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THBGrace Ravlin (American, 1873-1956) Corn Dance
Lot 177
About Seller
Hindman
1338 West Lake Street
Chicago, IL 60607
United States
Recognized as the Midwest's leading fine art auctioneers, Hindman Auctioneers has built a worldwide reputation based on a full service approach to the auction business tailored to meet the individual needs of our clients. Coming from a variety of educational backgrounds, specialists bring years of e...Read more
Live Auction in Progress ... Currently on Lot Estimate:
$10,000 - $15,000
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About Auction
Live
By Hindman
May 6, 2021
Set Reminder
2021-05-06 11:00:00
2021-05-06 11:00:00
America/New_York
Bidsquare
Bidsquare : Western Paintings and Sculpture including Contemporary Native American Art Session I
https://www.bidsquare.com/auctions/hindman-auctions/western-paintings-and-sculpture-including-contemporary-native-american-art-session-i-6774
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View Full Catalog (404)
- Lot Description
Grace Ravlin
(American, 1873-1956)
Corn Dance
oil on canvas
signed Ravlin (lower right)
27 1/2 x 36 1/2 inches
Provenance:
Estate of Richard L. JonesChristie's, Los Angeles, California, Nov. 16, 2004, Lot 63Collection of Leonard Stark, Chicago, Illinois
Grace Ravlin took one art class as an elective in high school and saw her future unroll before her like a magic carpet. She rode this carpet to the Art Institute of Chicago, then to further studies with William Merritt Chase in Philadelphia and then to Paris and Venice to complete her training. Ravlin returned to the United States, painting in the Southwest, including New Mexico, and exhibiting at the Panama-Pacific Exhibition in 1915. After a detour as a Red Cross nurse at the end of World War I, she returned to life as an artist-adventurer. Ravlin was a tireless and fearless traveler, painting in France, Holland, Belgium, Italy, Spain, Morocco, and Tunisia. In 1924, her works were exhibited alongside Robert Henri's at the prestigious Macbeth Gallery in New York. Ravlin knew many of the Taos Founders, especially Walter Ufer. In fact, Ravlin often used Ufer's Chicago studio when he was in New Mexico. Ravlin sometimes referred to herself as an "ethnographic painter," but the sensations a painting such as Corn Dance creates in the viewer, mirrors the vibrations of the dancers across the plaza. Ravlin worked in a post-impressionist mode: thick paint, rhythmic brushstrokes, and the use of color to create contour and resonance. The plaza in Corn Dance, for example, shimmers almost as if the clay were water.
-James D. Balestrieri
Property from the Collection of Leonard Stark, Chicago, IllinoisFramed dimensions: 34 1/4 x 43 1/2 inchesCondition
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