Frankie, The Organ Boy, 1907, oil on canvas, 48-1/4" x 34-1/4" framed by Gill & Lagodich for the Nelson-Atkins Museum of Art; period c. 1900 American Roman-gilded Whistler-style frame, molding width 5”. “In Frankie, the Organ Boy, George Bellows painted a young sitter who hailed from the sordid streets of lower Manhattan. Committed to portraying the dynamic and rough aspects of urban American life, the artist likely recruited Frankie from the neighborhood around Bellows' Broadway studio. Painted on a large scale and dressed in a suit, Frankie appears out of the inky-black background like a youthful, energetic monarch perched on a modest throne. Even so, his gangly awkwardness prevails. Bellows included a round, nickel-plated badge on his lapel, the sign of a youth who has a work permit, most likely selling newspapers, which was a common "profession" for working-class boys around the turn of the century.” —museum gallery label. Painting purchase: acquired through the bequest of Ben and Clara Shlyen.

Pueblo Tesuque, No. 2, 1917, oil on canvas mounted on plywood, 34-5/8" x 44-5/8" Framed by Gill & Lagodich for the Nelson-Atkins Museum of Art, c. 1915-20 American Arts and Crafts frame, metal-gilded hand-carved wood. Painting, Gift of Julia and Humbert Tinsman.

The Fisherman, 1917, oil on canvas, 30-1/8” x 44”. Framed by Gill & Lagodich for the Amon Carter Museum of American Art. Period Frame, c. 1910-20 American Arts and Crafts painting frame, metal-gilded hand-carved wood, molding width 5-1/4” “As one of the artist’s last masterworks of the sea, this painting represents Bellows’ passion for fishing as a physical and spiritual sport. Created during a trip to Carmel, California, the artist suggests the timeless struggle between man and nature through the lone fisherman casting his line into the powerful surf at Point Lobos. The artist’s exuberant brushstrokes and brilliant palette amplify the contrasting motions of the ocean and angler. Bellows probably modeled the fisherman after himself. As a solitary figure trying to maneuver his fishing pole against the crashing waves, he is a metaphor for the artist, who considered the sea one of the most challenging themes to capture on canvas.” —Amon Carter Museum, permanent collection label.