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VOLUME XXXVlllNUMBER ONE

l;ALL1998

YCOIN(LING COUNT'v'f'7':?7HISTORICAL SOCIETY -l..®.5;ZZ)L ©bll.'ho ':

858 west Fourth Street + williamsport, PA t7701 + 7t7-322-2256 MUSEUM - ARCHIVES - LI BRARY

lBOARDOFTRUSTEESJohn L. Brush, Jr.William H. Hawks lll

John F. Piper, Jr., Ph.D.

The

JOURNALofthe

INCOMING COUNTYHISTORICALSOCIETY

.i$1o.-. ollecho«of qe, L/coming (Bounty Hi9{odcal g)ode,ty

Published altnl ally in Williantsport, Pettitsytvania

In 1976, Helen Farr Sloatt donated 309items frottt the private collection ofJoltlt Sloanto the LNcoming Coultty Historical SocietyMuseunt located twenty-Jive miles east o.f Iterhusband's birthplace. In addition to pieces byJohn and Helen Farr Sloan, the collectionincluded an impressive accumulation of worksin various ntedia by other artists, ntatty ofwhom wet'e Sloan'sltiends, colleagues, attdstudents. Also represented were itemsfi'ont d$ferent cultures, includingAfrican sculpture,Japattese children's prints, and works byEuropeatt artists. Additioitally, tile collectioitheld nttlnerous published prints, iitcluding onesby Currier & Ives, Winslow Homer, undThomas Nast. Matty stents either were not

fronted at all or not framed according toacceptable ntuset nt practices. To stabilize thecondition of the collection, it was kept itt stor-age until funds were acquired.for proper con-servation. Itt 1995 and 11997, tile HistoricalSocieQ received bequests front Martin aMussina and Haz,el Keebler that provided nec-essaryfunds to matte andlrame tnost of theworks in acidfree lnateriats. Tile exhibit of theJohn Sloan Collection, curated b3? RogerShipley, opetted Olt Septentbel" ]1, 1998.

Museum 858 West Fourth Street ' Telephone(71 7) 326-3326

BOARDOFGOVERNORS

Bruce C. Buckle, Preside/zfRobert E. Kane, Jr., /sf ce Pres

Grant L. Walker, 2/?d Hce Pres.

Roger D. Shipley, 3rd Hce Pres.Sally E. Hilsher, Zreasz/rer

Brian C. Caffrey, Secre/a/y

VOLUNTEERS

Penelope AustinNancy BakerAnne Benson

Dorothy BerndtJames P Bressler

Viriginia BorekEvelyn BryanJack C. BuckleJim Buedel

Art BurdgeSally CampbellAdelina CaporalettiAmy CuppaRobert ComptonBessie ConserConnie Crane

Shirley CrawleyHelen DappJoni DeckerRuth Ditchfield

Wes DodgeBetsy DolanSamuel DornsifeEthel DrierEuaenia Dukas

Glenn EnglertAlta FeerrarRobert Feerrar

Grace S. Fleming

Cathy FlookLillian F. Foucart

Marjorie FralilaMilo Frey

Marion Gamble

Patty GardnerMartin Gira

Joe & Sandy GrafiusOlive GuthrieFran HaasArlene B. Hater

Angelique HawkesKathy HellmanWill Huffman

John L. Hunsinger

Jennifer HugheyMr. & Mrs. Lewis Jones

Jane Ingersoll

Susan KellyElise Knowlden

Ann L. KuntzBarbara Kustanbauter

Joseph KustanbauterJames Lane

Dorothy LechnerHarry LehmanRobin Leidhecker

Margaret Lindemuth

Pastor R. LoganVeronika Lubbe

Mary Ellen LuptonDorothy MaplesBruce MillerRichard Miller

Miriam Mix

Richard Mix

Sylvia Moore

Mary MoriarityRobert Morton

Paul NeyhartGail A. Nuss

Mary Orwig

Wayne PalmerRobert C. Paulhamus

Dr. Lame PeppermanElizabeth PotterCharles Protasio

Jean ReasnerCharles L. Reicherter

Kim ReighardAmy Rider

Dorthy SandmeyerCarla SennettCarol E. Serwint

Mary Sexton

Phyllis ShaferCarol Shetler

Dr. Art TaylorDavid TaylorMary Lou Thomas

Mary E. UlmerTeri Violet

Joseph WilkinsDr. & Mrs. Jack Winter

Naomi L. Woolever

Terry Wright

Mary Jane ArnoldSusan K. Beidler

Sonja CoeEiderson Dean

Betty GardnerJude Gedroiz

Jess Hackenburg ll

Ann G. KayarianBarbara LamadeSteven J. Moff

Michael Sennett

Ralph W SpinneyThe catalogue ofthe collec-

tion was written and compiled byPeltelopeAustin with the help o.f'Verottika Lubbe, Donna Shall,Chad Viltansky, Gav'y Parks andSandra Rife. Salty Hilsherprovided patient aitd invaluableexpertise in design and laNottt;the catalogue was printed byHilsher Graphics. I ant verygrate/til to the above peopleJbr their help with tilts pi"oject.Ally errors ]terein al"e mine,with apologies.

MUSEUNT STAFF

Sandra B. Rife, f)free/orMartha L. Spring, Bookkeeper

Grace E. Callahan, A/aselr/lz

Store Mattager

Jean T. DeSeau, .Secrera/y

Gary W Parks, Curaforfa/CoKsultan t

Marietta Zarr, Front nasa

Edward Antosh, Receprfo/zis

Richard Willits. Cz£srodia/z Page1

lBOARDOFTRUSTEESJohn L. Brush, Jr.William H. Hawks lll

John F. Piper, Jr., Ph.D.

The

JOURNALofthe

INCOMING COUNTYHISTORICALSOCIETY

.i$1o.-. ollecho«of qe, L/coming (Bounty Hi9{odcal g)ode,ty

Published altnl ally in Williantsport, Pettitsytvania

In 1976, Helen Farr Sloatt donated 309items frottt the private collection ofJoltlt Sloanto the LNcoming Coultty Historical SocietyMuseunt located twenty-Jive miles east o.f Iterhusband's birthplace. In addition to pieces byJohn and Helen Farr Sloan, the collectionincluded an impressive accumulation of worksin various ntedia by other artists, ntatty ofwhom wet'e Sloan'sltiends, colleagues, attdstudents. Also represented were itemsfi'ont d$ferent cultures, includingAfrican sculpture,Japattese children's prints, and works byEuropeatt artists. Additioitally, tile collectioitheld nttlnerous published prints, iitcluding onesby Currier & Ives, Winslow Homer, undThomas Nast. Matty stents either were not

fronted at all or not framed according toacceptable ntuset nt practices. To stabilize thecondition of the collection, it was kept itt stor-age until funds were acquired.for proper con-servation. Itt 1995 and 11997, tile HistoricalSocieQ received bequests front Martin aMussina and Haz,el Keebler that provided nec-essaryfunds to matte andlrame tnost of theworks in acidfree lnateriats. Tile exhibit of theJohn Sloan Collection, curated b3? RogerShipley, opetted Olt Septentbel" ]1, 1998.

Museum 858 West Fourth Street ' Telephone(71 7) 326-3326

BOARDOFGOVERNORS

Bruce C. Buckle, Preside/zfRobert E. Kane, Jr., /sf ce Pres

Grant L. Walker, 2/?d Hce Pres.

Roger D. Shipley, 3rd Hce Pres.Sally E. Hilsher, Zreasz/rer

Brian C. Caffrey, Secre/a/y

VOLUNTEERS

Penelope AustinNancy BakerAnne Benson

Dorothy BerndtJames P Bressler

Viriginia BorekEvelyn BryanJack C. BuckleJim Buedel

Art BurdgeSally CampbellAdelina CaporalettiAmy CuppaRobert ComptonBessie ConserConnie Crane

Shirley CrawleyHelen DappJoni DeckerRuth Ditchfield

Wes DodgeBetsy DolanSamuel DornsifeEthel DrierEuaenia Dukas

Glenn EnglertAlta FeerrarRobert Feerrar

Grace S. Fleming

Cathy FlookLillian F. Foucart

Marjorie FralilaMilo Frey

Marion Gamble

Patty GardnerMartin Gira

Joe & Sandy GrafiusOlive GuthrieFran HaasArlene B. Hater

Angelique HawkesKathy HellmanWill Huffman

John L. Hunsinger

Jennifer HugheyMr. & Mrs. Lewis Jones

Jane Ingersoll

Susan KellyElise Knowlden

Ann L. KuntzBarbara Kustanbauter

Joseph KustanbauterJames Lane

Dorothy LechnerHarry LehmanRobin Leidhecker

Margaret Lindemuth

Pastor R. LoganVeronika Lubbe

Mary Ellen LuptonDorothy MaplesBruce MillerRichard Miller

Miriam Mix

Richard Mix

Sylvia Moore

Mary MoriarityRobert Morton

Paul NeyhartGail A. Nuss

Mary Orwig

Wayne PalmerRobert C. Paulhamus

Dr. Lame PeppermanElizabeth PotterCharles Protasio

Jean ReasnerCharles L. Reicherter

Kim ReighardAmy Rider

Dorthy SandmeyerCarla SennettCarol E. Serwint

Mary Sexton

Phyllis ShaferCarol Shetler

Dr. Art TaylorDavid TaylorMary Lou Thomas

Mary E. UlmerTeri Violet

Joseph WilkinsDr. & Mrs. Jack Winter

Naomi L. Woolever

Terry Wright

Mary Jane ArnoldSusan K. Beidler

Sonja CoeEiderson Dean

Betty GardnerJude Gedroiz

Jess Hackenburg ll

Ann G. KayarianBarbara LamadeSteven J. Moff

Michael Sennett

Ralph W SpinneyThe catalogue ofthe collec-

tion was written and compiled byPeltelopeAustin with the help o.f'Verottika Lubbe, Donna Shall,Chad Viltansky, Gav'y Parks andSandra Rife. Salty Hilsherprovided patient aitd invaluableexpertise in design and laNottt;the catalogue was printed byHilsher Graphics. I ant verygrate/til to the above peopleJbr their help with tilts pi"oject.Ally errors ]terein al"e mine,with apologies.

MUSEUNT STAFF

Sandra B. Rife, f)free/orMartha L. Spring, Bookkeeper

Grace E. Callahan, A/aselr/lz

Store Mattager

Jean T. DeSeau, .Secrera/y

Gary W Parks, Curaforfa/CoKsultan t

Marietta Zarr, Front nasa

Edward Antosh, Receprfo/zis

Richard Willits. Cz£srodia/z Page1

great interest in the burgeoning postermovement that sparked the field of adver-tising soon to dominate twentieth-centurylife, Sloan produced sketches of thePhiladelphia social set that drew criticalattention. While working at the newspa-per, Sloan entered the PennsylvaniaAcademy of Fine Arts in 1 892, whichplaced him on a direct path toward mak-ing art his life as well as his livelihood.His coma-nitlncnt as an artist was confirmed when in December 1892 he met

Robert Henri, his most significantteacher, mentor, and closest friend, andthe prime force behind the landmark exhi-bition of "The Eight.

In 1893 Sloan helped found theCharcoal Club, an arts organization comprised of young artists who protestedagainst the stodginess of the PennsylvaniaAcademy and its high tuition. Theseincluded George Luke (son of aWilliamsport pllysician) and EverettShinn, two more future members of "TheEight.

About the time that Sloan beganachieving his first recognition as an illus-trator in the poster style, he left theInquirer tot the Philadelphia Press. Onhis own time, he began to work seriouslyin oils, listening in on Robert Henri'sclass held in Sloan's studio. In 1897

Sloan painted his first scenes of the city, asubject that set his work apart from themainstrcajn art world with its preferencefor "pretty" and sentimental subjects.

With the young men of theCharcoal Club and Henri's students, Sloanhad developed a lively social and artisticcommunity that contrasted sharply withthe rigid religious strictures developingamong his sisters at home. In the com-pany of a few friends, he made a visit to aPhiladelphia brothel where he spent histime in conversation with Anna M. Wall.called Dolly, a young prostitute whosedifficult life moved Sloan and whoseemed most interested in Sloan's workThough an unlikely couple, whose dinerences in background, education, and intel-ligence were visually reinforced by thedramatic differences in their heights andphysiques, John and Dolly became insep-arable

Believing that he must make a moveto New York if he were to succeed as anartist, Sloan took a job with the ,brew hark

to Philadelphia. In October 1900 hispainting of Philadelphia's Walnut StreetTheater, the first of his paintings acceptedin a major national juried show, was exhib-ited at the Art Institute of Chicago. As hissuccess as an illustrator and painter grew,he married Dolly on August 5, 1901Sloan's reservations about Dolly's past,including childhood abuse and neglect, notto mention prostitution, and a seriousdrinking problem (that he thought he couldhelp her overcome) were over-ridden byher devotion to Sloan and his work.

During their dramatically rocky andunorthodox marriage, John, demonstratingthe strength of his commitment to Dollyjust as he demonstrated his commitment toart throughout his life, came to be Dolly'scaretaker; John and Dolly Sloan remainedtogether for forty years until her death in1943

In 1902 Sloan began the fifty-threeetchings drawn over three years to illus-trate the novels of Charles de Keck. In1 904 he exhibited at the National Arts

Club with Robert Henri's group, and inApril that same year. he and Dolly againmoved to New York CiW, this time forgood. In September they settled in at 1 65West Twenty-third Street, on the edge ofthe neighborhood known as the Tenderloin.where Sloan studied the life of the under-

privileged making honest and dishonestlivings in the streets below his studio. In1 905 Sloan began the New York City Lifeseries that garnered his prominent positionin the American avant-garde. These worksepitomize a style that radically departedfrom moribund mainstream expectations;although Sloan was asked to show thiswork in the American WatercolorExhibition in 1906, four of the ten worksin this series were considered too "vulgar 'and "obscene" for this prestigious exhibi-tion. At the same time, Sloan's workreceived its first enthusiastic review and

an Honorable Mention from the CarnegieInstitute, his first museum prize.

