The Pool Player - George Bellows
Archival giclée
Frames arrive ready to hang
Secure checkout
Made to order
Description
A striking 1921 lithograph by George Bellows, capturing the tense atmosphere of a pool hall through dramatic light and shadow.
George Bellows, a central figure of the Ashcan School, produced this lithograph in 1921. The work captures a scene within a dimly lit pool hall, a subject that allowed the artist to explore the interplay of shadow and artificial light. Bellows was known for his interest in the gritty, everyday life of urban America, often focusing on the masculine environments of boxing rings and billiard parlours.
The composition centres on the primary figure, a man leaning over the table to take a shot. His posture is tense, reflecting the concentration required for the game. Behind him, a second figure sits in the gloom, providing a sense of depth and atmosphere. The use of lithography allows for a range of tonal values, from the deep, velvety blacks of the background to the stark white of the player's shirt sleeves. This contrast creates a dramatic effect, drawing the viewer's eye directly to the action on the green baize.
Bellows collaborated with the master printer Bolton Brown for his lithographic work, a partnership that resulted in high-quality prints with a painterly quality. The rough, gestural marks visible in the print suggest the spontaneity of a sketch, yet the final image is carefully constructed. This piece is representative of the artist's ability to elevate mundane, working-class activities into compelling visual narratives. It avoids sentimentality, opting instead for a direct, honest portrayal of the scene. The print remains a fine example of early twentieth-century American printmaking, demonstrating the technical skill and observational power that defined Bellows' career.
Return policy
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.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
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
The Pool Player - 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.
Why Choose Us ?
Damage-free delivery guarantee
Fast Shipping
Museum-Quality Materials
You May Also Like