id:			170051
accession number:	2012.276
share license status:	Copyrighted
url:			https://clevelandart.org/art/2012.276
updated:		2023-03-22 03:04:53.327000

An Afternoon at Max's, c. 1932–33. Robert Riggs (American, 1896–1970). Lithograph; sheet: 43 x 57 cm (16 15/16 x 22 7/16 in.); image: 38.2 x 52.6 cm (15 1/16 x 20 11/16 in.). The Cleveland Museum of Art, Bequest of John Bonebrake 2012.276

title:				An Afternoon at Max's
title in original language:	
series:				
series in original language:	
creation date:			c. 1932–33
creation date earliest:		1927
creation date latest:		1938
current location:		
creditline:			Bequest of John Bonebrake
copyright:			

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culture:	America, 20th century
technique:	lithograph
department:	Prints
collection:	PR - Lithograph
type:		Print
find spot:	
catalogue raisonne: Bassham 21

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CREATORS

* Robert Riggs (American, 1896–1970)  - artist

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measurements: Sheet: 43 x 57 cm (16 15/16 x 22 7/16 in.); Image: 38.2 x 52.6 cm (15 1/16 x 20 11/16 in.)
state of the work:	
edition of the work: 	

support materials:


inscriptions:

	inscription:	signed lower right in pencil: Robert Riggs
inscribed lower left in pencil: An Afternoon at Max's
	translation:	
	remark:		

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CURRENT EXHIBITIONS

	title:		A Passion for Prints: The John Bonebrake Donation
	opening date:   2011-10-02T00:00:00
	<i>A Passion for Prints: The John Bonebrake Donation</i>. The Cleveland Museum of Art (organizer) (October 2, 2011-January 29, 2012).

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LEGACY EXHIBITIONS

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PROVENANCE

	Herbert Halpern Fine Art, New Orleans; John Bonebrake
	date: 
	footnotes: 	
	citations: 	


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fun fact:


digital description:


wall description:
Although Riggs supported himself by working as an illustrator for Fortune, Life, The Saturday Evening Post, and other popular magazines, he began making lithographs in 1932 and enjoyed printmaking into the late 1940s. Because he liked pageantry, crowds, noise, and the atmosphere of smoke-filled interiors illuminated by harsh, bright lights, Riggs depicted the circus or boxing ring with a stark, gritty realism. Perhaps Riggs was interested in boxing scenes because of George Bellows’s print of 1916, Stag at Sharkeys, which he might have seen at an exhibition of the artist’s lithographs at the Print Club in Philadelphia, where he lived.
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RELATED WORKS

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CITATIONS

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IMAGES