Although Sloan and other membersof the avant-garde had exhibited at theNational Academy Annual Show, a juriedcompetition controlled by leading main-stream artists who rewarded their own

work with prizes while rejecting works ofmajor artists such as Robert Henri, theybecame increasingly unhappy with thebiased and self-congratulatory judging

proposed that an alternate show exhibitingthe features of realism (for the most part)should be mounted. Gallery owner andart dealer William Macbeth agreed tohold the groundbreaking show of "TheEight": Henri and Sloan, WilliamGlackens, George Luks, Everett Shinn,Arthur B. Davies, Maurice Prendergast,and Ernest Lawson. Though sales at thisshow were disappointing, the historicalimpact of the exhibition cannot be overes-timated. The break with the rigid formu-las of the National Academy and thedemand for fairer judging opened thedoor for the subsequent Armory Show of1 9 1 3 at which the work of majorEuropean modernists was seen in theUnited States for the first time. Sloan's

real life subjects and his insistence thatbeauty is thelor/rr of a thing served toshow the mediocrity of the popular senti-mental commercial successes of the day.Furthermore, his attention to form alsoopened the door to the appreciation ofabstract art growing in force amongEuropean artists. In fact, Sloan helped tohang the first Armory Show of1913 andhimself saw for the first time the work ofwhat he called the "ultra-moderns." As

he explains in Glsf of,4rr this exposure tothe latest in abstraction was the spring-board for his own growth as an artist whoworked for rea/iza//o/z as opposed to rea/-is/lz. In other words, the exhibit thatspawned modern art in the United Statesalso reinforced Sloan's own aesthetic evenas his work diHered h-oln the work of theEuropeans

Sloan can easily be accordedthetitle of major American Modernist as aresult of his position between Henri andthe European moderns of the 1913 show.His shiniest moment in the history of artmay have been brief. but when glimpsedstraight on, it is uncompromisingly bril-liant. With Henri, Sloan broke from astultified tradition and ushered in a newworld. He claims as his own contribution

to modernism the "separation of form andcolor," both as a technique and as an aes-thetic principle However, as a realist,Sloan slid from being a radical rebel tobeing passe in the space of a few years asabstraction in its many forms came todominate the twentieth-century art world

.f a.h« 8t..Alone on a January day in

1952, four months after her husband'sdeath, Helen Farr Sloan made her firsttrip to Lock Haven, Pennsylvaniawhere John Sloan had been born on

August 2, 1871 . She climbed thecemetery hill overlooking theSusquehanna River to the headstoneof John French Sloan, her husband'sgrandfather and namesake. Perhaps asshe climbed she recalled the artist's

descHption of the view and his feelingabout his birthplace that she aloneknew. Beside John French Sloan's

grave, Helen Farr Sloan opened theums she'd canied h.om New York Cityand shook loose their contents, min-gling the ashes of John and his firstwife, Dolly, and returning John Sloanto his birthplace.

John Sloan visited Lock Haven

only once during his busy and com-plicated life since moving away whenhe was six. Little is recorded aboutthat 1946 visit other than that Sloanjoked about wishing the house he hadbeen born in weren't quite so middleclass; he would like to have had morecommon beginnings to reinforce hisabiding interest in the workers hesaw struggling in his own New Yorkneighborhoods. But his visit as honorcd native son may have stirred upfamilial and sentimental warmth in a

man of such deep sensibilities asJohn Sloan, feelings he may haveexpressed in private only to Helen,feelings that prompted her to makethe solitary joumey to her husband'sfinal home

When he visited his home town

almost sixty years after leaving it,Sloan had no memory of his houseon North Grove Street or of the first

six years of his life. His father,James, had worked as a cabinct-maker, and his mother, Henrietta.came hom a Philadelphia familyconnected with the malone and sell-

materials was always on hand forthe Sloan children, and they werenever begrudged the time for draw-ing and reading. Because of insur-mountable financial diniculties, theSloans moved to Philadelphia in1877, rejoining Henrietta's familywho helped find work for James. In1 884 John Sloan entered the collegepreparatory program at Central HighSchool in the same class asWilliam Glackens. another future

member of the group of artists whowould come to be known as "The

Eight." However, James Sloan continued to lose ground as the family'sprovider, and John had to leaveschool a week before graduation totake a job at Porter and Coates,booksellers and dealersin fine

prints. Here the seventeen-year-oldtaught himself etching with the helpof T%e Efc/zer k Ha/idbook by PhilipGilbert Hamerton.

Sloan'sindependentstudygradually led him into a life devotedto the study and teaching ofart. In1890 he went to work for A. EdwardNewton designing calendars andmaking etchings. His self-studyprogram extended to painting at thistime, and he enrolled in a drawingclass at the Spring Garden Institute.Always hoping to ease his family'sfinancial difficulties, he accepted amore lucrative position in the ArtDepartment of the P/z//ade/p/z/a/aVEr/rer during the brief period injournalism history when newspapersbegan to enliven their solid pages oftext with illustrations before tech-

niques of printing photographs hadbeen developed. Sloan was sent outto sketch the news as it happened:fires, explosions and accidents.Compared to the other newspaperartists, he was too slow to do the jobright and was usually assigned rou-tine work. However, after studying

"How jar a person cango with his art dependson what is within him-sel/to go on. This

quali$cation is notinherited,Jor it meansabout one hundred percent hard wol"k plus aninterest in what is goittgon aroundyou andoconception oJ your ownwhich comes notfromcopying, but fromproducittg or creating:'

John Sloan, G;sr cl/',4rr

great interest in the burgeoning postermovement that sparked the field of adver-tising soon to dominate twentieth-centurylife, Sloan produced sketches of thePhiladelphia social set that drew criticalattention. While working at the newspa-per, Sloan entered the PennsylvaniaAcademy of Fine Arts in 1 892, whichplaced him on a direct path toward mak-ing art his life as well as his livelihood.His coma-nitlncnt as an artist was confirmed when in December 1892 he met

Robert Henri, his most significantteacher, mentor, and closest friend, andthe prime force behind the landmark exhi-bition of "The Eight.

In 1893 Sloan helped found theCharcoal Club, an arts organization comprised of young artists who protestedagainst the stodginess of the PennsylvaniaAcademy and its high tuition. Theseincluded George Luke (son of aWilliamsport pllysician) and EverettShinn, two more future members of "TheEight.

About the time that Sloan beganachieving his first recognition as an illus-trator in the poster style, he left theInquirer tot the Philadelphia Press. Onhis own time, he began to work seriouslyin oils, listening in on Robert Henri'sclass held in Sloan's studio. In 1897

Sloan painted his first scenes of the city, asubject that set his work apart from themainstrcajn art world with its preferencefor "pretty" and sentimental subjects.

With the young men of theCharcoal Club and Henri's students, Sloanhad developed a lively social and artisticcommunity that contrasted sharply withthe rigid religious strictures developingamong his sisters at home. In the com-pany of a few friends, he made a visit to aPhiladelphia brothel where he spent histime in conversation with Anna M. Wall.called Dolly, a young prostitute whosedifficult life moved Sloan and whoseemed most interested in Sloan's workThough an unlikely couple, whose dinerences in background, education, and intel-ligence were visually reinforced by thedramatic differences in their heights andphysiques, John and Dolly became insep-arable

Believing that he must make a moveto New York if he were to succeed as anartist, Sloan took a job with the ,brew hark

to Philadelphia. In October 1900 hispainting of Philadelphia's Walnut StreetTheater, the first of his paintings acceptedin a major national juried show, was exhib-ited at the Art Institute of Chicago. As hissuccess as an illustrator and painter grew,he married Dolly on August 5, 1901Sloan's reservations about Dolly's past,including childhood abuse and neglect, notto mention prostitution, and a seriousdrinking problem (that he thought he couldhelp her overcome) were over-ridden byher devotion to Sloan and his work.

During their dramatically rocky andunorthodox marriage, John, demonstratingthe strength of his commitment to Dollyjust as he demonstrated his commitment toart throughout his life, came to be Dolly'scaretaker; John and Dolly Sloan remainedtogether for forty years until her death in1943

In 1902 Sloan began the fifty-threeetchings drawn over three years to illus-trate the novels of Charles de Keck. In1 904 he exhibited at the National Arts

Club with Robert Henri's group, and inApril that same year. he and Dolly againmoved to New York CiW, this time forgood. In September they settled in at 1 65West Twenty-third Street, on the edge ofthe neighborhood known as the Tenderloin.where Sloan studied the life of the under-

privileged making honest and dishonestlivings in the streets below his studio. In1 905 Sloan began the New York City Lifeseries that garnered his prominent positionin the American avant-garde. These worksepitomize a style that radically departedfrom moribund mainstream expectations;although Sloan was asked to show thiswork in the American WatercolorExhibition in 1906, four of the ten worksin this series were considered too "vulgar 'and "obscene" for this prestigious exhibi-tion. At the same time, Sloan's workreceived its first enthusiastic review and

an Honorable Mention from the CarnegieInstitute, his first museum prize.

Although Sloan and other membersof the avant-garde had exhibited at theNational Academy Annual Show, a juriedcompetition controlled by leading main-stream artists who rewarded their own

work with prizes while rejecting works ofmajor artists such as Robert Henri, theybecame increasingly unhappy with thebiased and self-congratulatory judging

proposed that an alternate show exhibitingthe features of realism (for the most part)should be mounted. Gallery owner andart dealer William Macbeth agreed tohold the groundbreaking show of "TheEight": Henri and Sloan, WilliamGlackens, George Luks, Everett Shinn,Arthur B. Davies, Maurice Prendergast,and Ernest Lawson. Though sales at thisshow were disappointing, the historicalimpact of the exhibition cannot be overes-timated. The break with the rigid formu-las of the National Academy and thedemand for fairer judging opened thedoor for the subsequent Armory Show of1 9 1 3 at which the work of majorEuropean modernists was seen in theUnited States for the first time. Sloan's

real life subjects and his insistence thatbeauty is thelor/rr of a thing served toshow the mediocrity of the popular senti-mental commercial successes of the day.Furthermore, his attention to form alsoopened the door to the appreciation ofabstract art growing in force amongEuropean artists. In fact, Sloan helped tohang the first Armory Show of1913 andhimself saw for the first time the work ofwhat he called the "ultra-moderns." As

he explains in Glsf of,4rr this exposure tothe latest in abstraction was the spring-board for his own growth as an artist whoworked for rea/iza//o/z as opposed to rea/-is/lz. In other words, the exhibit thatspawned modern art in the United Statesalso reinforced Sloan's own aesthetic evenas his work diHered h-oln the work of theEuropeans

Sloan can easily be accordedthetitle of major American Modernist as aresult of his position between Henri andthe European moderns of the 1913 show.His shiniest moment in the history of artmay have been brief. but when glimpsedstraight on, it is uncompromisingly bril-liant. With Henri, Sloan broke from astultified tradition and ushered in a newworld. He claims as his own contribution

to modernism the "separation of form andcolor," both as a technique and as an aes-thetic principle However, as a realist,Sloan slid from being a radical rebel tobeing passe in the space of a few years asabstraction in its many forms came todominate the twentieth-century art world

.f a.h« 8t..Alone on a January day in

1952, four months after her husband'sdeath, Helen Farr Sloan made her firsttrip to Lock Haven, Pennsylvaniawhere John Sloan had been born on

August 2, 1871 . She climbed thecemetery hill overlooking theSusquehanna River to the headstoneof John French Sloan, her husband'sgrandfather and namesake. Perhaps asshe climbed she recalled the artist's

descHption of the view and his feelingabout his birthplace that she aloneknew. Beside John French Sloan's

grave, Helen Farr Sloan opened theums she'd canied h.om New York Cityand shook loose their contents, min-gling the ashes of John and his firstwife, Dolly, and returning John Sloanto his birthplace.

John Sloan visited Lock Haven

only once during his busy and com-plicated life since moving away whenhe was six. Little is recorded aboutthat 1946 visit other than that Sloanjoked about wishing the house he hadbeen born in weren't quite so middleclass; he would like to have had morecommon beginnings to reinforce hisabiding interest in the workers hesaw struggling in his own New Yorkneighborhoods. But his visit as honorcd native son may have stirred upfamilial and sentimental warmth in a

man of such deep sensibilities asJohn Sloan, feelings he may haveexpressed in private only to Helen,feelings that prompted her to makethe solitary joumey to her husband'sfinal home

When he visited his home town

almost sixty years after leaving it,Sloan had no memory of his houseon North Grove Street or of the first

six years of his life. His father,James, had worked as a cabinct-maker, and his mother, Henrietta.came hom a Philadelphia familyconnected with the malone and sell-

materials was always on hand forthe Sloan children, and they werenever begrudged the time for draw-ing and reading. Because of insur-mountable financial diniculties, theSloans moved to Philadelphia in1877, rejoining Henrietta's familywho helped find work for James. In1 884 John Sloan entered the collegepreparatory program at Central HighSchool in the same class asWilliam Glackens. another future

member of the group of artists whowould come to be known as "The

Eight." However, James Sloan continued to lose ground as the family'sprovider, and John had to leaveschool a week before graduation totake a job at Porter and Coates,booksellers and dealersin fine

prints. Here the seventeen-year-oldtaught himself etching with the helpof T%e Efc/zer k Ha/idbook by PhilipGilbert Hamerton.

