Fifth Avenue Critics - 1905, Etching.

Morse 128. Edition 100. Signed and titled in pencil. Inscribed 100 proofs in the bottom center margin and #14 in the bottom left sheet corner.

Image size 4 9/16 x 6 3/4 inches (116 x 171 mm); sheet size 9 11/16 x 12 9/16 inches(245 x 320 mm).

A superb, early impression, with rich burr, on Van Gelder Zonen cream laid paper; full margins (2 7/16 to 2 7/8 inches). The printer's tack holes in the sheet edges, in excellent condition.

Ex collection Lynn E. Prasse, former curator of Prints and Drawings at the Cleveland Museum of Art, with her initials in pencil in the top right sheet corner, recto, and her 2 collection stamps, verso.

“These two fashionable ladies used to drive up and down Fifth Avenue everyday.... about four o’clock of an afternoon, showing themselves and criticizing others” –John Sloan (1946).

Collections: Library of Congress; Metropolitan Museum of Art.

$4400.

Man Monkey - 1905, Etching.

Morse 130. Edition 100. Signed and titled in pencil. Inscribed 100 proof.

Image size 4 7/8 x 6 7/8 inches (124 x 175 mm), sheet size 9 11/16 x 12 3/8 inches (246 x 315 mm).

A fine, rich impression, with full margins (2 3/8 to 2 7/8 inches) on cream wove paper. The printer's tack holes in the sheet edges, in excellent condition.

“In the side streets of Chelsea and Greenwich Village districts, the one man band with hand organ accompanist furnished free entertainment to those who dropped no pennies. He worried the horse-drawn traffic of the time, but before many years the automobile and motor truck cleared him from the streets” –John Sloan (1946).

Collections: Library of Congress (Pennell Fund purchase), Metropolitian Museum of Art.

$2600.

Swinging in the Square (In the Park) - 1912, Etching.

Morse 156. Edition 100 (75 printed). Signed and titled in pencil. Annotated 100 proofs and JS Imp. (old paper), in pencil. Signed and dated in the plate, lower left.

Image size 4 x 5 1/8 inches (102 x 130 mm), sheet size 6 x 9 9/16 inches (152 x 244 mm).

A superb, richly-inked impression, on antique, cream wove paper, with full margins (1 to 2 1/8 inches), in excellent condition. A scarce proof impression printed by the artist on antique paper.

Collections: Brooklyn Museum;Carnegie Museum of Art; Delaware Art Museum; Detroit Institute of Arts Museum; Metropolitan Museum of Art, Whitney Museum of American Art.

SOLD

Hell Hole- 1917, Etching and Aquatint.

Morse 186. Edition 100 (110 printed); 2nd state of 2. Signed, titled and annotated 100 proofs in pencil. Signed and dated in the plate, lower right.

Image size 7 3/8 x 9 3/8 inches (187 x 238 mm); sheet size 11 5/8 x 15 1/8 inches (295 x 384 mm).

A superb, richly inked impression on cream laid paper, with full margins (1 3/4 to 3 inches), in excellent condition. Printed by Peter Platt, the printer's tack holes at the sheet edges.

“The back room of Wallace’s at Sixth Avenue and West Fourth Street was a gathering place for artists, writers, and bohemians of Greenwich Village. The character in the upper right hand corner of the plate is Eugene O’Neill. Strongly etched lines are reinforced by aquatint tones.” -John Sloan

Reproduced: Whistler to Weidenaar: American Prints 1870-1950, Museum of Art, RISD, 1987; The American Scene: Prints from Hopper to Pollock, Stephen Coppel, The British Museum, 2008; The American Scene on Paper; Prints and Drawings from the Schoen Collection, Georgia Museum of Art, University of Georgia, 2008.

Exhibited and Reproduced: The American Scene: Prints from Hopper to Pollock, Stephen Coppel, The British Museum, 2008.

Collections: British Museum; Delaware Art Museum; Library of Congress (Pennell Fund purchase); Phillips Collection; Museum of Art, Rhode Island School of Design; Smithsonian American Art Museum.

$4800.

New Year's Eve and Adam- 1918, Etching.

Morse 190. Edition 100, only 85 printed. Signed, titled and annotated 100 proofs in pencil. Signed in the plate, lower left.

