Footnotes

Provenance
The artist.
Mr. Burton S. Boundey, the sitter, gift of the above, circa 1909-10.
Mrs. Laticia Boundey, wife of the above, by descent, 1962.
Mr. Kent L. Seavey, Director, Carmel Museum of Art, California, circa 1967.
Mr. Peter Homitzky, New York, acquired from the above, 1969.
Schneider Galleries, Mineola, New York, 1970.
Mr. and Mrs. Irving and Yetta Kligfield, New York, acquired from the above, 1970.
By descent to the present owner, 1995.

This work is to be included in the forthcoming catalogue raisonné of paintings by George Bellows being prepared by Glenn C. Peck. An online version of the catalogue is available at www.hvallison.com.

Originally from Columbus, Ohio, George Bellows came to New York in 1904 with aspirations of pursuing a career as a commercial illustrator before he met Robert Henri (1865-1929) at the New York School of Art. It didn't take long for Bellows to become absorbed by Henri's "new vision of the art world," changing his notions about what his future might hold and consider himself a loyal student and follower of the vibrant leader. Eugene Speicher, an artist and fellow student at the New York School of Art, remembered the influence that Henri had on Bellows: "Robert Henri, a great teacher and animator, was the ideal man for him to come in contact with at that particular time, and Henri soon saw Bellows' potentialities. Bellows, on the other hand, confident of his own abilities, was encouraged by Henri to be himself and to paint his own observations and impressions of the world around him. He soon had unbounded admiration for Henri, the man, and Henri, the teacher, and commenced to produce those vital and original canvases which were to make their quick mark on the American art world." (as quoted in C. Brock, ed., George Bellows, Washington, D.C., 2012, p. 45)

Bellows was not alone in his pursuit of greatness; Henri's evening art classes were frequented by a number of progressive and aspiring young artists, including Burton Boundey, a Wisconsin-born painter and muralist who moved to New York around 1909 to 1910 and the sitter for the present work. It was there, in those men's night classes, where the present painting of Boundey was rendered by Henri's star pupil and substitute instructor George Bellows. In Portrait of Burton Boundey, Bellows demonstrated all of the techniques of the successful Ashcan movement including a quickness of technique, broad strokes of dark color and the honest replication of the sitter's character. Bellows offers Boundey a certain prestige, evident in his defined forehead and strong facial features, further enhanced by his bowtie, observing his profession he illustrates what is presumably an artist's smock over the sitter's suit jacket. One can envision the quickness and ease with which Bellows would have applied the pigment to an academy board as a matter of example for the class under his instruction. The strokes are purposeful and yet unplanned, smooth and uneven, dark and full of light. The contrasts present in the subject lot are indicative of the Ashcan movement and among the greatest characteristics of this art historical period. While the urban poor became the subject matter of choice, the scenes which had a more light hearted undertone tended to be the most successful.

After 1905, Bellows began to focus more actively on portraiture, which places the present work, Portrait of Burton Boundey, among the artist's earliest efforts of this type. The reverse of the work tells the story of its provenance, inscribed by the sitter: '"Unfinished Portrait Sketch" / painted for me by / George Bellows. / at the / Robert Henri School of Art, / winter of 1909-10 NYork. / Burton S. Boundey.' This painting remained in the family of the sitter for at least fifty years before exchanging hands. It's of no surprise that Boundey, who could be characterized as a serious fellow who vigorously pursued his dream of becoming an artist, would have been quite proud of this token from the more established Bellows.

In 1927, Boundey moved to Monterey, California, where he built a studio on Munras which became known for its allure as a gathering spot for other artists. He went on to teach at the Carmel Art Association where he was a founding member and served as its president.