Sloan'sindependentstudygradually led him into a life devotedto the study and teaching ofart. In1890 he went to work for A. EdwardNewton designing calendars andmaking etchings. His self-studyprogram extended to painting at thistime, and he enrolled in a drawingclass at the Spring Garden Institute.Always hoping to ease his family'sfinancial difficulties, he accepted amore lucrative position in the ArtDepartment of the P/z//ade/p/z/a/aVEr/rer during the brief period injournalism history when newspapersbegan to enliven their solid pages oftext with illustrations before tech-

niques of printing photographs hadbeen developed. Sloan was sent outto sketch the news as it happened:fires, explosions and accidents.Compared to the other newspaperartists, he was too slow to do the jobright and was usually assigned rou-tine work. However, after studying

"How jar a person cango with his art dependson what is within him-sel/to go on. This

quali$cation is notinherited,Jor it meansabout one hundred percent hard wol"k plus aninterest in what is goittgon aroundyou andoconception oJ your ownwhich comes notfromcopying, but fromproducittg or creating:'

John Sloan, G;sr cl/',4rr

However, Sloan lacked only com-mercial success. Respectfully regarded asa major American artist of the first orderby other artists, critics, and studentsthroughout his life, Sloan made his livingby teaching and illustrating rather than byselling his works. Today, as the movements preceding and succeeding Sloan'sbrief moment in the limelight recede into

the fabric of history, we evaluate his workas work unburdened by its popular suc-cess; in history all movements become

equal, though the individual works themselves take their places as successful ornot independent of their style. Today,then, Sloan's work stands as the work of aserious artist who revealed the form and

design and imagination in everyday lifewhile demonstrating the highest level ofcraRmanship in his technique.

]n 1910 Sloanjoined the SocialistParty and became the art editor of thejournal The Masses. He took on privatestudents whom he taught in each of thestudios he rented over the years in NewYork and then in Gloucester for several

summers. He sold his first painting in1913. The year 19]6 was perhaps themost important of his career. He had hisfirst one-man exhibition at Mrs. H.P.

Whitney's studio, the inception of theWhitney Museum. That September healso began teaching at the Art StudentsLeague, where he continued until 1 938lnd his work was also taken on at the

Kraushaar Gallery, which represented himfor the rest of his life. In 1917 he held

his first one-man show at the gallery.In 1918 Sloan became the president

of the Society of Independent Artists, aposition he held for life. Shortly there-after, he and Dolly made a trip to SantaFe. Falling in love with the environment,

they bought a home there in 1 920 and

Letters in 1942. He became president ofthe New Mexico Alliance for the Arts in

1949. In 1950 he not only won a goldmedal for painting from the AmericanAcademy of Arts and Letters, but was alsoelected to the American Academy of Artsand Sciences.

Sloan met Helen Farr, the daughterof a New York City physician, at the ArtStudents League where she was a student.Throughout their lives, John and DollySloan contended with Dolly's alcoholismand dependence on Sloan, her deprivededucation and cultivation, and her frequentreturns to prostitution that resulted inhealth problems for both the Sloans. Atthe same time, Dolly was a supportivewife who seems to have been equallyloved as hated by Sloan's acquaintances,sometimes called charming and sometimescalled despicable. Sloan's frustration withDolly's emotional difficulties was bal-anced by friendships he made among stu-dents and models who visited his studio.His relationship with Helen Farr, however,was clearly a lifesaver for him at a timewhen his relationship with Dolly was at itsworst. He and Helen married on February5, 1944, almost one year after Dolly'sdeath. John Sloan died on September 7,1 95 1 following an illness. Fifteen yearslater in 1976, Helen Farr Sloan donatedthe estate of John Sloan to the largestregional museum closest to his birthplace,the Lycoming County Historical Society.

fbylohn Sloan

Art is the result of the creative con-sciousness of the order of existence.

How can there be any ultimate solution ofthat? Art is the evidence of man's under-

standing, the evidence of civilization.Humanness is what counts. Man doesn't

change much over the centuries, but thereis some evidence that he is growing morehuman, very slowly, although it is his onegreatreason for being.

The artist has a song to sing. Hiscreative mind is irritated by something hehas to say graphically. You don't need topaint masterpieces or monumental subjects. Look out the window. Use yourimagination. Get a kick out of that spa-cial adventure, the textures of things, the

reality of that world. Find the design inthings.

(6 HfeWe live in a complex world in

which we are mutually interdependent.But the artist must be independent. Ithink he is the only person who has aright to be independent. The artist hasalways had to fight for his life, for free-dom of expression, for the right to saywhat he believes.

There is no end, no goal in this jobof being an artist. The longer you live thefurther you are from it. An artist maydevelop very slowly. He may be paintinghis best picture when he dies at seventy-five. The greatest men like Titian andRembrandt were always growing, expand-ing. They didn't reach their top work andthen start to repeat. They kept on matur-ing until they died. A man like Rubensfound a great formula and was content torepeat himself. In Rembrandt's laterwork, done when the public ceased to rec-ognize him, he achieved the greatest plastic realization of all the masters. Old andhalf blind, he drew with his mind andunderstanding to please himself. not thepublic.

The artist is in competition withhimself only. A bird does not sing beauti-fully because there is a contest. Greatmen are not even aware of competition.Jury exhibitions and the awarding ofprizes are detrimental to art. When peo-ple vote about matters of taste the thingselected is always mediocre, inofT'endive,innocuous.

My life has not been very eventfulbut my work has made it utterly worthwhile. The only reason I am in the prosession is because it is fun. I have alwayspainted for myself and made my living byillustrating and teaching. Some of theetchings and a few paintings made twentyyears ago se]] now and then, but I havenever made a living from my painting. Tfwhat I am doing now were selling I wouldthink there was something the n)attcr with

pictures as art while painting it. Whetherit was art or not. it was what I wanted to

do. Maybe the reason I haven't made agreater position in the history of art is thatI am not sufficiently critical of my ownwork. Like one of those women in the

park with a baby, I am proud of it becauseit is my own, a young hopeful. But wegrow more critical in time.

It is better to send pictures to exhibi-tions and get thejn fired than to become sose[f-critical as never to try to exhibit.Anyone who buys the paper to sec whatthe critic is saying about him when he istwenty-five, will take the critic too seri-ously by the time he is thirty-five.

Young people today arc much con-cerned with having one-man shows. In myday a man didn't expect to have a one-manshow until he was about forty-five. It isvery bad to bc interested in this kind ofthing. Too many pictures are being painted for exhibitions with the hope of crash-ing the museums. The art schools are fullof talented students who are carried awayby the desire to paint like successfulartists, instead of following the line oftheir own personal desire and interest.

You young people with your freshminds, must weigh the words of every manover forty-five. T said that when I wasforty-five and I am saying it now againEvery time I tell you something, weigh itwith your minds. You don't have to takewhat I say. I am not an authority. Thereare no authorities over art.

The great artist is the bloom on aplant, which is the art of the period. Theremay be more than one bloom. All the restof us are the roots, shoots and branches of

that plant or falling petals from the flowerThe work we are doing today is a preparabon for the great artists who are to come.

We are still individualists. We haveno traditional art. There are men likeRivera and Orozco who have been able toassimilate their native racial tradition. but

tunate. But I hope that some of theyounger artists will get hold of the idea Iam working on this principle of realiza-tion. It is the students who spread theidea. In fact, some of the most importantteaching is done from student to student

During the twenty-five years that Ihave been trying to instruct and inspireothers Ihave learned a great deal frommy students. Teaching has made me diginto my own work; I want to say some-thing worthwhile to the fresh youngminds with which I come in contact

Because 1, too, am a student, ten yearsago I turned my back on the type of workI had done in the past, work which hadbeen recognized by critic and public.Many pictures Imake today are franklyexperiments, products of my laboratory.But in looking over my paintings andetchings of the last ten years, I f'eel satis-fied that a number of them stand out as

more powerful and truly creative worksthan those of my earlier period. Now thatI am sixty-eight years old. I am gratefulto have lived this long and look forwardto more years of hard work. I am just astudent, chewing on a bone, the wayPicasso is.

Seeing frogs and facesin cloudsisnot imagination. Imagination is thecourage to say what you think and notwhat you see. Max Eastman has said:-The scientist describes water as H20; the

poet goes further and says "it is wet." Wewant to describe things that way. Anideograph is better than the thing itself.A better work of art tries to say the thingrather than to be the thing. The imagehas greater realization than the thingitself. That is the great beauty of poet-ry,--realization brought about by the useof images.

An artist is a product of life, asocial creature. Of necessity he cannotmingle with people as much as he wouldlike, but he reaches them through hiswork. The artist is a spectator of life. Heunderstands it without needing to havephysical experiences. Hc doesn't need toparticipate in adventures. The artist isinterested in life the wav God is interest.

REFERENCES

Sloan, John. G/sf (fHrf. New )'orkAmerican Artists Group, 1939.

"Etchittg is a way oJdrawing -- purely adrawittg technique.The line is a symbolwhich expresseswithout equivocationthe thought ofthe

Morse, Peter. John S/aa 's Prfnfs;A Catalogue Raissone oftheEtcitings, Lithographs, and Posters.Nen ' Haven: Yale University Press,1969.

Sloan, llelen Farr. Jo/zm S/aam]Vew hark ffc/z;ngs. Nen ' York:Dutton, 1978.

Watson, Stephen. .S/rai geBeflHe//ows. New )/ork: Abbeville,199].

Brooks, Van Wack. Jo/zzz S/oam; ,4.f)a;afar's f€He. New York: 1955

Loughery, John. John .Slob/z/)a/nfer ails .Re6ef New YorkHenry Holt, 1995

deane attd describethings?'

Perlman, Bernard B., edRevotillttioKal'ies ofRealisnt: TkeLetters ofJolt11 Stoalt attd Robert,f/e/n-i Princeton: PrincetonUniversity Press, 1997

Johtt Sloan,I never thought of one of my good

Gist ofArt

However, Sloan lacked only com-mercial success. Respectfully regarded asa major American artist of the first orderby other artists, critics, and studentsthroughout his life, Sloan made his livingby teaching and illustrating rather than byselling his works. Today, as the movements preceding and succeeding Sloan'sbrief moment in the limelight recede into

the fabric of history, we evaluate his workas work unburdened by its popular suc-cess; in history all movements become

equal, though the individual works themselves take their places as successful ornot independent of their style. Today,then, Sloan's work stands as the work of aserious artist who revealed the form and

design and imagination in everyday lifewhile demonstrating the highest level ofcraRmanship in his technique.

]n 1910 Sloanjoined the SocialistParty and became the art editor of thejournal The Masses. He took on privatestudents whom he taught in each of thestudios he rented over the years in NewYork and then in Gloucester for several

summers. He sold his first painting in1913. The year 19]6 was perhaps themost important of his career. He had hisfirst one-man exhibition at Mrs. H.P.

Whitney's studio, the inception of theWhitney Museum. That September healso began teaching at the Art StudentsLeague, where he continued until 1 938lnd his work was also taken on at the

Kraushaar Gallery, which represented himfor the rest of his life. In 1917 he held

his first one-man show at the gallery.In 1918 Sloan became the president

of the Society of Independent Artists, aposition he held for life. Shortly there-after, he and Dolly made a trip to SantaFe. Falling in love with the environment,

they bought a home there in 1 920 and

Letters in 1942. He became president ofthe New Mexico Alliance for the Arts in

1949. In 1950 he not only won a goldmedal for painting from the AmericanAcademy of Arts and Letters, but was alsoelected to the American Academy of Artsand Sciences.

Sloan met Helen Farr, the daughterof a New York City physician, at the ArtStudents League where she was a student.Throughout their lives, John and DollySloan contended with Dolly's alcoholismand dependence on Sloan, her deprivededucation and cultivation, and her frequentreturns to prostitution that resulted inhealth problems for both the Sloans. Atthe same time, Dolly was a supportivewife who seems to have been equallyloved as hated by Sloan's acquaintances,sometimes called charming and sometimescalled despicable. Sloan's frustration withDolly's emotional difficulties was bal-anced by friendships he made among stu-dents and models who visited his studio.His relationship with Helen Farr, however,was clearly a lifesaver for him at a timewhen his relationship with Dolly was at itsworst. He and Helen married on February5, 1944, almost one year after Dolly'sdeath. John Sloan died on September 7,1 95 1 following an illness. Fifteen yearslater in 1976, Helen Farr Sloan donatedthe estate of John Sloan to the largestregional museum closest to his birthplace,the Lycoming County Historical Society.

fbylohn Sloan

Art is the result of the creative con-sciousness of the order of existence.

How can there be any ultimate solution ofthat? Art is the evidence of man's under-

standing, the evidence of civilization.Humanness is what counts. Man doesn't

change much over the centuries, but thereis some evidence that he is growing morehuman, very slowly, although it is his onegreatreason for being.

The artist has a song to sing. Hiscreative mind is irritated by something hehas to say graphically. You don't need topaint masterpieces or monumental subjects. Look out the window. Use yourimagination. Get a kick out of that spa-cial adventure, the textures of things, the

reality of that world. Find the design inthings.

