Charles Sheeler Signed two-sided painting

Charles Sheeler Signed two-sided painting
signed Charles Sheeler "Gravel Pit, " watercolor and gouache on paper, with rough sketch painting on verso, signed "Sheeler" lower right, 11.25"h x 14.5"w approx. It is framed ain a manner so works visible on both sides. in good condition. Sheeler traveled often to New York and began developing important relationships with dealers and collectors there and exhibiting in group shows, including the 1913 Armory Show. He was introduced to Alfred Stieglitz (American, 1864 - 1946), who admired his Doylestown photos and encouraged Sheeler to reevaluate his notions about photography and explore it as a valid artistic medium. He also met the art collectors Walter and Louise Arensberg, who introduced him to the artists and intellectuals in their circle, including Marcel Duchamp (American, born France, 1887 - 1968) and Man Ray (American, 1890 - 1976). In 1919 Sheeler moved to New York. The following year he collaborated with the photographer Paul Strand (American, 1890 - 1976) on the short film Manhatta, an avant-garde project that sought to apply techniques of still photography to a motion picture. Throughout the 1920s, Sheeler achieved both critical and financial success as a commercial photographer. In 1926 he was hired by Edward Steichen (American, 1879 - 1973) to work for Condé Nast publications, producing fashion and celebrity photographs for the magazines Vogue and Vanity Fair. One of the turning points in Sheeler’s career came the following year, when the Ford Motor Company hired him to photograph the company’s River Rouge Plant in Detroit, Michigan. Sheeler’s stark, stylized images of the factory complex won him critical acclaim and were widely reproduced as icons of American industry. That same year Sheeler and his wife Katharine moved to South Salem, a small town outside of New York. In 1931, the dealer Edith Halpert offered Sheeler exclusive representation at her Downtown Gallery in New York. She encouraged him to curtail his work in photography and focus his artistic energies on painting instead. Following a solo show at the Downtown Gallery, Sheeler promptly resigned from Condé Nast and turned his artistic attention toward oil, conté crayon, and tempera. Beginning in the late 1920s, Sheeler’s paintings and drawings appeared in important exhibitions at the Museum of Modern Art, the Arts Club of Chicago, and the Whitney Museum of American Art, among others. His work entered the collections of many of these institutions, as well as those of important collectors of American modernism, including the Arensbergs, Duncan Phillips, and Ferdinand Howland.