M. FORD CREECH ANTIQUES

 

ARTHUR BOWEN DAVIES

 American, 1862-1928 (New York)

 

''Dancing Nymphs in the Woods''

Oil on Canvasboard,

Signed l.l. A.B. Davies, also inscribed and titled verso

Museums: (101) including The Metropolitan Museum; Art Institute of Chicago; San Francisco Art Institute; Corcoran Gallery of Art;

Musees Nationaux Paris, Museum of Fine Arts, Boston, The Museum of Modern Art; National Gallery of Art

 

Periodicals: (7), including

American Art Review (5), Art in American, California Art Club

 

Books: (274) including Arthur B. Davies, Williams, Dwight et al;

Arthur B. Davies 1862-1928,A Centennial Exhibition; Pach, Walter/Harris K Prior; Arthur B. Davies, Cortissoz, Royal;

Perlman, Bennard B, The Lives, Loves and Art Of Arthur B Davies

 

Image size: 8.5” x 11''

 

 SOLD

 

#5578

 

 

oTHER pAINTINGS BY arthur bowen davies:

 

"LANDSCAPE"

 

 

 

 

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DAVIES, Arthur Bowen (1862-1928)

 

Birth place: Utica, NY

 

Death place: Florence, Italy

 

Addresses: NYC/Rockland County, NY; Mexico, 1880; California, 1905

 

Profession: Painter

 

Studied: D. Williams, in Utica, at age 15; Art Institute of Chicago, with C. Corwin, 1878; Arts Students League, 1887.

 

Exhibited: Pennsylvania Academy of Fine Art, 1893-1921, 1927-29; National Academy of Design, 1893-99; Boston Arts Club,

1894-96; Pan-Am. Expo, Buffalo, 1901 (medal); Corcoran Gallery, 1907-28 (prize, 1916), 1957; Newport Art Museum, 1912

(inaugural); Armory Show, 1913; Carnegie Institute, 1913 (prize); Harbor Galley, NYC (exhibition of prints), 1972; Babcock Gallery,

NYC, 1998 (solo); Salons of America Member: National Academy; NY Watercolor Club; Association of Painters & Sculptors;

Mural Painters Work: Metropolitan Museum of Art; Art Institute of Chicago; Minneapolis Institute of Art; San Francisco Art Institute;

Brooklyn Institute Museum; Rhode Island School of Design; Butler Art Institute; Corcoran Gallery of Art; Baltimore Museum of Art

(and many others)

 

Comments: An important but enigmatic modernist whose art was poetic, mysterious, and visionary. His media ranged from

sculptured wood, ivory, marble, wax, to lithograph and etchings, from water color to oil, from enamel and glass to Gobelin tapestry and

rugs of fine weave. His subjects often include female nudes dancing in landscapes. He painted only two women: his mistress (1903-13) and

a model, Wreath McIntyre (1914-28). Although he avoided all social activities, he served as president of Society of Independent Artists and

was active in arranging the famous Armory Show of 1913. Macbeth Galleries (NYC) was his dealer. He managed to conceal until his death

that he led a double life, with one family in Manhattan and the other in Rockland County. He died of a heart attack while on a trip to Florence

with his mistress and daughter.

 

Sources: Brown, The Story of the Armory Show; Baigell, Dictionary; Falk, Exh. Record Series; P & H Samuels, 125;

Bennard Perlman, A Model's Tale, Art & Antiques, p.82

 

This biography is drawn from Who Was Who in American Art, the reference book on the cultural life in the United States.

 

Books (274) including:

 

Perlman, Bennard B, The Lives, Loves and Art Of Arthur B Davies

Salinger, Margaretta, Masterpieces of American Painting in The Metropolitan Museum of Art

Sims, Lowery Stokes, The Figure in 20th Century American Art in Metropolitan Museum of Art

Gerdts, William H, Tonalism - An American Experience

Williams, Dwight et al, Arthur B Davies, Essays on His Art

Young, Mahonri, Sharp, The Eight - The Realist Revolt in American Painting

Los Angeles County Museum, American Paintings from the Metropolitan Museum of Art

Pach, Walter/Harris K Prior, Arthur B Davies 1862-1928, A Centenial Exhibition

Cortissoz, Royal, Arthur B Davies 

 

Periodicals:

 

American Art Review, 2003, December, American Modernism from the Kauffman;

Art in America, 2003, November, Patrons - A Noble Legacy,

California Art Club Newsletter, 2002, February, The National Arts Club;

American Art Review, 2000, August, The Eight in Southern Collections;

American Art Review, 1998,  June, Masterworks/Munson-Williams-Proctor;

American Art Review, 1997, December, Two Centuries of American Drawing;

American Art Review, 1996, May, The Independents/The Ashcan School

 

 

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