(6 HfeWe live in a complex world in

which we are mutually interdependent.But the artist must be independent. Ithink he is the only person who has aright to be independent. The artist hasalways had to fight for his life, for free-dom of expression, for the right to saywhat he believes.

There is no end, no goal in this jobof being an artist. The longer you live thefurther you are from it. An artist maydevelop very slowly. He may be paintinghis best picture when he dies at seventy-five. The greatest men like Titian andRembrandt were always growing, expand-ing. They didn't reach their top work andthen start to repeat. They kept on matur-ing until they died. A man like Rubensfound a great formula and was content torepeat himself. In Rembrandt's laterwork, done when the public ceased to rec-ognize him, he achieved the greatest plastic realization of all the masters. Old andhalf blind, he drew with his mind andunderstanding to please himself. not thepublic.

The artist is in competition withhimself only. A bird does not sing beauti-fully because there is a contest. Greatmen are not even aware of competition.Jury exhibitions and the awarding ofprizes are detrimental to art. When peo-ple vote about matters of taste the thingselected is always mediocre, inofT'endive,innocuous.

My life has not been very eventfulbut my work has made it utterly worthwhile. The only reason I am in the prosession is because it is fun. I have alwayspainted for myself and made my living byillustrating and teaching. Some of theetchings and a few paintings made twentyyears ago se]] now and then, but I havenever made a living from my painting. Tfwhat I am doing now were selling I wouldthink there was something the n)attcr with

pictures as art while painting it. Whetherit was art or not. it was what I wanted to

do. Maybe the reason I haven't made agreater position in the history of art is thatI am not sufficiently critical of my ownwork. Like one of those women in the

park with a baby, I am proud of it becauseit is my own, a young hopeful. But wegrow more critical in time.

It is better to send pictures to exhibi-tions and get thejn fired than to become sose[f-critical as never to try to exhibit.Anyone who buys the paper to sec whatthe critic is saying about him when he istwenty-five, will take the critic too seri-ously by the time he is thirty-five.

Young people today arc much con-cerned with having one-man shows. In myday a man didn't expect to have a one-manshow until he was about forty-five. It isvery bad to bc interested in this kind ofthing. Too many pictures are being painted for exhibitions with the hope of crash-ing the museums. The art schools are fullof talented students who are carried awayby the desire to paint like successfulartists, instead of following the line oftheir own personal desire and interest.

You young people with your freshminds, must weigh the words of every manover forty-five. T said that when I wasforty-five and I am saying it now againEvery time I tell you something, weigh itwith your minds. You don't have to takewhat I say. I am not an authority. Thereare no authorities over art.

The great artist is the bloom on aplant, which is the art of the period. Theremay be more than one bloom. All the restof us are the roots, shoots and branches of

that plant or falling petals from the flowerThe work we are doing today is a preparabon for the great artists who are to come.

We are still individualists. We haveno traditional art. There are men likeRivera and Orozco who have been able toassimilate their native racial tradition. but

tunate. But I hope that some of theyounger artists will get hold of the idea Iam working on this principle of realiza-tion. It is the students who spread theidea. In fact, some of the most importantteaching is done from student to student

During the twenty-five years that Ihave been trying to instruct and inspireothers Ihave learned a great deal frommy students. Teaching has made me diginto my own work; I want to say some-thing worthwhile to the fresh youngminds with which I come in contact

Because 1, too, am a student, ten yearsago I turned my back on the type of workI had done in the past, work which hadbeen recognized by critic and public.Many pictures Imake today are franklyexperiments, products of my laboratory.But in looking over my paintings andetchings of the last ten years, I f'eel satis-fied that a number of them stand out as

more powerful and truly creative worksthan those of my earlier period. Now thatI am sixty-eight years old. I am gratefulto have lived this long and look forwardto more years of hard work. I am just astudent, chewing on a bone, the wayPicasso is.

Seeing frogs and facesin cloudsisnot imagination. Imagination is thecourage to say what you think and notwhat you see. Max Eastman has said:-The scientist describes water as H20; the

poet goes further and says "it is wet." Wewant to describe things that way. Anideograph is better than the thing itself.A better work of art tries to say the thingrather than to be the thing. The imagehas greater realization than the thingitself. That is the great beauty of poet-ry,--realization brought about by the useof images.

An artist is a product of life, asocial creature. Of necessity he cannotmingle with people as much as he wouldlike, but he reaches them through hiswork. The artist is a spectator of life. Heunderstands it without needing to havephysical experiences. Hc doesn't need toparticipate in adventures. The artist isinterested in life the wav God is interest.

REFERENCES

Sloan, John. G/sf (fHrf. New )'orkAmerican Artists Group, 1939.

"Etchittg is a way oJdrawing -- purely adrawittg technique.The line is a symbolwhich expresseswithout equivocationthe thought ofthe

Morse, Peter. John S/aa 's Prfnfs;A Catalogue Raissone oftheEtcitings, Lithographs, and Posters.Nen ' Haven: Yale University Press,1969.

Sloan, llelen Farr. Jo/zm S/aam]Vew hark ffc/z;ngs. Nen ' York:Dutton, 1978.

Watson, Stephen. .S/rai geBeflHe//ows. New )/ork: Abbeville,199].

Brooks, Van Wack. Jo/zzz S/oam; ,4.f)a;afar's f€He. New York: 1955

Loughery, John. John .Slob/z/)a/nfer ails .Re6ef New YorkHenry Holt, 1995

deane attd describethings?'

Perlman, Bernard B., edRevotillttioKal'ies ofRealisnt: TkeLetters ofJolt11 Stoalt attd Robert,f/e/n-i Princeton: PrincetonUniversity Press, 1997

Johtt Sloan,I never thought of one of my good

Gist ofArt

he Joh-. 81oan (2ollecbo-. N.«Wy.,K ew$1 8. ?The New York City Life Series is comprised of the works that came to be culled "Sloatts" regardless of the

work Sloait did as Ins cui'eer progressed: settsitive, realistic repo'esentations of ordinat'y sceites Jrotn daily life ittthe City. Early t\ventieth-century art critics, who oren considered these depictions of ordinary(not beautiful)people engaged in muttdutte activities to be "vulgar;' coined the tenn "Ash Can School" to refer to these woi'ksund others by ntentbei's of" Tile Eight"

The New York City Life Series included tltejollowiltg etchings cotnpletedfront 1905-06:Connoisseur ofPrints ]'FiftltApenue Critics +Sho\p CaseMalt hTonkey Fun, One Cent ': Wonton's PageTttntingOut theLight oman, Wife,and Child Roofs,SuntlnerNight

+ Tile Little Bride

The etchings are listed in chronotogi-calorder,andeach anti?includes(wheat known):

(1) Title of )pork (unless other-wise }toted, titles given itereare those wi'itten, presum-ably itt Helen Farr Sloan'shand, olt the proof; titlessometimes vary slightly inMorse);

(2) alternate titles;(3) signature (usually signed on

the proofby Heleit FarrSloan; Sloan's signattwe inplate);

(4) date oJ' plate;(S) image size;(6) in$ol'station handwritten Olt

the print (indicated byquotation marks); and

(7) notes and iitscriptionshandwritten on tile priltt(indicated by quotatioltmarks).

A briefdescription and/or notesabout the workfrom other sourcesfollow. Pritnary soni'ces are indicatedas: Morse, Bt'ooks, Butiard & Scott,Perlmait, aitd Stoalt (Gist ofArt).

Dedham Castle, After Tut"tier

Sighted ''John Sloctn(per HFS)18883 1/4 x S il\chas

100 proc-$sETttest Roth imp.

Thi'ee other later works are getterally considered pal't of tile set:Gil'l and Beggar ]'Night Windows R Tile Picture Buyer

ITlte seven works marked with an asterisk are included in tile LCHS John Sloan Collection.]

Une Rue a, New York

Sloan's firstattempt at etching:copied from awatercolor, etching, orchromolithograph that

[Morse: Filth Avenue Critics]

Sighted ''John Sloan (per HFS)

4 1/2 x 6 3/4 inchesPt£blished in Gazette des Beatle-Arts 1909

Imp. a PorcaboeuJ, Parishung over the Sloan family's mantelpiece.

Morse: Copy of Tumer's subject Amor/za/lz Cast/e 0/7 //ze tweed. "Earlyproofs of this print lack many of the accidental scratches which later appearedon the plate, notably the two strong vertical lines that are directly above the rightend of the low part of the castle." Morse quotes John Sloan: ''This little plate,the earliest of my efforts at etching, is so timidly bitten that it looks like a dry-point. The exciting action of the acid evidently frightened me so that it is hardfor me to believe that the lines ever saw acid. Done at the age of seventeen."

Morse quoting Sloan: '''These were typical of thefashionable ladies who used to drive up and down theAvenue about four o'clock of an afternoon, showing them-selves and criticizing others.' . . 'These two fashionableladies used to drive up and down Fifth Avenue every day. I think the portraitsare good and people have recognized them years later '" ( 137).

The Serenade

(Copyright 1902 Frederick J. Qtlittby Contpany)The Show Case

Sighted ''John Sloayt (per HFS)

1902/frotll the de Kook series, Mo+lsiet,tr Dupont:S x 3 1/2 inches

Peters Bros. imp.'artist's proof with reluarque

SigrtedJS1905/ New York City Life Series4 1/2 x 6 34 inchesJS {n Sloan's hand ''

100 proofsGaston imp.

[Morse :

vo{. 2

One of fifty-three etchings drawn by Sloan to illustrate an ediLion of the novels of Charles Paul de Kock for Quinby & Co. inBoston. Fifty-two were used. William Glackens was instrumentalin getting the commission for Sloan. Sloan credits this work withhelping him master his technique early on.

Gaston 25 proc-/s pt'esunlably destroyed]

Morse quoting Sloan: "' Material from West 23rd Streetand Sixth Avenue appealed to me at this til-rle. The devices ofthe toilette, which were then secrets, created more excitement among the adolescents than they would today. Already it is apparent that the Connoisseursmotive was fading ''' (138).

Page 6 Lycorrdng(9ourtfy Higtodca1 society Page 7

he Joh-. 81oan (2ollecbo-. N.«Wy.,K ew$1 8. ?The New York City Life Series is comprised of the works that came to be culled "Sloatts" regardless of the

work Sloait did as Ins cui'eer progressed: settsitive, realistic repo'esentations of ordinat'y sceites Jrotn daily life ittthe City. Early t\ventieth-century art critics, who oren considered these depictions of ordinary(not beautiful)people engaged in muttdutte activities to be "vulgar;' coined the tenn "Ash Can School" to refer to these woi'ksund others by ntentbei's of" Tile Eight"

The New York City Life Series included tltejollowiltg etchings cotnpletedfront 1905-06:Connoisseur ofPrints ]'FiftltApenue Critics +Sho\p CaseMalt hTonkey Fun, One Cent ': Wonton's PageTttntingOut theLight oman, Wife,and Child Roofs,SuntlnerNight

+ Tile Little Bride

The etchings are listed in chronotogi-calorder,andeach anti?includes(wheat known):

(1) Title of )pork (unless other-wise }toted, titles given itereare those wi'itten, presum-ably itt Helen Farr Sloan'shand, olt the proof; titlessometimes vary slightly inMorse);

(2) alternate titles;(3) signature (usually signed on

the proofby Heleit FarrSloan; Sloan's signattwe inplate);

(4) date oJ' plate;(S) image size;(6) in$ol'station handwritten Olt

the print (indicated byquotation marks); and

(7) notes and iitscriptionshandwritten on tile priltt(indicated by quotatioltmarks).

A briefdescription and/or notesabout the workfrom other sourcesfollow. Pritnary soni'ces are indicatedas: Morse, Bt'ooks, Butiard & Scott,Perlmait, aitd Stoalt (Gist ofArt).

Dedham Castle, After Tut"tier

Sighted ''John Sloctn(per HFS)18883 1/4 x S il\chas

100 proc-$sETttest Roth imp.

Thi'ee other later works are getterally considered pal't of tile set:Gil'l and Beggar ]'Night Windows R Tile Picture Buyer

ITlte seven works marked with an asterisk are included in tile LCHS John Sloan Collection.]

Une Rue a, New York

Sloan's firstattempt at etching:copied from awatercolor, etching, orchromolithograph that

[Morse: Filth Avenue Critics]

Sighted ''John Sloan (per HFS)

4 1/2 x 6 3/4 inchesPt£blished in Gazette des Beatle-Arts 1909

Imp. a PorcaboeuJ, Parishung over the Sloan family's mantelpiece.

Morse: Copy of Tumer's subject Amor/za/lz Cast/e 0/7 //ze tweed. "Earlyproofs of this print lack many of the accidental scratches which later appearedon the plate, notably the two strong vertical lines that are directly above the rightend of the low part of the castle." Morse quotes John Sloan: ''This little plate,the earliest of my efforts at etching, is so timidly bitten that it looks like a dry-point. The exciting action of the acid evidently frightened me so that it is hardfor me to believe that the lines ever saw acid. Done at the age of seventeen."

Morse quoting Sloan: '''These were typical of thefashionable ladies who used to drive up and down theAvenue about four o'clock of an afternoon, showing them-selves and criticizing others.' . . 'These two fashionableladies used to drive up and down Fifth Avenue every day. I think the portraitsare good and people have recognized them years later '" ( 137).