Image size 3 3/4 x 2 3/4 inches (95 x 70 mm); sheet size 8 1/2 x 6 inches (216 x 152 mm).

A fine impression, on antique cream laid paper, with full margins (1 5/8 to 2 3/8 inches), in excellent condition. Printed by Ernest Roth.

Sloan used this print as a greeting card for New Year’s 1919.

"With some exaggeration this records an incident of the holiday season in a New York Hotel, the Brevoort." –John Sloan

Collections: Library of Congress, Metropolitian Museum of Art.

$1100.

The Movey Troupe - 1920, Etching.

Morse 196. Edition 100, 50 printed. Signed, titled and annotated 100 proofs in pencil. Signed and dated in the plate, lower right and titled, lower left.

Image size 5 1/4 x 7 7/8 inches (133 x 181 mm); sheet size 9 7/8 x 12 3/4 inches (251 x 324 mm).

A fine, crisp impression, on cream wove paper, with full margins (2 3/8 to 3 inches). Original tack holes in the sheet edges, in excellent condition. Printed by Peter Platt.

"Director, leading man, leading lady, and camera man have made use of one of the picturesque backgrounds to be found in Greenwich Village at that time" (John Sloan, 1945).

Collections: Library of Congress, Metropolitian Museum of Art.

SOLD

Snowstorm in the Village- 1925, Etching.

Morse 216. Edition 100. Signed, titled and annotated 100 proofs in pencil. Signed and dated in the plate, lower right.

Image size 7 x 5 inches (178 x 127 mm); sheet size 12 1/2 x 9 5/8 inches (295 x 206 mm).

A fine, richly inked impression, on cream wove paper, with full margins (2 1/2 to 2 7/8 inches). The full sheet with drying tack holes all around the sheet edges; pale toning within a previous mat opening, otherwise in excellent condition.

A view from the artist's studio on Washington Place in New York City with the Sixth Avenue El (elevated subway) running diagonally across the image and the Greenwich Village landmark, Jefferson Market Tower, prominent in the background.

Reproduced: American Master Prints from the Betty and Douglas Duffy Collection, the trust for museum exhibitions Washington, D.C., 1987; Our Town; Images and Stories from the Museum of the City of New York, Harry N. Abrams, 1997.
Exhibited: Whitney Museum of American Art, 1936; Museum of Modern Art, Manhattan Observed: selections of drawings and prints, edited by William S. Lieberman, 1968.

Collections: British Museum; Art Institute of Chicago; Library of Congress; Mead Art Museum (Amherst College), Metropolitan Museum of Art; Museum of the City of New York; Museum of Modern Art, Reynolda House Museum of American Art, Smithsonian American Art Museum.

SOLD

Indian Detour- 1927, Etching.

Morse 231. Edition 100. Signed, titled and annotated 100 proofs in pencil. Signed and dated in the plate, lower right. Printed by Charles White and annotated Chas White imp. by the printer in pencil, bottom left margin.

Image size 5 7/8 x 7 1/8 inches (149 x 181 mm); sheet size 9 7/16 x 12 3/8 inches (240 x 314 mm).

A fine, richly-inked impression, on cream laid paper, with full margins (1 1/4 to 2 1/2 inches); toned 14 inch into the top sheet edge from previous adhesive tape; palest trace of toning within the original mat opening, otherwise in excellent condition.

“A satire of the Harvey Indian Tour. Buses take the tourists out to view the Indian dances, which are religious ceremonials and naturally not understood as such by the visiting crowds” (Dart 79). This scene is identified as the corn dance at Santa Dominga Pueblo, in an updated article from the Santa Fe New Mexican of August or September 1936. —from John Sloan’s Prints, Peter Morse, Yale University Press, 1969.

Collections: Carnegie Museum of Art, Cleveland Museum of Art, Crystal Bridges Museum of Art, Harwood Museum of Art (Taos), Indianapolis Museum of Art, Museum of Fine Arts Boston, Philadelphia Museum of Art, Library of Congress (Pennell Fund purchase).

SOLD

Fourteenth Street the Wigwam (Tammany Hall) - 1928, Etching.

