George Wesley Bellows Art

Standing Female Nude Graphite on wove paper, c. 1915 Signed by the artist's daughter, Jean Bellows Booth (JBB) (see photo) Provenance: Estate of the artist H. V. Allison Galleries (#94 on partial label), agent for Bellows Trust Ronald Sloter, Columbus, OH, noted collector Columbus College of Art and Design Biography George Wesley Bellows grew up in Columbus, Ohio, the son of a devout and solidly Midwestern building contractor, and a mother who hoped that her son would become a Methodist Bishop. He always felt deeply ambivalent about his father, noting at the time of his death that, "He was a wonderfully fine man, yet being fifty-five when I appeared, his point of view, his character even, belonged to so remote a past that I look upon many of his ideas to this day with amazement and sorrow." Teased as a sissy by his classmates, George Bellows quickly learned to defend himself with his fists, and compensated for his gangling awkwardness by becoming an outstanding athlete, particularly in baseball. His love of drawing was kindled early since he was forbidden to play outside on Sundays but allowed to draw while his mother read aloud from the Bible. At Ohio State University, George Bellows proved a spirited extrovert, excelling in baseball as well as in the new sport of basketball, singing in theatricals, and producing drawings of Gibson-like girls for the university's magazine. Bellows's athletic prowess almost diverted him from a career in art, but in 1904 he decided to turn down a professional baseball contact and move to New York City to study painting. The sprawling, teaming city of New York was a revelation to him after the neat lawns and tidy homes of Columbus. There he quickly fell under the spell of the charismatic teacher Robert Henri, who introduced him to Shaw, Ibsen and socialism, and inspired him to shift from drawing Gibson Girls to painting the life of the streets. Bellows was still a relative newcomer to New York when Henri and his followers staged their famous exhibition of "The Eight" at the Macbeth Gallery, and consequently he was not included. But in spirit his work belongs with that display - perhaps someday Henri’s group will be rechristened "The Nine" to pay tribute to the fact that George Bellows was the painter whose work best expresses the goals of the group. In 1906 Bellows painted his first masterpiece, "The Cross-Eyed Boy." He followed with several other equally memorable likenesses of street urchins, and then expanded his vision with a series of masterful urban scenes that record such subjects as boys swimming...

Emma and Marjorie on a Sofa Lithograph printed on chine paper, 1921 Signed by the artist lower right (see photo) Signed by the printer Bolton Brown lower left (see photo) Edition: 44...

Hungry Dogs, Second State Lithograph, 1916 Considered to be the artist's first lithograph Signed, titled and numbered in pencil by the artist (see photo) Titled "Hungry Dogs" by the artist in pencil (see photo) Edition: at least 41 impressions, this "No. 14" Reference: Masson 1B ii/II Condition: Printer's ink in margins, otherwise very good condition. Note: The artist's first lithograph. The "Ash Can School" is derived from this image and its' depiction of an ash can in the lower left of the composition. A very important American 20th Century print. This image gave rise to the naming of the most important American style of painting in the first quarter of the 20th century. Provenance: Estate of the artist H. V. Allison & Co., New York (Bellows estate dealer) Private Collection, Columbus, Ohio (Bellows city of birth) From 2001 to 2018, Thomas French Fine Art was the exclusive agent for the Bellows Family Trust. Thomas French Fine Art and The Bellows Trust hold a large inventory of original lithographs and drawings created by George Wesley Bellows that were left in the artist’s studio at the time of his unexpected early death. All of George Bellows’ original lithographs were printed by the artist or under his direct supervision. There are no posthumous impressions of any of George Bellows’ lithographs...

Bellows, George (American 1882-1925). BETWEEN ROUNDS NO.1 (LARGE). Mason 25, Bellows 52. Lithograph, 1916. Edition of 58, this signed by Jean Bellows Beeth, the artist's daughter, a...

Bellows, George. ARTIST'S EVENING (AT PETIPAS). M.19. Lithograph, 1916. Edition of 65. A lifetime impression, signed by the artist in pencil and numbered "57." Printed on thin Japane...

Signed and titled by the artist Signed lower left by the printer, Bolton Brown Edition 42 Printed on fine chine paper, mounted to paper board, most probably by the artist’s first print dealer, Frederick Keppel & Company, in the mid 1920’s. This is consistent with other similar mounted examples in the estate of the artist. The Keppel firm was active from 1868 to 1941, when Harry V. Allison started his own gallery, H. V. Allison Gallery...

George Bellows (1882-1925), The Black Hat (Emma in a Black Hat), lithograph, 1921. Reference: Morse 113. From the edition of 55. Signed in pencil by the arti...

Mason 24. 15 7/8 x 19 5/8 (sheet 23 x 27 1/4). Edition 67, #2. A rich impression printed on white wove paper paper, with full margins. Provenance: ACA Galleries, private New York collection. This is a fine lifetime impression. Signed, numbered and titled in pencil by the artist. In this early impression, there are four spotlights in the top of the image. The three in the right were eliminated in subsequent impressions. ----------------------------------------------------------------------------------------- Bellows...

Medium: Lithograph on paper Signed and titled in pencil from the edition of 11

Signed by the artist and his printer Bolton Brown Edition: 72 Provenance: H.V. Allison & Co., Inc., New York (label) References And Exhibitions: This nostalgic scene o...

Signed by the artist and his printer Bolton Brown Edition: 53 Provenance: H.V. Allison & Co., Inc., New York (label) References: Lauris Ma...

Signed by the artist lower right "G.B." Preliminary drawing for the frontispiece illustration of The Wind Bloweth by Donn Byrne Exhibited: Gallery of Modern Art, 1966 A C...