The Serenade

(Copyright 1902 Frederick J. Qtlittby Contpany)The Show Case

Sighted ''John Sloayt (per HFS)

1902/frotll the de Kook series, Mo+lsiet,tr Dupont:S x 3 1/2 inches

Peters Bros. imp.'artist's proof with reluarque

SigrtedJS1905/ New York City Life Series4 1/2 x 6 34 inchesJS {n Sloan's hand ''

100 proofsGaston imp.

[Morse :

vo{. 2

One of fifty-three etchings drawn by Sloan to illustrate an ediLion of the novels of Charles Paul de Kock for Quinby & Co. inBoston. Fifty-two were used. William Glackens was instrumentalin getting the commission for Sloan. Sloan credits this work withhelping him master his technique early on.

Gaston 25 proc-/s pt'esunlably destroyed]

Morse quoting Sloan: "' Material from West 23rd Streetand Sixth Avenue appealed to me at this til-rle. The devices ofthe toilette, which were then secrets, created more excitement among the adolescents than they would today. Already it is apparent that the Connoisseursmotive was fading ''' (138).

Page 6 Lycorrdng(9ourtfy Higtodca1 society Page 7

The Little Bride

Signed ''John Sloan1906/ New York CiQ Life Series4 3/4 x 6 34 inches

Peters Bros. Imp.b'/ Joh- 8)1o '-Scene from what was

called the ''French Church ''north of 23rd Street (Morse149).The Wonton's Page

Signed "John Sloan"1905/ New York City Life Series4 1/2 x 6 1/2 inches

"D. S. Gaston imp."

Night Windows

Signed ''John Sloan '' (per HFS)5 1/4 x 7inches

100 proofsErnest Roth imp. Fold papers''

''Sloan's personal inventory lists fourteen proofs ofFrenchy-nan's [Gaston 's] printing,' which have probably

been subsequently destroyed '' (Morse 141).Morse: "Sloan identifies this print as one of his

favorite prints in terms of subject and treatment; it wasinspired by Sloan's observations of life going on around

him from his studio on 23rd Street in New York City." Sloan quoted inMorse: "'The psychologists say we all have a little peeper instinct, and that'sa result of peeping the life across from me when I had a studio on 23rdStreet. This woman in this sordid room, sordidly dressed undressed witha poor little kid crawling around reading the Women's Page, getting hintson fashion and housekeeping. That's all. It's the irony of that I was puttingover. No intent to make a design, in this case, but to put over this ironicalattitude that my mind assumed in regard to what my eye saw '" (141 ).

Exhibited in the Armory Show, 19 13

"While his faithful wife is doing the wash downstairs myneighbor casts a roving eye across the areaway. A common-place or even vulgar incident may produce a work of art"(Sloan quoted in Morse 176).

The Picture Btlyer

Not Signed

5 }/4 x 7 iltckes

100 proofsJS imp. [Morse: ''Early 60, Roth 2S, Peters andPlatt '>, altd Gastott 25; Sloan's personalinvelltoW in 1931 Lists 18procl$s by Ptatt]

Man, Wife, and Child

Signed''.John Sloan

(horizotttat signature in plate)1905/ New York City Lila series4 1/2 x 6 }/2 inches

100 proofErllest Roth imp. (oldpaper)

ExhibitedintheArmory Show of 1913.

Represents a scene from the gallery of William Macbeth where thegroundbreaking show of "The Eight" was held.

Morse: Sloan's inscription on a proof for John Quinn: "An incident inthe galleries of William Macbeth he is shown purring in the ear of the vic-tim": in an NYS article, Sloan explained that he "Made some liquid groundand used it for the first time to protect a ground which before biting showedsome symptoms of weakness the Picture Buyer plate" (1 77).

' This scene 'rewarded hours spent at my backwindows. . . . A small family in scant quarters''' (Sloan inMorse ]45).

Page 8 Lycotnin$ (bounty Hi9todca1 Society .Page 9

The Little Bride

Signed ''John Sloan1906/ New York CiQ Life Series4 3/4 x 6 34 inches

Peters Bros. Imp.b'/ Joh- 8)1o '-Scene from what was

called the ''French Church ''north of 23rd Street (Morse149).The Wonton's Page

Signed "John Sloan"1905/ New York City Life Series4 1/2 x 6 1/2 inches

"D. S. Gaston imp."

Night Windows

Signed ''John Sloan '' (per HFS)5 1/4 x 7inches

100 proofsErnest Roth imp. Fold papers''

''Sloan's personal inventory lists fourteen proofs ofFrenchy-nan's [Gaston 's] printing,' which have probably

been subsequently destroyed '' (Morse 141).Morse: "Sloan identifies this print as one of his

favorite prints in terms of subject and treatment; it wasinspired by Sloan's observations of life going on around

him from his studio on 23rd Street in New York City." Sloan quoted inMorse: "'The psychologists say we all have a little peeper instinct, and that'sa result of peeping the life across from me when I had a studio on 23rdStreet. This woman in this sordid room, sordidly dressed undressed witha poor little kid crawling around reading the Women's Page, getting hintson fashion and housekeeping. That's all. It's the irony of that I was puttingover. No intent to make a design, in this case, but to put over this ironicalattitude that my mind assumed in regard to what my eye saw '" (141 ).

Exhibited in the Armory Show, 19 13

"While his faithful wife is doing the wash downstairs myneighbor casts a roving eye across the areaway. A common-place or even vulgar incident may produce a work of art"(Sloan quoted in Morse 176).

The Picture Btlyer

Not Signed

5 }/4 x 7 iltckes

100 proofsJS imp. [Morse: ''Early 60, Roth 2S, Peters andPlatt '>, altd Gastott 25; Sloan's personalinvelltoW in 1931 Lists 18procl$s by Ptatt]

Man, Wife, and Child

Signed''.John Sloan

(horizotttat signature in plate)1905/ New York City Lila series4 1/2 x 6 }/2 inches

100 proofErllest Roth imp. (oldpaper)

ExhibitedintheArmory Show of 1913.

Represents a scene from the gallery of William Macbeth where thegroundbreaking show of "The Eight" was held.

Morse: Sloan's inscription on a proof for John Quinn: "An incident inthe galleries of William Macbeth he is shown purring in the ear of the vic-tim": in an NYS article, Sloan explained that he "Made some liquid groundand used it for the first time to protect a ground which before biting showedsome symptoms of weakness the Picture Buyer plate" (1 77).

' This scene 'rewarded hours spent at my backwindows. . . . A small family in scant quarters''' (Sloan inMorse ]45).

Page 8 Lycotnin$ (bounty Hi9todca1 Society .Page 9

Rau Picket s

Signed''John Sloan}9132 3/4)c 3 34 inches

This pt"o(glbt John QuinnJSimp.

Girl in Kimono Morse: '''A glimpse into one of the cellars in Wast Third

Street under the elevated tracks, which were occupied by ragporters' (JS 1 945). Used as a Christmas-New Year greeting."

Sighed ''John Sloan19}34)c 5 }/2 inches

100 pt'offs

Sloan's model was lsa Urquhardt Glenn (Mrs. BayardSchindel), a cousin of J. Mcneil Whistler. Morse quotes

Sloan: '''Less reality is found in this plate than in most oth-ers of this period, for the reason that it was made directlyfrom life. I feel that it is too much a visual record. The

earnest study from the living model in the plates I etchedfrom ] 93 I to 1933 was directed toward more dynamicrealization, beyond the visual '"( 187).

Return .front Toil

Signed''John Sloctn191S4 }/4 x 6{Kches

100 proofs'ES Gaston imp."

An earlier drawing

made before this etchingwas on the cover of Zhe

Masses, July 1913. Itwas the subject of a dispute among the editors, some of whom felt that thecheerfulness of the workers did not appropriately reflect the workers' condi-tion.

Morse quoting Sloan: '''A bevy of boisterous girls with plenty of energyleft after a hard day's work '" (202).

Woman With Hand to Chin

[Morse] Yottlag WolnattFLCHS]

Signed ''Johtt Sloalt per HFS 196919}36 1/2 x 3 1/4 inches

printer's proof'butte Baskitt imp.

Growing Up in GI'eenwiclt Village

Signed ''John Sloan (per HFS)19166 }/2 x 3 }/4 inches

100 proofsErnest Roth imp. [oldpaper]

Morse: "This plate, though unsigned, wasclearly identified by JS as his work to HFS.Stylistically, it is unquestionable. . . . Perhaps ademonstration plate for a student. The platemay have been set aside and not published forthat reason. It is clearly a completed work.

''The edition of this etching was printed in1969. An impression is included in each of the 1 50 copies comprising thespecial limited edition of this book: Jo/z/z .S/oa/z Prf/z/s. The 25 artist's proofsare reserved for the Sloan Estate. Different papers have been used for editionprints and artist's proofs. All are signed by HFS . . . " (188).

Morse quoting Sloan: '''A glimpse of the trials of a Village girl emerginginto young ladyhood ' (JS 1945).'" Morse quoting HFS: "'Sloan did not printfrom this plate until some years after making it. He had felt it wascoarsely bitten''(1966).

Page 10 L'/corning <2ounty Historical Society Page11

Rau Picket s

Signed''John Sloan}9132 3/4)c 3 34 inches

This pt"o(glbt John QuinnJSimp.

Girl in Kimono Morse: '''A glimpse into one of the cellars in Wast Third

Street under the elevated tracks, which were occupied by ragporters' (JS 1 945). Used as a Christmas-New Year greeting."

Sighed ''John Sloan19}34)c 5 }/2 inches

100 pt'offs

Sloan's model was lsa Urquhardt Glenn (Mrs. BayardSchindel), a cousin of J. Mcneil Whistler. Morse quotes

Sloan: '''Less reality is found in this plate than in most oth-ers of this period, for the reason that it was made directlyfrom life. I feel that it is too much a visual record. The

earnest study from the living model in the plates I etchedfrom ] 93 I to 1933 was directed toward more dynamicrealization, beyond the visual '"( 187).

Return .front Toil

Signed''John Sloctn191S4 }/4 x 6{Kches

100 proofs'ES Gaston imp."

An earlier drawing

made before this etchingwas on the cover of Zhe

Masses, July 1913. Itwas the subject of a dispute among the editors, some of whom felt that thecheerfulness of the workers did not appropriately reflect the workers' condi-tion.

Morse quoting Sloan: '''A bevy of boisterous girls with plenty of energyleft after a hard day's work '" (202).

Woman With Hand to Chin

[Morse] Yottlag WolnattFLCHS]

Signed ''Johtt Sloalt per HFS 196919}36 1/2 x 3 1/4 inches

printer's proof'butte Baskitt imp.

Growing Up in GI'eenwiclt Village

Signed ''John Sloan (per HFS)19166 }/2 x 3 }/4 inches

100 proofsErnest Roth imp. [oldpaper]

Morse: "This plate, though unsigned, wasclearly identified by JS as his work to HFS.Stylistically, it is unquestionable. . . . Perhaps ademonstration plate for a student. The platemay have been set aside and not published forthat reason. It is clearly a completed work.

''The edition of this etching was printed in1969. An impression is included in each of the 1 50 copies comprising thespecial limited edition of this book: Jo/z/z .S/oa/z Prf/z/s. The 25 artist's proofsare reserved for the Sloan Estate. Different papers have been used for editionprints and artist's proofs. All are signed by HFS . . . " (188).

Morse quoting Sloan: '''A glimpse of the trials of a Village girl emerginginto young ladyhood ' (JS 1945).'" Morse quoting HFS: "'Sloan did not printfrom this plate until some years after making it. He had felt it wascoarsely bitten''(1966).

Page 10 L'/corning <2ounty Historical Society Page11

ab:!: H

.v

Signed''JohrtSloun]920S }/4 x 7inches

JSimp.b'/ .Joh« 8)1o'*'':

Morse quoting Sloan'A lively impression from

Washington Square after asnowstorm. In going backover my etchings for the pur

Arch Conspirators

Signed ''John Sloan (per HFS)]9}74 }/2 x 6{nches

100 proo$kErnest Roth imp. [otd paper]

pose of these comments, it seems notable that I have been more interested inlife than in ''art." Too many of us today are over-concerned with formulas.There is little doubt, however, that we will emerge eventually better artists forhaving been through a period of conscious study '" (223).

Represents a party held on the roof of the WashingtonSquare arch. Present, from left to right, are Charles Ellis(actor), Marcel Duchamp (artist, standing), Gertrude Drink(poet), Allen Russell Mann, Betty Turner, and John Sloan

(face in three-quarters front view). During the party, the revelers drew up anonsense declaration of secession for Greenwich Village from the United

States and claimed protection of President Wilson as a small nation.

Morse quoting Sloan: '''Gertrude S. Drick, poet, was a wild little crea-ture. I had found that the bronze door of the Arch was open. She said wemust have a picnic. We had hot water bottles to sit on, sandwiches, and thormos bottles of coffee. There was a spiral iron stairway, then a big chambereighteen feet high, the width of the Arch, then a stairway to a trap door.When we left, we fastened colored balloons to the parapet. They stayedabout a week. One of my bohemian incidents, one of the very few '" (209).

Bon,fire

Signed ''Joh+t Sloan (per HFS)1920S }/4 x 7 1/2 inches

100 proolk

Ernest Roth imp. Fold paper]

Morse quoting Sloan: "'This fire frolic in a vacantlot has resulted in a plate with fine qualities of light andmovement '" (224).

Shine, Washingtott SquareSeeittg New York

Signed ''John Sloatt}9235 x 7inches

Working proof'JSlmp.

