Lithographic crayon and charcoal, with brush and black ink, scraping and smudging, over touches of graphite on cut and pieced cream wove papers, laid down on ivory wove paper
Signed, lower right: "—Geo Bellows—";
648 × 526 mm
Gift of Dorothy Braude Edinburg to the Harry B. and Bessie K. Braude Memorial Collection
Extended information about this artwork
L. C. Moise, “The Last Ounce,” American Magazine (Apr. 1913), p. 75 (ill.).
Charlene Stant Engel, George W. Bellows’ Illustrations for the “Masses” and Other Magazines and the Sources of His Lithographs of 1916–1917, Ph.D. thesis, University of Wisconsin-Madison, 1976, p. 130.
Jane Myers and Linda Ayres, George Bellows: The Artist and His Lithographs, 1916-1924 (Fort Worth, Tex., 1988), p. 87.
George Bellows: The Boxing Lithographs (New York, 1988), under no. 8.
Lauris Mason and Joan Ludman, The Lithographs of George Bellows: A Catalogue Raisonné (San Francisco, 1992), p. 158.
George Bellows (1882–1925): Lithographs from the Collection of Dr. and Mrs. Harold Rifkin (New York, 1999), under no. 5.
Judith A. Barter et al., “American Modernism at the Art Institute of Chicago, From World War I to 1955,” (Art Institute of Chicago/Yale University Press, 2009), cat. 15.
Philadelphia, Pennsylvania Academy of Fine Arts, “19th Annual Philadelphia Water Color Exhibition,” Nov. 6–Dec. 11, 1921, cat. 653, p. 60, as Counted Out. (It is not known whether the drawing or lithograph of this title was included in the show.).
New York, Frank Rehn Galleries, “Exhibition by George Bellows,” Jan. 2–21, 1928.
New York, Frederick Keppel and Company, “Drawings by George Bellows,” Mar. 20–Apr. 20, 1929, cat. 9, as The Last Count.
New York, Metropolitan Museum of Art, “The Lewisohn Collection,” Nov. 2–Dec. 2, 1951, cat. 100, p. 19, as The Knockout.
Waltham, MA., Dreitzer Gallery, Brandeis University, “50 Drawings by 50 Modern Masters,” Feb. 22–Apr. 5, 1970, no cat.
Boston, Institute of Contemporary Art, 1979.
Washington D.C., National Gallery of Art, “Bellows: The Boxing Pictures,” Sept. 5, 1982–Jan. 2, 1983, cat. 10, fig. 63, p. 56, as Counted Out, cat. by E.A. Carmen, Jr., et. al..
Art Institute of Chicago, “Drawn to Form: Modern Drawings from the Dorothy Braude Edinburg Collection,” June 11–Sept. 7, 1999, cat. 3.
Art Institute of Chicago, “Drawings in Dialogue: Old Master Through Modern, The Harry B. and Bessie K. Braude Memorial Collection,” June 3–July 30, 2006, p. 204, cat. 151 (ill.).
Art Institute of Chicago, “Modern in America: Works on Paper, 1900-1950s,” Jan. 30-May 3, 2010, no cat.
Estate of the artist, from 1925. Frank Rehn Galleries, New York, c. 1928. Sam A. Lewisohn (1884–1951), New York, c. 1928; by descent to his wife, Margaret Seligman Lewisohn (1895–1954), New York; by descent to her daughter, Mrs. Virginia Kahn [all provenance Washington D.C. 1982–83]. Sold by Robert M. Light, Boston, to Dorothy Braude Edinburg, Brookline, MA., June 1, 1966; given to the Art Institute, 1998.
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