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'Splender in the Chateau' - 'Church Village'

We highlight this because we think this is a significant painting by an important, but somewhat overlooked artist. A great addition to a collection of American Paintings.

'Splender in the Chateau' - 'Church Village'

Arthur Bowen Davies

USA 1862-1928
oil on canvas 21x26 + frame
Nymphs in a landscape

Has label from Mortimer Brandt Gallery 57th St. NYC  (1937-69). It relates to 'Church Village,' illustrated in Arthur B. Davies: Essays on His Art with Illustrations, p. 97. That smaller painting (18" x 24") resembles the rougher sketch sold at Skinner's for $2091 in May 2014. We believe that this painting is Davies final version. The palette, detail, and more vertical format give greater prominence to the sky.

It reportedly comes from a New York State estate.

From AskArt:
Arthur Bowen Davies, the fourth of five children, was born in Utica, New York.  His first formal art training was at the Art Institute of Chicago in the early 1880s.  By the end of the decade, Davies moved to New York City and began exhibiting his artwork.

He was one of eight artists included in the landmark exhibition at the Macbeth Gallery in 1908.  The show was meant as a protest to the conservative tastes of the National Academy of Design.  Many of the artists of The Eight, a term later used for them, followed the Ashcan School aesthetic of Robert Henri.

The paintings of Davies, however, lack an interest in coarse realism.  According to Brian Paul Clamp, "Davies's scenes are of the imagination.  Nymphs and fairies frolic in pastoral landscapes which resonate with allegorical and mythic overtones."

Though Davies's work is not well understood today, he was certainly well respected and widely collected in his own day.  His contribution to the promotion of progressive American art must be noted.  Aside from his participation in the organization of The Eight exhibition, he was the primary creative and administrative force behind the pivotal Armory Show of 1913, which first brought the full force of Modernism to the United States.  Davies's involvement with the Modern artists is reflected in his production of cubist-inspired works during the period.

His work is represented in over 100 museums including: Addison Gallery of American Art; Allen Memorial Art Museum; Arizona State University Art Museum; Arnot Art Museum; Art Institute of Chicago; Ball State University Museum of Art; Boca Raton Museum of Art; Brandywine River Museum; Butler Institute of American Art; Cantor Arts Center, Stanford; Carnegie Museums of Pittsburgh/Carnegie ; Cheekwood Museum of Art & Botanical Garden; Chrysler Museum of Art; Cincinnati Art Museum; Colby College Museum of Art; Colorado Historical Society; Crocker Art Museum; Delaware Art Museum; Denver Art Museum; Everson Museum Of Art; Flint Institute of Arts; Frederick R Weisman Art Museum; George Walter Vincent Smith Museum; Georgia Museum of Art; Herbert F Johnson Museum of Art; High Museum of Art; Hirshhorn Museum and Sculpture Garden; Hunter Museum of American Art; Indianapolis Museum of Art;  Jack S Blanton Museum of Art; Joslyn Art Museum; LaSalle University Art Museum; Los Angeles County Museum of Art; Lyman Allyn Museum; Maier Museum of Art; Marion Koogler McNay Art Museum; Marion Koogler McNay Art Museum; Mead Art Museum; Memorial Art Gallery; Memphis Brooks Museum of Art; Metropolitan Museum of Art; Michael C Carlos Museum; Michelson Museum of Art; Middlebury College Museum of Art; Minneapolis Institute of Arts; Minnesota Museum of American Art; Mobile Museum of Art; Montgomery Museum of Fine Arts; Munson-Williams-Proctor Arts Institute; Musees Nationaux Paris; Museum of Art and Archaeology, University of Missouri-Columbia; Museum of Art at Brigham Young University; Museum of Art at Brigham Young University; Museum of Fine Arts, Boston; Museum of New Mexico; Muskegon Museum of Art; National Gallery of Art;  Neuberger Museum of Art; New Jersey State Museum; New Orleans Museum of Art; Oakland Museum of California; Oklahoma City Museum of Art; Pennsylvania Academy of the Fine Arts; Philadelphia Museum of Art; Phoenix Art Museum; Portland Art Museum; Reading Public Museum; Rhode Island School of Design-Museum of Art; Robert Hull Fleming Museum; Ruth Chandler Williamson Gallery, Scripps College; San Diego Museum of Art; Santa Barbara Museum of Art; Sheldon Museum of Art; Sheldon Swope Art Museum; Smithsonian American Art Museum ; Telfair Museum of Art; The Arkell Museum at Canajoharie; The Art Museum, Princeton University; The Brooklyn Museum of Art; The Columbus Museum of Art-Ohio;  The Columbus Museum-Georgia; The Dayton Art Institute; The Detroit Institute of Arts; The Detroit Institute of Arts; The Hickory Museum of Art; The John & Mable Ringling Museum of Art; The John H. Vanderpoel Art Association; The Montclair Art Museum; The Museum of Modern Art; The Nelson-Atkins Museum of Art; The Newark Museum; The Parrish Art Museum; The Phillips Collection; The Toledo Museum of Art; The University of Arizona Museum of Art; The University of Michigan Museum of Art; The WashingtonCounty Museum of Fine Arts; University of Wyoming Art Museum;  USC Fisher Gallery; USC Fisher Gallery; Wadsworth Atheneum Museum of Art; Whitney Museum of American Art; Worcester Art Museum; and  Yale University Art Gallery.


Landscape with Figures The Eight Ashcan Social Realism Nymphs landscape blue Period frame allegorical allegory symbolism impressionism

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