Signed''JohttSloani9}72 3/8 x 3 3/4 inches

100proojsErnest Roth imp. [old paper]

Morse quotingSloan: "'It has been said

that my work has beeninfluenced by Cruikshank, but no critic has traced it to its true source, which

is the work of John Leech, particularly in his Punch drawings. Cruikshank'speople always have a quality of caricature ''' (23 1).

Morse: "The title refers to tour busses [sic]

taking sightseers around the city. Used as a NewGreetings 1918, from Anna M. and John Sloan.''''Poultry on the way to East Side execution. A sketch

Year's card, inscribed:Morse quoting Sloanplate'''(214).

Page 12 L/corning (2ounf/ Hi9{odca1 society Page 13

ab:!: H

.v

Signed''JohrtSloun]920S }/4 x 7inches

JSimp.b'/ .Joh« 8)1o'*'':

Morse quoting Sloan'A lively impression from

Washington Square after asnowstorm. In going backover my etchings for the pur

Arch Conspirators

Signed ''John Sloan (per HFS)]9}74 }/2 x 6{nches

100 proo$kErnest Roth imp. [otd paper]

pose of these comments, it seems notable that I have been more interested inlife than in ''art." Too many of us today are over-concerned with formulas.There is little doubt, however, that we will emerge eventually better artists forhaving been through a period of conscious study '" (223).

Represents a party held on the roof of the WashingtonSquare arch. Present, from left to right, are Charles Ellis(actor), Marcel Duchamp (artist, standing), Gertrude Drink(poet), Allen Russell Mann, Betty Turner, and John Sloan

(face in three-quarters front view). During the party, the revelers drew up anonsense declaration of secession for Greenwich Village from the United

States and claimed protection of President Wilson as a small nation.

Morse quoting Sloan: '''Gertrude S. Drick, poet, was a wild little crea-ture. I had found that the bronze door of the Arch was open. She said wemust have a picnic. We had hot water bottles to sit on, sandwiches, and thormos bottles of coffee. There was a spiral iron stairway, then a big chambereighteen feet high, the width of the Arch, then a stairway to a trap door.When we left, we fastened colored balloons to the parapet. They stayedabout a week. One of my bohemian incidents, one of the very few '" (209).

Bon,fire

Signed ''Joh+t Sloan (per HFS)1920S }/4 x 7 1/2 inches

100 proolk

Ernest Roth imp. Fold paper]

Morse quoting Sloan: "'This fire frolic in a vacantlot has resulted in a plate with fine qualities of light andmovement '" (224).

Shine, Washingtott SquareSeeittg New York

Signed ''John Sloatt}9235 x 7inches

Working proof'JSlmp.

Signed''JohttSloani9}72 3/8 x 3 3/4 inches

100proojsErnest Roth imp. [old paper]

Morse quotingSloan: "'It has been said

that my work has beeninfluenced by Cruikshank, but no critic has traced it to its true source, which

is the work of John Leech, particularly in his Punch drawings. Cruikshank'speople always have a quality of caricature ''' (23 1).

Morse: "The title refers to tour busses [sic]

taking sightseers around the city. Used as a NewGreetings 1918, from Anna M. and John Sloan.''''Poultry on the way to East Side execution. A sketch

Year's card, inscribed:Morse quoting Sloanplate'''(214).

Page 12 L/corning (2ounf/ Hi9{odca1 society Page 13

Snowstornt in the Village

SignedJ.S.!92S7 x 5 ittches;J.S. Johlt Sloan's hated ''

100 pt'oopsE. S. Gastott imp.'' [Morse.p+"obabty destroyed]

Gaston 2S

He was a little boy, Patience Morse quoting Sloan: '''Viewed frommy studio on Washington Place, theJefferson Market Court tower and elevatedtracks on Sixth Avenue under a swirl of

snow '" (241).

Signed ''Johtt Sloan}92SS)c 4 inchesFirst StateJatt. 22-}925

JSimp.' Fashions ofthe Past

The first state probably represents work exhibited at the NewSociety of Artists exhibition at Anderson galleries, January 6-3 1, 1 925

Signed ''Johtt Stoctn}9268 x }0 illches

100 proolkErnest Roth imp.

Morse quoting Sloan: "A well-arranged shop window and the contrasting costumes of the passers-by,whose dress of the time will in turn become costumes

ofthe past" (249).

He was a little boy, Patiettce

Signed ''John Sloan1925

S )c 4 iltches

He was a Little Bov

anal state100 pt'offsJSimp.

XXVth Anniversary Dolly and JS,Aug. 5, 1926

/ ''PatienceSigned ''John Stoart19264 )c 5 {ttches

Peter Platt imp.

The subject is a comic duet from Act I of Gilbert and Sullivan'sPatieltce.

An alternative title to thisdesign for an anniversary partyinvitation was ''On the Rocks." atitle that Sloan thought summed

up the couple's marital state. The "rocky" marriage lasted forty years.

Morse quoting Sloan: '''An invitation to what turned out to be a veryjolly affair in the garden of our Sante Fe studio about 80 people '" (25 1).

Page 14 L}'coming(9ounfy Hi9{odca1 8ocie,V Page 15

Snowstornt in the Village

SignedJ.S.!92S7 x 5 ittches;J.S. Johlt Sloan's hated ''

100 pt'oopsE. S. Gastott imp.'' [Morse.p+"obabty destroyed]

Gaston 2S

He was a little boy, Patience Morse quoting Sloan: '''Viewed frommy studio on Washington Place, theJefferson Market Court tower and elevatedtracks on Sixth Avenue under a swirl of

snow '" (241).

Signed ''Johtt Sloan}92SS)c 4 inchesFirst StateJatt. 22-}925

JSimp.' Fashions ofthe Past

The first state probably represents work exhibited at the NewSociety of Artists exhibition at Anderson galleries, January 6-3 1, 1 925

Signed ''Johtt Stoctn}9268 x }0 illches

100 proolkErnest Roth imp.

Morse quoting Sloan: "A well-arranged shop window and the contrasting costumes of the passers-by,whose dress of the time will in turn become costumes

ofthe past" (249).

He was a little boy, Patiettce

Signed ''John Sloan1925

S )c 4 iltches

He was a Little Bov

anal state100 pt'offsJSimp.

XXVth Anniversary Dolly and JS,Aug. 5, 1926

/ ''PatienceSigned ''John Stoart19264 )c 5 {ttches

Peter Platt imp.

The subject is a comic duet from Act I of Gilbert and Sullivan'sPatieltce.

An alternative title to thisdesign for an anniversary partyinvitation was ''On the Rocks." atitle that Sloan thought summed

up the couple's marital state. The "rocky" marriage lasted forty years.

Morse quoting Sloan: '''An invitation to what turned out to be a veryjolly affair in the garden of our Sante Fe studio about 80 people '" (25 1).

Page 14 L}'coming(9ounfy Hi9{odca1 8ocie,V Page 15

The Indian Detour

Signed''John Sloan}9276x 7 }/4 inches

100 proofsPeter Platt imp.

b'/ Joh- 8,t"-

Morse quoting Sloan: "A satire on the Harvey IndianTour. Busses [sic] take the tourists out to view the Indian

dances, which are religious ceremonials and naturally notunderstood as such by the visiting crowds.' This scene is identi-fied as the corn dance at Santo Domingo Pueblo, in an undatedarticle from the Sa/7/a Xe ivey ,Mexican of August or September 1936.'

Enter's 1927

Morse ''Rendezvous'' ; Caption: Miss Attgtta Enters

Signed''John Sloala1927} 1/8 x 3 }/8inches

100 proofsJSimp.'Enters }927''

Nude Readittg

Morse quoting Sloan: "'A plate made for New Year's the title'1927 Enters'' (253).

Signed ''John Sloata1928S x 7inches

100 prop.lk '' crossed out3rd state workittgproof'

JSimp.

Kraushaar's Morse quotingSloan: "'This nude posedin the etcher's studio

gives the first strong evidence of sculptural approach. It is interesting torecall that the same quality is being sought in the paintings of and since thattime.''' (259).

Signed''JohnSloan (per HFS)"]9264 x S {ttches

100 proofsErnest Roth imp

[old papers''

Sdg$ptqn$bi.

Signed ''John Sloan (per HFS)

4 x S inches100 proolkChas. White imp.

John F.Kraushaar's Galleryheld Sloan's firstone-man show in 191 7 and from then on handled John Sloan's work.

Morse quoting Sloan: '''My old friend, John F. Kraushaar, engaged inthe difficultjob of selling a picture to a man whose wife feels she needssables"'(254).

Morse quoting Sloan: ''The wily art of selling a thing that isneither liked nor wanted"(268).

Page 16 (9ourtfy Higbdca1 8ocie,t>' Page 17

The Indian Detour

Signed''John Sloan}9276x 7 }/4 inches

100 proofsPeter Platt imp.

b'/ Joh- 8,t"-

Morse quoting Sloan: "A satire on the Harvey IndianTour. Busses [sic] take the tourists out to view the Indian

dances, which are religious ceremonials and naturally notunderstood as such by the visiting crowds.' This scene is identi-fied as the corn dance at Santo Domingo Pueblo, in an undatedarticle from the Sa/7/a Xe ivey ,Mexican of August or September 1936.'

Enter's 1927

Morse ''Rendezvous'' ; Caption: Miss Attgtta Enters

Signed''John Sloala1927} 1/8 x 3 }/8inches

100 proofsJSimp.'Enters }927''

Nude Readittg

Morse quoting Sloan: "'A plate made for New Year's the title'1927 Enters'' (253).

Signed ''John Sloata1928S x 7inches

100 prop.lk '' crossed out3rd state workittgproof'

JSimp.

Kraushaar's Morse quotingSloan: "'This nude posedin the etcher's studio

gives the first strong evidence of sculptural approach. It is interesting torecall that the same quality is being sought in the paintings of and since thattime.''' (259).

Signed''JohnSloan (per HFS)"]9264 x S {ttches

100 proofsErnest Roth imp

[old papers''

Sdg$ptqn$bi.

Signed ''John Sloan (per HFS)

4 x S inches100 proolkChas. White imp.

John F.Kraushaar's Galleryheld Sloan's firstone-man show in 191 7 and from then on handled John Sloan's work.

Morse quoting Sloan: '''My old friend, John F. Kraushaar, engaged inthe difficultjob of selling a picture to a man whose wife feels she needssables"'(254).

Morse quoting Sloan: ''The wily art of selling a thing that isneither liked nor wanted"(268).

Page 16 (9ourtfy Higbdca1 8ocie,t>' Page 17

Nude by Bookcase

b'/ Joh- 8)1o ';- Signed ''John Sloan}9314 x 5 inches

100 proofs

Ernest Roth imp.[old papers' '

The Greets Hour:Angna Ettters

Signed ''John Sloan1930S)c 4 inches

100 proofsPeter Platt imp.'

Morse quoting Sloan: "'Nothing could be less informative or romanticthan the titles of these etchings'' (285).

Dolly, 1936

Sighted ''John Slocttt19366)c 8 inches

] 00 proc$sChas. White imp.25 prods ofthis state-

Morse quoting Sloan: "'l have made several etchingsproduced under the inspiration of the creative genius of AngnaEnters. This one has given me great satisfaction" (271).

A portrait of John Sloan's wife (Ann M. Wall) of fortyyears. Socialist and fundraiser, Dolly was equally loved andhated by Sloan's colleagues. With Sloan, she was instrumen

Nude With tal in organizing and mounting the first exposition of Native American art thatopened doors to appreciating Third World art in the twentieth century.

arette

Signed ''JohnSloan193}S 1/2)t 7inches

100 proofsErnest Roth imp.

Signed ''John Sloan19394x 6{nches4th state

100 proofCharles White imp.

Morse quoting Sloan:"'One of those exhibition

opening cocktail parties.of Prohibition prevails over interest inat all, knocking them crooked on the wall

Morse quotingSloan: "'The nudes

of this period wereneedled directly onthe plate without pre-liminary studies, and when they achieve results like this I feel that they are oflasting importance. They kind of amaze me nowadays'" (280).

Enthusiasm resulting from the lif:tingart.' . . . ' They don't see the pictureswith their shoulders'" (339).

Page 18 L/c07ning (Bounty Higtodca1 8ocie,ty Page 19

Nude by Bookcase

b'/ Joh- 8)1o ';- Signed ''John Sloan}9314 x 5 inches

100 proofs

Ernest Roth imp.[old papers' '

The Greets Hour:Angna Ettters

Signed ''John Sloan1930S)c 4 inches

100 proofsPeter Platt imp.'

Morse quoting Sloan: "'Nothing could be less informative or romanticthan the titles of these etchings'' (285).

Dolly, 1936

Sighted ''John Slocttt19366)c 8 inches

] 00 proc$sChas. White imp.25 prods ofthis state-

Morse quoting Sloan: "'l have made several etchingsproduced under the inspiration of the creative genius of AngnaEnters. This one has given me great satisfaction" (271).

A portrait of John Sloan's wife (Ann M. Wall) of fortyyears. Socialist and fundraiser, Dolly was equally loved andhated by Sloan's colleagues. With Sloan, she was instrumen

Nude With tal in organizing and mounting the first exposition of Native American art thatopened doors to appreciating Third World art in the twentieth century.

arette

Signed ''JohnSloan193}S 1/2)t 7inches

100 proofsErnest Roth imp.

Signed ''John Sloan19394x 6{nches4th state

100 proofCharles White imp.

Morse quoting Sloan:"'One of those exhibition

opening cocktail parties.of Prohibition prevails over interest inat all, knocking them crooked on the wall

Morse quotingSloan: "'The nudes

of this period wereneedled directly onthe plate without pre-liminary studies, and when they achieve results like this I feel that they are oflasting importance. They kind of amaze me nowadays'" (280).

