Provenance

H. V. Allison & Co.

Explore Selected Works

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George Bellows, Dempsey and Firpo, 1923-1924, lithograph in black on wove paper, Andrew W. Mellon Fund, 1956.6.5

Dempsey and Firpo

George Bellows · 1923-1924 · lithograph in black on wove paper ·  Accession ID  1956.6.5

George Bellows, Introductions, 1921, lithograph in black, Andrew W. Mellon Fund, 1956.6.10

Introductions

George Bellows · 1921 · lithograph in black ·  Accession ID  1956.6.10

Two muscular men compete in a boxing ring as a crowd looks on from the shadows in this black and white, nearly square lithograph. The fighter on our left stands upright with both arms raised as he tilts his hips backward. The fighter on our right crouches and lunges at his opponent with one arm fully extended toward the first man’s stomach. Both men wear tank tops, shorts, laced shoes, and boxing gloves. The man on our left has dark clothing while the man on our right is brighter. An older, stout man stands with his arms crossed, watching the action from under his eyebrows just on the other side of the boxing ring ropes. The crowd filling the background is nearly lost in shadow but some leering faces emerge from the dark.
George Bellows, Willard in Training Quarters, 1916, lithograph in black, Andrew W. Mellon Fund, 1956.6.15

Willard in Training Quarters

George Bellows · 1916 · lithograph in black ·  Accession ID  1956.6.15

Mary Cassatt, Kneeling in an Armchair, c. 1903, drypoint in black blue-green laid paper, Corcoran Collection (Museum Purchase, Mary E. Maxwell Fund), 2014.136.189

Kneeling in an Armchair

Mary Cassatt · c. 1903 · drypoint in black blue-green laid paper ·  Accession ID  2014.136.189

From under an elevated train track, we look at a cluster of people hammering and working on the far side of a wooden fence, all against a silvery-blue building that fills most of the background in this horizontal painting. The scene is loosely painted mostly in tones of hazy and saturated blues, so many of the details are indistinct. About a quarter of the way in from the right edge of the composition, a thin iron column holds up the train platform. The column nearly spans the height of the painting, and the track it supports runs across the top edge of the canvas. At the foot of the column, along the bottom edge, are two parallel tracks embedded in an area otherwise painted with short, diagonal strokes in topaz blue, olive green, and straw yellow. Just beyond the tracks, the split-rail wooden fence runs across most of the painting, though there is an opening at the left edge of the canvas. A man sits with his back to us on the railing to our right of center. He wears a dark cap, a lapis-blue shirt, and navy-blue pants. Several men work on or near a mound-shaped form, perhaps a piece of machinery, just beyond the fence, near the center of the painting. One man holds a hammer high overhead while another reaches down or strikes the mound with his feet planted wide. More people work together to our left, and a man to our right stands near a crane. The people and these areas are painted with broad strokes and touches of cobalt blue, charcoal gray, khaki brown, and a few swipes of shell pink and bright white. A puff of white smoke billows up behind the central group, before the land drops precipitously away. The chasm is painted with shimmering tones of aquamarine and cerulean blue. A sky-blue, rectangular building perches at the far edge. A few windows are outlined in royal blue to our left but the rest of the building is loosely painted with long, vertical strokes so no architectural details can be made out. Behind this structure are more city buildings, suggested with strokes of muted rust red, parchment and bright white, and cobalt blue. The ice-blue sky fills the band between the top of the buildings and the train track running overhead. The artist signed his name near the lower left corner, “BELLOWS.”
George Bellows, Blue Morning, 1909, oil on canvas, Chester Dale Collection, 1963.10.82

Blue Morning

George Bellows · 1909 · oil on canvas ·  Accession ID  1963.10.82

George Bellows, A Knockout, 1921, lithograph in black, Andrew W. Mellon Fund, 1956.6.11

A Knockout

George Bellows · 1921 · lithograph in black ·  Accession ID  1956.6.11

George Bellows, Anne with a Japanese Parasol, 1917, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1983.1.1

Anne with a Japanese Parasol

George Bellows · 1917 · oil on canvas ·  Accession ID  1983.1.1

A six-story, narrow building stands alone in an otherwise unoccupied lot under the deck of a high bridge, with a river and cityscape in the background in this horizontal painting. Dozens of people, small in scale, are each painted with a few swipes of black and some with peach-colored faces. They gather at the foot of the building and around a fire to our left, near the lower left corner of the composition. The fire is painted with a dash of orange, a few touches of canary yellow, and a smudge of gray smoke. Several more people stand and sit against the building, which has a streetlamp near its entrance. The back end of the building angles away from us to our right, so we see the narrow, front entrance side to our left. Each of the six floors of the building has two windows with fire escape ladders on the narrow side we can see. Some strokes in red and white on the lower levels of the long, flat side of the building suggest signs or posters. The top story glows a warm sienna brown in sunlight, while the rest of the building and the scene below are in shadow. More people walk along a grayish-violet fence that encloses the lot beyond the building. The ground is painted thickly with slate gray, pale, sage green, and one smear of white to suggest snow. To our right and a short distance from us, a white horse pulls a carriage near the foot of the bridge. The ivory-white, concrete piling rises up and off the right edge of the canvas and supports the deck of the bridge above. Only a sliver of the brick-red underside of the bridge is visible, skimming the top edge of the painting in the upper right corner. Two twiggy, barren trees grow up beyond the muted purple fence, and the landscape beyond is bright in the sunlight. A terracotta-orange building rises along the left edge of the painting, with the area between it and the lot under the bridge filled with thickly painted patches of butter yellow, amethyst purple, and sage green. Beyond that, an ice-blue river flows across the composition. The shore beyond is lined with patches of beige and tan paint that could be buildings. A black tugboat puffs bright white smoke in the river. The sky above is frosty white. The artist signed the work with dark blue in the lower left corner of the painting, “Geo Bellows.”
George Bellows, The Lone Tenement, 1909, oil on canvas, Chester Dale Collection, 1963.10.83

The Lone Tenement

George Bellows · 1909 · oil on canvas ·  Accession ID  1963.10.83

George Bellows, Introducing the Champion, 1916, lithograph in black, Andrew W. Mellon Fund, 1956.6.9

Introducing the Champion

George Bellows · 1916 · lithograph in black ·  Accession ID  1956.6.9

Shown from the knees up, a woman sits partially covered by a black cloth as she holds one forearm across her bare breasts in this vertical painting. The woman has pale, yellow-tinged skin and long, copper-red hair and bangs. Her body faces us, but she turns her head to look off to our right with large blue, wide-set eyes. Her cheeks are flushed, and her full, dark pink lips are closed. A strand of gradually larger amber-yellow beads hangs around her neck, and she wears a gold-colored bracelet on the arm braced across her chest, her left arm, to our right. Glimpses of pale pink nipples are visible. The voluminous black cloth drapes down over one shoulder and across her hips. She wears a ring on the other hand, which emerges from the cloth to rest on that knee. Piles of garnet red, peridot green, and forest green are piled up to chest height behind her, and the background is nickel gray around her body and darkens to black around the top and side edges. The scene is loosely painted, especially in the fabric and background. The artist signed the canvas in the lower left corner, “Geo. Bellows E.S.B.”
George Bellows, Nude with Red Hair, 1920, oil on canvas, Chester Dale Collection, 1963.10.84

Nude with Red Hair

George Bellows · 1920 · oil on canvas ·  Accession ID  1963.10.84