New Society Dinner Card - George Bellows
Archival giclée
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Description
A striking lithograph by George Bellows featuring a classical mythological scene, originally designed as a dinner card for the New Society of Artists.
This lithograph by George Bellows, known as the New Society Dinner Card, demonstrates the artist's facility with graphic media. Bellows, a central figure in early twentieth-century American art, often turned to lithography to explore themes beyond his typical urban realism. Here, he adopts a classical subject, depicting a winged figure alongside Pegasus. The composition is framed by a tree, which provides a vertical anchor for the scene. The figure holds a chalice aloft, creating a sense of celebration or ritual.
Bellows employs a range of tonal values to define the musculature of the central figure and the texture of the horse. The background remains relatively sparse, allowing the focus to rest on the interaction between the human form and the mythical creature. The mark-making is energetic, reflecting the artist's background in painting and his direct approach to the stone.
This work was produced for the New Society of Artists, an organisation Bellows helped establish in 1918 to provide an alternative to the conservative exhibition standards of the time. The choice of a classical motif for a dinner card suggests a playful engagement with high culture, contrasting with the gritty subjects often associated with the Ashcan School. The print captures a moment of imaginative freedom, showcasing Bellows' ability to translate classical mythology into a modern graphic language. The contrast between the dark, silhouetted tree and the lighter, more modelled figures creates a clear visual hierarchy. This piece offers a glimpse into the social and artistic circles of New York during the post-war period, where artists frequently blended traditional iconography with contemporary graphic design.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
New Society Dinner Card - George Bellows
Artist Biography
George Bellows
He painted boxing matches at Tom Sharkey's saloon, an illegal club near the Brooklyn waterfront where bare-knuckle fights happened in a back room. Stag at Sharkey's, painted in 1909 when he was twenty-six, shows two fighters locked together under electric light, the crowd surging at the edges of the canvas. The paint is applied with a violence that matches the subject.
He was the youngest artist associated with the Ashcan School and the boldest. While other members painted park benches and tenement laundry lines, Bellows painted excavation sites, shipyards, snow-covered lots, and river swimmers. The compositions are physically large, thickly painted, and arranged with an energy that makes the viewer feel as though the scene is still happening.
He worked as a newspaper sports illustrator to pay the bills, and the events he covered became paintings. In 1923 he was at the Polo Grounds on assignment for the New York Evening Journal when Luis Firpo knocked Jack Dempsey out of the ring and nearly into his lap. The painting he made of the moment reversed the punch to a left hook because the composition worked better that way. Accuracy was less important than impact.
He died of a ruptured appendix in 1925, at forty-two.
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