Grace Ravlin
(American, 1873-1956)
Corn Dance
Sale 835 - Western Paintings and Sculpture including Contemporary Native American Art Session I
May 6, 2021
8:00AM MT
Live / Denver
Estimate
$10,000 -
$15,000
Sold for $6,250
Sold prices are inclusive of Buyer’s Premium
Lot Description
Grace Ravlin
(American, 1873-1956)
Corn Dance
oil on canvas
signed Ravlin (lower right)
27 1/2 x 36 1/2 inches
Property from the Collection of Leonard Stark, Chicago, Illinois
Provenance:
Estate of Richard L. Jones
Christie’s, Los Angeles, California, Nov. 16, 2004, Lot 63
Collection 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
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
Condition Report
Overall good condition. No visible damage or losses. Faint soiling throughout surface, visible primarily in upper quadrants. Canvas has been relined. One point of fluorescence, does not appear to be inpainting. Please request additional images. Framed dimensions: 34 1/4 x 43 1/2 inches
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