Enthusiasm resulting from the lif:tingart.' . . . ' They don't see the pictureswith their shoulders'" (339).

Page 18 L/c07ning (Bounty Higtodca1 8ocie,ty Page 19

lo.- <19.ll..tio-8b'/ doh- 8,t '-- \,'Joel bl ' H.t.« f:am 81o.':

Navajo DcutceLithographl0 1/8 x 7

10 proofs76.217.191

Angna EntersEtching9 1/2 x 776.217.192

Depressiott Line-Up1930

Brush wash drawing14 3/4 x 1976.217.194

Sixth Avenue ElevatedWatercolorl0 1/2 x 8 1/276.217.195

The Black Pot

Signed ''John Sloan (per HFS)19376)t 4 inches

100 proolkCharles White imp:

by ]=dertdg, 8tucle,nf atta (2ordempor'ade,B. Robinson

Three PeopleLithograph10 x 12 3/4

Philip ReismanFulton Fish Ma} ket

76.217.31 Enamel 6.217.95

Peggy BaconTile Citric1936

Etching5 1/2 X 7 1/2

Morse quoting Sloantwo civilizations'" (332).

:The potter's art bridges the gulf between NaxQoWatercolor drawing10 3/4 x 7 1/2 76.217.180

Reginald Marshlite Merry Go Rolutd1928

Engravingl0 1/4 x 8 76.217.32

76.217.197 Kosbare I)ance Santo

I)omingoEtching5 5/8 x 4 3/8 76.217.?

Joseph LaskerNewstaltd

Gouache

9 3/4x 7 3/4

Hair) WickeyOtd Tinters in Park

Drawing8 x l0 1/4 76.217.175

76.217.98 Anne RhoneJohn SloanTempera and oil on masonite20 x 16 76.217.181

Jerome MyersGhetto MarketEtching7 x 9 1/4E.M."

Marie WilliamsPorn'ait oj Johit Sloan1930

Oil on cardboard

19 7/8 x 23 7/8 76.217.182

James PrestonBoat Dock

Watercolor8 x ll

1935 with best wishes76.217.176

Village

Charcoal drawing8 x 9 1/8 76.217.179

76.217.33 Nude on RedOil on masonite17 1/2 x 24 76.217.183

Frank K.M. Rehn

Swtset by tile SeaOil on canvas14 x 10 76.217.90

Jitterbugs, Tile StageDoor Canteen1943

Etching5 5/8 x 4 3/8 76.217.190'To Helen. John SloanHappy New Year,1946"

The Wake on the Fen'yFrancis Stein

Stream North CarolinaWatercolor

8 3/4 x 12 76.217.186Signed ''Johtt Sloalt (per HFS 1 951)}949S x 7 iltches

350 proolkET'nest Roth imp.JS Estate

Philip EvergoodSubway SerenadeOil on masonite13 x 9 3/4 76.217.91

William C. Mcnulty

WaidorfAstoria HotelLithograph12 3/4 x 9

'To John and Dolly Sloanwith kindest regards fromBill the artist 6/1/29"

76.217.177Will Shuster

I)an ce HaltOil on masonite19 7/8 x 23 7/8 76.217.184

Gifford Beal

Lady With Parasol

Dry point11 3/4 x 9

'To my friend Dolly Sloan '76.217.187

Nudist Neigltbol'sOil on board'To Dolly from John Sloan

1935 with best wishes'76.217.92

Angna EntersP} ont eitade1937Etchingl0 1/2 x 4 7/8 76.217.189

A humorous plate based on an old painting, Z%e

Wake (2/'/;ze Aer/7, produced for the Art StudentsLeague after Sloan's five-year layoff from etching.

M. SoberPortrait Sketch ofGir\Oil on board12 1/2 x 9 1/2 76.217.94

Don Heeman AudubonGI ottltd Dove.

Caltada JoyHandcolored lithograph9 x 6 and 9 x 6 76.217.27

I)eep ilt Hollywood

Lithograph

9 1/2 by 12 76.217.196

Page 20 Page21

lo.- <19.ll..tio-8b'/ doh- 8,t '-- \,'Joel bl ' H.t.« f:am 81o.':

Navajo DcutceLithographl0 1/8 x 7

10 proofs76.217.191

Angna EntersEtching9 1/2 x 776.217.192

Depressiott Line-Up1930

Brush wash drawing14 3/4 x 1976.217.194

Sixth Avenue ElevatedWatercolorl0 1/2 x 8 1/276.217.195

The Black Pot

Signed ''John Sloan (per HFS)19376)t 4 inches

100 proolkCharles White imp:

by ]=dertdg, 8tucle,nf atta (2ordempor'ade,B. Robinson

Three PeopleLithograph10 x 12 3/4

Philip ReismanFulton Fish Ma} ket

76.217.31 Enamel 6.217.95

Peggy BaconTile Citric1936

Etching5 1/2 X 7 1/2

Morse quoting Sloantwo civilizations'" (332).

:The potter's art bridges the gulf between NaxQoWatercolor drawing10 3/4 x 7 1/2 76.217.180

Reginald Marshlite Merry Go Rolutd1928

Engravingl0 1/4 x 8 76.217.32

76.217.197 Kosbare I)ance Santo

I)omingoEtching5 5/8 x 4 3/8 76.217.?

Joseph LaskerNewstaltd

Gouache

9 3/4x 7 3/4

Hair) WickeyOtd Tinters in Park

Drawing8 x l0 1/4 76.217.175

76.217.98 Anne RhoneJohn SloanTempera and oil on masonite20 x 16 76.217.181

Jerome MyersGhetto MarketEtching7 x 9 1/4E.M."

Marie WilliamsPorn'ait oj Johit Sloan1930

Oil on cardboard

19 7/8 x 23 7/8 76.217.182

James PrestonBoat Dock

Watercolor8 x ll

1935 with best wishes76.217.176

Village

Charcoal drawing8 x 9 1/8 76.217.179

76.217.33 Nude on RedOil on masonite17 1/2 x 24 76.217.183

Frank K.M. Rehn

Swtset by tile SeaOil on canvas14 x 10 76.217.90

Jitterbugs, Tile StageDoor Canteen1943

Etching5 5/8 x 4 3/8 76.217.190'To Helen. John SloanHappy New Year,1946"

The Wake on the Fen'yFrancis Stein

Stream North CarolinaWatercolor

8 3/4 x 12 76.217.186Signed ''Johtt Sloalt (per HFS 1 951)}949S x 7 iltches

350 proolkET'nest Roth imp.JS Estate

Philip EvergoodSubway SerenadeOil on masonite13 x 9 3/4 76.217.91

William C. Mcnulty

WaidorfAstoria HotelLithograph12 3/4 x 9

'To John and Dolly Sloanwith kindest regards fromBill the artist 6/1/29"

76.217.177Will Shuster

I)an ce HaltOil on masonite19 7/8 x 23 7/8 76.217.184

Gifford Beal

Lady With Parasol

Dry point11 3/4 x 9

'To my friend Dolly Sloan '76.217.187

Nudist Neigltbol'sOil on board'To Dolly from John Sloan

1935 with best wishes'76.217.92

Angna EntersP} ont eitade1937Etchingl0 1/2 x 4 7/8 76.217.189

A humorous plate based on an old painting, Z%e

Wake (2/'/;ze Aer/7, produced for the Art StudentsLeague after Sloan's five-year layoff from etching.

M. SoberPortrait Sketch ofGir\Oil on board12 1/2 x 9 1/2 76.217.94

Don Heeman AudubonGI ottltd Dove.

Caltada JoyHandcolored lithograph9 x 6 and 9 x 6 76.217.27

I)eep ilt Hollywood

Lithograph

9 1/2 by 12 76.217.196

Page 20 Page21

Ni«.t.. th . d nw.nli.h e.nluw lad«is Nirtete,e,rath arid n~«,,e,Elie,th (2.e,nluW ladntg

AudubonGround Dove, Caitada JayHandcolored lithograph9 x 6 and 9 x 6 76.217.27

Currier & IvesThe Fio\ver Vase

Handcolored lithograph13 1/2 x 9 1/2

N CurrierThe Progress oJ Intentperance1841 copyrightHandcolored lithograph11 1/2 x 13 1/2 76.217.60

N. CurrierThe Bad Matt at tile Haul' of

Beat t

Lithograph11 3/4 x 8 1/2 76.217.81

Winslow Homer

Spriitg Faint Work.1870Wood engraving7 1/2 x 9 1/2

Grafting76.217.48

T.SignalPont des Arts; Tlvo TugboatsEtching4 5/8 x 7 1/4 76.217.28M.«&.o of

Little Red Riding HoodHandcolored lithograph13 1/2 x 9 1/2 76.217.49

76.217.109

The Lovers' Quarrel1846 copyrightHandcolored lithograph13 3/4 xd 9 3/4 76.217.61

Currier & IvesA New Jersey Fox Hunt1876

Lithograph9 x 12 1/4 76.217.83

Making HayWood engraving10 x 14

Edward PenfieldTh}.ee Men olt BaseReproduction of multiplate woodcut13 1/4 x 9 1/4 76.217.170

76.217.110

Graltdllta's Specs

]877 copyright

Handcolored lithograph14 x 9 3/4

Under the Fails, Catskill Mts.

Engraving9 3/4 x 14 1/4 76.217.111

Tile Lovers' Reconciliatioit1846 copyrightHandcolored lithograph12 3/4 x 9 1/2 76.217.62

.John L. Sullivan1883 copyrightHandcolored lithographl0 1/4 x 7 76.217.84'Original by John Cameron '

Arthur B. DaviesAmber Gardencolored aquatint13 x 5 1/276.217.}78

N. CurrierMusic Stored d1835

Lithograph]3 x 9

76.217.50

I)ad's ConningWood engraving9 1/2 x 14 1/2

Dottie

Handcolored lithograph12 1/2 x 9 76.217.5176.217.39

Currier & Ives

Steantship-City ofMolttreatHandcolored lithograph8 3/4 x 13 1/2 76.217.63

Winslow HomerMarch Wiltds

Wood engraving6 1/4 x lO

76.217.112

The Morning BeltWood engraving14 x lOWilliam Glackens

Vou Like it, Di'irk it

lithographl0 1/8 x 7

copyright 1904illustration forCharles de Kook novel"Printer's proof from Estate of

.John Sloan HF'S)P76.217.32 & 33

Currier & IvesTile Katz-Kitts in WinterHandcolored lithograph10 x 13 76.217.41

Little I)airyHandcolored lithograph15 x 10 76.217.52

76.217.10176.217.113

N. CurrierMazeppaPlate I

Lithograph8 1/8 x 12 1/4

April ShowersWood engraving6 1/2 x 9 3/4

Snap tile WhipWood engraving14 1/4 x 21Mloose and Wolves: A Nan olv

EscapeHandcolored lithograph10 x 13 76.217.42

76.217.102

New York Fel'ry BoatHandcolored lithograph10 x 13 1/4 76.217.53

Steiglt iitg Seasott :The Upset

Handcolored wood engraving9 3/4 x 14 1/2 76.217.103

76.217.116

76.217.65aStatioit llottse LedgersLithograph10 x 14 1/4 76.217.117

Plate 2

Lithograph8 1/8 x 12 1/4

N. CurrierI)adel Webster, Secretary ofState

Handcolored lithograph13 3/4 x 9 3/4 76.217.43

Intro!' ted Messenger

1880 copyright

Handcolored lithograph11 1/4 x 16 1/2

76.217.65b Art Students in the LouvreWood engraving9 1/2 x 14 76.217.104

The Fishing PartyWood engraving9 3/4 x 14EverettShinn

The ChefPen and ink drawing11 x 3"Gift to HFS. Joan Edith De Shazo:76.217.193

Plate 3Lithograph8 1/8 x 12 1/4

76.217.5476.217.118

Fran cis R. Sltuitk1844 copyrightHandcolored lithograph13 1/4 x 9 1/4 76.217.44

76.217.65c Wiitter: Tile Skatiltg SvelteWood engraving9 3/4 x 14 76.217.105

Chinese in New York: Sceite in aBaxter Street Clubholise

LithographNewsprint paper14 1/4 x 9 1/4 76.217.287

Tile Happy Hollte

Handcolored lithograph13 x 9 1/4 inches 76.217.56

Plate 4

Lithograph8 1/8 x 12 1/4

New England Factory Life:Ben Tinto

Lithograph10 x 14 76.217.106

Life & Age ofMaltHandcolorcd lithograph9 1/2 x 13

76.217.65d

76.217.45A] ab's BrideHandcolored lithograph13 x 9 1/4 76.217.57

Currier & Ives

Faith, Hope, Charity1874 copyrightHandcolored lithographl0 1/4 x 13 1/2

Noon Recess

Wood engraving9 3/4 x 14 1/4

Currier & IvesWy Little White Kitteits Ptayiltg

I)olttiltoesHandcolored lithograph9 1/2 x 14 76.217.46

The Sulttntit ofMt. WasttingtoltWood engravingNewsprint paper9 1/2 x 14 1/4 76.217.107

76.217.288

Straqbrd oit Avott

Handcolored lithograph8 x 12 1/2 76.217.58

76.217.69 Thomas Nast

Tile Lore Fishenltan frolttMassach usetts

/7arperk meek/y 1879Etching15 x l0 1/4 76.217.144

N CurrierI'lte Fox Hwttel'Lithograph8 1/4 x 12 3/4

CitestltttttiltgSigned, probably Harper k 1 870sLithograph12 1/2 x 9 1/2 76.217.108Currier & l\ es

Ferns

Handcolored lithograph14 x ll

Flog al Gents

Lithograph14 x 9 1/2

76.217.80

Page 22 76.217.47 76.217.59 Page 23

Ni«.t.. th . d nw.nli.h e.nluw lad«is Nirtete,e,rath arid n~«,,e,Elie,th (2.e,nluW ladntg

AudubonGround Dove, Caitada JayHandcolored lithograph9 x 6 and 9 x 6 76.217.27

Currier & IvesThe Fio\ver Vase

Handcolored lithograph13 1/2 x 9 1/2

N CurrierThe Progress oJ Intentperance1841 copyrightHandcolored lithograph11 1/2 x 13 1/2 76.217.60

N. CurrierThe Bad Matt at tile Haul' of

Beat t

Lithograph11 3/4 x 8 1/2 76.217.81

Winslow Homer

Spriitg Faint Work.1870Wood engraving7 1/2 x 9 1/2

Grafting76.217.48

T.SignalPont des Arts; Tlvo TugboatsEtching4 5/8 x 7 1/4 76.217.28M.«&.o of

Little Red Riding HoodHandcolored lithograph13 1/2 x 9 1/2 76.217.49

76.217.109

The Lovers' Quarrel1846 copyrightHandcolored lithograph13 3/4 xd 9 3/4 76.217.61

Currier & IvesA New Jersey Fox Hunt1876

Lithograph9 x 12 1/4 76.217.83

Making HayWood engraving10 x 14

Edward PenfieldTh}.ee Men olt BaseReproduction of multiplate woodcut13 1/4 x 9 1/4 76.217.170

76.217.110

Graltdllta's Specs

]877 copyright

Handcolored lithograph14 x 9 3/4

Under the Fails, Catskill Mts.