Morse 235. Edition 100, 110 printed. Signed, titled and annotated 100 proofs in pencil. Signed and dated in the plate, lower left.

Image size 9 11/16 x 6 7/8 inches (246 x 175 mm); sheet size 18 x 12 5/8 inches (457 x 321 mm).

A superb, finely detailed impression, on cream wove paper, with full margins (2 3/4 to 4 1/4 inches), the printer's tack holes in the sheet edges, in excellent condition. Printed by Peter Platt.

"Old Tammany Hall, the headquarters of the bosses of New York City, has ceased to exist. It lurked, menacing, in dingy red brick, across the way from the tawdry amusements of East Fourteenth Street. This plate was made in 1928 after the building had been torn down. My memory and a photo of a 1911 painting that had been burned furnished material for this new composition. My painting of 1934 now in the Metropolitan Museum was based on the etching." –John Sloan

Illustrated in American Prize Prints of the 20th Century, Albert Reese, American Artist's Group, Inc., New York, 1949.

Selected for 'Fifty Prints of the Year', 1929.

Collections: Library of Congress; Metropolitan Museum of Art.

$4400.

Frankie and Johnnie - 1928, Etching.

Morse 236. Edition 100, only 50 printed. Signed and inscribed 100 proofs in pencil. Signed and dated in the plate, lower left; annotated “Frankie and Johnnie” from “HIM”, lower right.

Image size 4 7/8 x 7 7/8 inches (124 x 200 mm); sheet size 8 5/8 x 12 1/2 inches (219 x 318 mm).

A fine, richly-inked impression, on cream wove paper; the full sheet (1 1/2 to 2 1/4 inch margins) with the printer’s tack holes at the sheet edges; in excellent condition. Printed by Peter Platt.

"A small chorus singing ‘Frankie and Johnnie’ crowds the tiny stage of the Provincetown Players Theatre in MacDougall Street. An episode from E.E. Cummings’ intelligent and entertaining production, ‘HIM’ .“ –John Sloan

l‘Frankie and Johnnie’ is a traditional American popular song. It tells the story of a woman, Frankie, who finds her man Johnny making love to another woman and shoots him dead. Frankie is then arrested; in some versions of the song she is also executed. The song was inspired by one or more actual incidents of murder due to jealousy. At least 256 recordings of "Frankie and Johnny" have been made since the early 20th century. Singers include Big Bill Broonzy, Mississippi Joe Callicott, Johnny Cash, Sam Cooke, Frank Crumit, Bob Dylan, Lena Horne, Mississippi John Hurt, Lead Belly, Jerry Lee Lewis, Van Morrison, Fats Waller, Doc Watson, and Stevie Wonder. A 1966 recording by Elvis Presley became a gold record as the title song of a Presley movie.

Collections: Delaware Art Museum, Detroit Institute of Arts Museum, Library of Congress, Metropolitan Museum of Art.

$1700.

Nude at Piano - 1933, Etching.

Morse 265. Edition 100, only 85 printed. Signed, titled and annotated 100 proofs in pencil. Signed and dated in the plate, lower right.

Image size 6 7/8 x 5 3/8 inches (175 x 137 mm); sheet size 13 1/4 x 8 3/8 inches (336 x 213 mm).

A fine, clean impression, on cream wove paper, with full margins (1 1/2 to 4 inches), in excellent condition.

“A strong relationship between this etching and the painting of Renoir is to me quite noticeable. My own best results in painting of the nude are made with the same graphic intent” –John Sloan (1946).

Collections: Library of Congress, Metropolitan Museum of Art.

$1900.

Winnowing Wheat - 1937, Etching.

Morse 297. Edition 100, only 74 printed; third state of three. Signed, titled and annotated 100 proofs in pencil. Signed and dated in the plate, lower right.

Image size 6 x 3 7/8 inches (152 x 98 mm); sheet size 11 3/8 x 8 1/2 inches (289 x 216 mm).

A fine, richly inked impression, on cream wove paper, with full margins (2 1/4 to 2 7/8 inches), in excellent condition.

Collections: Library of Congress (Pennell Fund purchase); Metropolitan Museum of Art; New Mexico Museum of Art; Wichita Art Museum.

SOLD