ronnebeck
1930s Black & White Print of Grand Lake Yacht Races in Colorado Mountain Lake
By Arnold Rönnebeck
Located in Denver, CO
This vintage 1930s black and white lithograph by Arnold Ronnebeck (1885-1947), a prominent Colorado artist from the WPA era, beautifully captures the Grand Lake...
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1930s American Modern Arnold Ronnebeck Art
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Lithograph
Mine Near Continental Divide – 1930s Winter Landscape of Colorado Mountains
By Arnold Rönnebeck
Located in Denver, CO
This rare 1933 lithograph by renowned modernist artist Arnold Rönnebeck captures a dramatic black-and-white winter scene of a Colorado mountain mine, blanketed in snow. The bold cont...
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1930s American Modern Arnold Ronnebeck Art
Materials
Lithograph
"Two Seas and a Moon" Surrealism American Scene WWII Modern WWI Denver WPA Era
By Arnold Rönnebeck
Located in New York, NY
"Two Seas and a Moon" Surrealism American Scene WWII Modern WWI Denver WPA Era
Arnold Ronnebeck (1885 - 1947)
Two Seas and a Moon
30 x 22 1/2 inches
Oil on Canvas, c. 1943
Signed u...
Category
1940s Surrealist Arnold Ronnebeck Art
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1930s Black and White Lithograph of House at Gregory Point, Colorado Landscape
By Arnold Rönnebeck
Located in Denver, CO
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 piec...
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1930s American Modern Arnold Ronnebeck Art
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Paper, Lithograph
1933 Black & White Lithograph of Yacht Races on Grand Lake, Colorado, Sailboats
By Arnold Rönnebeck
Located in Denver, CO
A rare and striking original 1933 black and white lithograph by noted modernist Arnold Rönnebeck (1885–1947), titled Yacht Races, Grand Lake, Colorado. This limited-edition coastal a...
Category
1930s American Modern Arnold Ronnebeck Art
Materials
Lithograph
Silver Mine, Russell Gulch, CO (12/25) 1930s American Modern Lithograph Print
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Located in Denver, CO
"Silver Mine, Russell Gulch (12/25)" is a captivating black and white lithograph by American artist Arnold Ronnebeck. The piece features a mining scene in Russell Gulch, Colorado, wi...
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1930s American Modern Arnold Ronnebeck Art
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WPA-Era Central City, Colorado, 1930s Modernist Lithograph, Cityscape 3/25
By Arnold Rönnebeck
Located in Denver, CO
This 1933 lithograph, Central City, Colorado 3/25, by Arnold Rönnebeck, captures the architectural essence of a historic mining town during the Great Depression. Rendered in black an...
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1930s American Modern Arnold Ronnebeck Art
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Arnold Rönnebeck Graphite on Paper Drawing, "I’m a Little Blackbird", ca. 1924
By Arnold Rönnebeck
Located in New York, NY
Arnold Rönnebeck, 1885 – 1947
I’m a Little Blackbird..., c. 1924
Graphite on paper
Estate stamp
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Columbus Circle
By Arnold Rönnebeck
Located in Santa Monica, CA
ARNOLD RONNEBECK (1885 – 1947)
COLUMBUS CIRCLE ca. 1929
Lithograph, edition probably 50. Signed and titled in pencil, 12 ½” x 8 ¼” In very good condit...
Category
1920s American Modern Arnold Ronnebeck Art
Materials
Lithograph
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Framed 1930s Signed Lithograph 'Plains Indians' (6/75) by Arnold Ronnebeck
By Arnold Rönnebeck
Located in Denver, CO
Original lithograph by Arnold Ronnebeck (1885-1947) titled 'Plains Indians' (6-75) created in 1931. Features two figures on horseback in black and white, signed, dated, titled and numbered in lower margin. Presented in a custom frame with all archival materials measuring 24 1⁄4 x 19 1⁄2 x 1⁄2 inches.
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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.
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By Arnold Rönnebeck
Located in Denver, CO
Lithograph on paper titled 'Colorado Gold Dredge, Breckenridge' by Arnold Ronnebeck (1885-1947) from 1932. Numbered 15/25. Depicted is a gold dredge in Colorado mining town Breckenridge with a mountain landscape in the background. Presented in a custom frame measuring 17 ¼ x 21 ¼ inches. Image size measures 10 ¼ x 14 ¼ inches.
Print is clean and in very good vintage condition - please contact us for a detailed condition report.
Provenance: Estate of 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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1930s American Modern Arnold Ronnebeck Art
Materials
Paper, Lithograph
H 17.25 in W 21.25 in D 0.75 in
Bucking Bronco, Original Sketch of Horse and Cowboy, Modernist Framed Drawing
By Arnold Rönnebeck
Located in Denver, CO
Graphite on paper drawing by Arnold Ronnebeck of a bucking bronco and cowboy, signed by the artist in the lower right corner. Presented in a custom black frame, outer dimensions measure 22 ⅜ x 18 ⅜ x ¾ inches. Image sight size is 10 ½ x 8 ¾ inches.
Drawing is clean and in very good vintage condition - please contact us for a detailed condition report.
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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20th Century American Modern Arnold Ronnebeck Art
Materials
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H 22.5 in W 18.5 in D 0.75 in
Summer Afternoon, Taos, New Mexico, 1920s Modern Watercolor Mountain Landscape
By Arnold Rönnebeck
Located in Denver, CO
Watercolor on paper. Image size is 7 ¾ x 10 ¼ inches, dimensions with mat measure 16 ¼ x 18 ¼ inches. This piece is unframed, housed in an archival mat. Framed pictures are mock-ups and custom framing options are available.
Painting is clean and in very good vintage condition - please contact us for a complete condition report.
Expedited and international shipping is available - please contact us for a quote.
Provenance: Estate of Arnold Ronnebeck
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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Mine Near Contintental Divide, Colorado, 1930s Black & White Original Lithograph
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Casa Luhan, Adobe Home of Mabel Dodge Luhan, Taos, New Mexico, Landscape
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Casa Luhan (Home of Mabel Dodge Luhan, Taos, New Mexico) vintage 1925 modernist original drawing by Arnold Ronnebeck (1885-1947), southwestern landsc...
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1920s American Modern Arnold Ronnebeck Art
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Grand Lake (Yacht Races, Colorado)
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1930s American Modern Arnold Ronnebeck Art
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Yacht Races (Grand Lake, Colorado)
By Arnold Rönnebeck
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Arnold Ronnebeck (1890-1983)
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Edition 25. Signed, titled and numbered in pencil.
Image size 13 ...
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1930s American Modern Arnold Ronnebeck Art
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Lithograph
Grand Lake (Colorado)
By Arnold Rönnebeck
Located in Denver, CO
Sailboats on Colorado's Grand Lake. Created in 1932, this is number 8 in an edition of only 25 prints. Custom frame with all archival materials; framed di...
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1930s American Modern Arnold Ronnebeck Art
Materials
Etching
Arnold Ronnebeck art for sale on 1stDibs.
Find a wide variety of authentic Arnold Ronnebeck art available for sale on 1stDibs. You can also browse by medium to find art by Arnold Ronnebeck in lithograph, paper, graphite and more. Much of the original work by this artist or collective was created during the 20th century and is mostly associated with the modern style. Not every interior allows for large Arnold Ronnebeck art, so small editions measuring 8 inches across are available. Customers who are interested in this artist might also find the work of Paul Landacre, Lawrence Wilbur, and Rockwell Kent. Arnold Ronnebeck art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $1,225 and tops out at $28,000, while the average work can sell for $2,515.