Engraving9 3/4 x 14 1/4 76.217.111

Tile Lovers' Reconciliatioit1846 copyrightHandcolored lithograph12 3/4 x 9 1/2 76.217.62

.John L. Sullivan1883 copyrightHandcolored lithographl0 1/4 x 7 76.217.84'Original by John Cameron '

Arthur B. DaviesAmber Gardencolored aquatint13 x 5 1/276.217.}78

N. CurrierMusic Stored d1835

Lithograph]3 x 9

76.217.50

I)ad's ConningWood engraving9 1/2 x 14 1/2

Dottie

Handcolored lithograph12 1/2 x 9 76.217.5176.217.39

Currier & Ives

Steantship-City ofMolttreatHandcolored lithograph8 3/4 x 13 1/2 76.217.63

Winslow HomerMarch Wiltds

Wood engraving6 1/4 x lO

76.217.112

The Morning BeltWood engraving14 x lOWilliam Glackens

Vou Like it, Di'irk it

lithographl0 1/8 x 7

copyright 1904illustration forCharles de Kook novel"Printer's proof from Estate of

.John Sloan HF'S)P76.217.32 & 33

Currier & IvesTile Katz-Kitts in WinterHandcolored lithograph10 x 13 76.217.41

Little I)airyHandcolored lithograph15 x 10 76.217.52

76.217.10176.217.113

N. CurrierMazeppaPlate I

Lithograph8 1/8 x 12 1/4

April ShowersWood engraving6 1/2 x 9 3/4

Snap tile WhipWood engraving14 1/4 x 21Mloose and Wolves: A Nan olv

EscapeHandcolored lithograph10 x 13 76.217.42

76.217.102

New York Fel'ry BoatHandcolored lithograph10 x 13 1/4 76.217.53

Steiglt iitg Seasott :The Upset

Handcolored wood engraving9 3/4 x 14 1/2 76.217.103

76.217.116

76.217.65aStatioit llottse LedgersLithograph10 x 14 1/4 76.217.117

Plate 2

Lithograph8 1/8 x 12 1/4

N. CurrierI)adel Webster, Secretary ofState

Handcolored lithograph13 3/4 x 9 3/4 76.217.43

Intro!' ted Messenger

1880 copyright

Handcolored lithograph11 1/4 x 16 1/2

76.217.65b Art Students in the LouvreWood engraving9 1/2 x 14 76.217.104

The Fishing PartyWood engraving9 3/4 x 14EverettShinn

The ChefPen and ink drawing11 x 3"Gift to HFS. Joan Edith De Shazo:76.217.193

Plate 3Lithograph8 1/8 x 12 1/4

76.217.5476.217.118

Fran cis R. Sltuitk1844 copyrightHandcolored lithograph13 1/4 x 9 1/4 76.217.44

76.217.65c Wiitter: Tile Skatiltg SvelteWood engraving9 3/4 x 14 76.217.105

Chinese in New York: Sceite in aBaxter Street Clubholise

LithographNewsprint paper14 1/4 x 9 1/4 76.217.287

Tile Happy Hollte

Handcolored lithograph13 x 9 1/4 inches 76.217.56

Plate 4

Lithograph8 1/8 x 12 1/4

New England Factory Life:Ben Tinto

Lithograph10 x 14 76.217.106

Life & Age ofMaltHandcolorcd lithograph9 1/2 x 13

76.217.65d

76.217.45A] ab's BrideHandcolored lithograph13 x 9 1/4 76.217.57

Currier & Ives

Faith, Hope, Charity1874 copyrightHandcolored lithographl0 1/4 x 13 1/2

Noon Recess

Wood engraving9 3/4 x 14 1/4

Currier & IvesWy Little White Kitteits Ptayiltg

I)olttiltoesHandcolored lithograph9 1/2 x 14 76.217.46

The Sulttntit ofMt. WasttingtoltWood engravingNewsprint paper9 1/2 x 14 1/4 76.217.107

76.217.288

Straqbrd oit Avott

Handcolored lithograph8 x 12 1/2 76.217.58

76.217.69 Thomas Nast

Tile Lore Fishenltan frolttMassach usetts

/7arperk meek/y 1879Etching15 x l0 1/4 76.217.144

N CurrierI'lte Fox Hwttel'Lithograph8 1/4 x 12 3/4

CitestltttttiltgSigned, probably Harper k 1 870sLithograph12 1/2 x 9 1/2 76.217.108Currier & l\ es

Ferns

Handcolored lithograph14 x ll

Flog al Gents

Lithograph14 x 9 1/2

76.217.80

Page 22 76.217.47 76.217.59 Page 23

Nirze,[e,e,nh and qwe,ntie,{ (2,e,rttur/ ladnt9to the, L/coming (9oun{/ Higtodca1 8)ocietV

Thomas NastThe Coioi Lille Still Exists in

This Case

Harpers meek/y 1/1 8/1879Etching15 1/2 x l0 1/4 76.217.145Th e Sure.e oder at Fort I)onelson

Harpers Week/y 2/16/1862Wood engraving14 1/2 x 9 3/4 76.217.305

Kellogg & ComstockLittle HeitryLithograph11 3/4 x 8 1/2 76.217.241-50?

Thomas Worth

Alt Otd Spot't Revived, Debi'Hulttiltg Olt Loltg lslaltd

Handcolored etching14 1/4 x 9 3/4 76.217.160

A record of the entire John Sloan private collectiondonated by Helen Farr Sloan to the Lycoming CountyHistorical Society, provides glimpses into John Sloan'sinterests as an artist and social activist. The list that followsarranges the works in order of accession in 1976. Sometime after the donation, Historical Society records indicate,the collection, including African artifacts, Civil Warengravings, and Japanese children's drawings, wassubdivided into categories: one typed list contains ahandwritten note that there were ''333 items in thisdonation,'' while another handwritten document identified309. While most of the works were accessioned in 1976,some were not accessioned until 1994. hence thediscrepancy in accession numbers listed. (The 94 prefixindicates the year of accession.)

During a culling of the collection in the 1980s, some ofthe works, including those by European, Japanese, andAfrican artists, were deemed inappropriate to the HistoricalSociety's mission to preserve the history of north centralPennsylvania. Therefore, they were deaccessioned and soldthrough the Williamsport auction house of Bob, Chuck, andRich Roan, Inc.

Under the direction of local artist Roger Shipley and withthe bequests providing for the preservation of the items inthe collection. the John Sloan Collection has been mattedand framed as necessary for the 1998 exhibition. TheHistorical Society is committed to ensuring that thecollection will be valued and protected for the future.

D. W. Kellogg Co.The A diehl

Lithograph12 5/8 x 9 3/4

Trofters on the Snow

Handcolored etching14 1/4 x 9 3/4 No. Acc. #76.2]7.241 50?

E.B. & E.C. KelloggMother's Joy

Lithograph11 3/4 x 8 1/2 76.217.241-50'?

SteinlenOld Wolltan # IEtching6 1/2 x 3 3/4

A Merry Cltristntas/7arperk meek/y 1/3/1880

Engraving15 x 10 76.217.307

76.217.203

J. BaillieTile Sisters

1845 copyrightLithograph11 7/8 x 8 5/8

Seated Wolllan

Lithograph8 1/4 x 6 1/2

C. GrahamBringing Roitte Chl istntas

Pi' eselt ts

.fiarperk meek/y 1/3/1880Engraving14 3/4 x l0 1/4 76.217.308

76.217.204

76.217.241 54? Mother and ChildLithograph11 1/2 x 9 1/2

TolTt ayer,Age 29 Years

1849 copyrightLithograph13 3/8 x 9 1/4 76.217.251-54?

76.217.205

Francis H. Brown

rite New York Light Gltard's

Quick StepCurrier and Ives, published by

Hewitt & JacquesLithographprogram cover

12 1/4 x 9 76.217.40

George CruikshankThe Black Robbers

Etching4 1/2 x 3 7/8 76.217.297

T. Harper PinxThe MiltiattfreLithographl0 1/8 x 8

Ben.jamin WestHeads o.f Men:

Sttldies ofExpl'essiollInk drawing7 x 11 1/4 76.2]7.100

76.217.255

J. l\'macdonald

Lt£mber Raja19th centuryWood engraving9 3/4 x 13 3/4

Douglas AdamsFished' iltatt

1 899 c. by Frost and Readlithograph7 1/4 x l0 1/2 76.217.172

76.217.294

Lodge!'s' Caittp at Nigitt1885

Wood engraving9 3/4 x 13 3/4 76.217.295

Kellogg & ThayerThe FI'lilt

Lithograph8 7/8 x 12 7/8 76.217.241-50?

Oregoll Mexico E Phil'thus Unum]846-1848

Berlin work pattern (c. 1 848)14 1/4 x 14 1/2 76.217.99

'hand-painted design for x-stitch"

Kelloggrite Fool'at Gift

Lithograph12 3/4 x 9 1/2 76.217.241-50?

Page 24 Page 25

Nirze,[e,e,nh and qwe,ntie,{ (2,e,rttur/ ladnt9to the, L/coming (9oun{/ Higtodca1 8)ocietV

Thomas NastThe Coioi Lille Still Exists in

This Case

Harpers meek/y 1/1 8/1879Etching15 1/2 x l0 1/4 76.217.145Th e Sure.e oder at Fort I)onelson

Harpers Week/y 2/16/1862Wood engraving14 1/2 x 9 3/4 76.217.305

Kellogg & ComstockLittle HeitryLithograph11 3/4 x 8 1/2 76.217.241-50?

Thomas Worth

Alt Otd Spot't Revived, Debi'Hulttiltg Olt Loltg lslaltd

Handcolored etching14 1/4 x 9 3/4 76.217.160

A record of the entire John Sloan private collectiondonated by Helen Farr Sloan to the Lycoming CountyHistorical Society, provides glimpses into John Sloan'sinterests as an artist and social activist. The list that followsarranges the works in order of accession in 1976. Sometime after the donation, Historical Society records indicate,the collection, including African artifacts, Civil Warengravings, and Japanese children's drawings, wassubdivided into categories: one typed list contains ahandwritten note that there were ''333 items in thisdonation,'' while another handwritten document identified309. While most of the works were accessioned in 1976,some were not accessioned until 1994. hence thediscrepancy in accession numbers listed. (The 94 prefixindicates the year of accession.)

During a culling of the collection in the 1980s, some ofthe works, including those by European, Japanese, andAfrican artists, were deemed inappropriate to the HistoricalSociety's mission to preserve the history of north centralPennsylvania. Therefore, they were deaccessioned and soldthrough the Williamsport auction house of Bob, Chuck, andRich Roan, Inc.

Under the direction of local artist Roger Shipley and withthe bequests providing for the preservation of the items inthe collection. the John Sloan Collection has been mattedand framed as necessary for the 1998 exhibition. TheHistorical Society is committed to ensuring that thecollection will be valued and protected for the future.

D. W. Kellogg Co.The A diehl

Lithograph12 5/8 x 9 3/4

Trofters on the Snow

Handcolored etching14 1/4 x 9 3/4 No. Acc. #76.2]7.241 50?

E.B. & E.C. KelloggMother's Joy

Lithograph11 3/4 x 8 1/2 76.217.241-50'?

SteinlenOld Wolltan # IEtching6 1/2 x 3 3/4

A Merry Cltristntas/7arperk meek/y 1/3/1880

Engraving15 x 10 76.217.307

76.217.203

J. BaillieTile Sisters

1845 copyrightLithograph11 7/8 x 8 5/8

Seated Wolllan

Lithograph8 1/4 x 6 1/2

C. GrahamBringing Roitte Chl istntas

Pi' eselt ts

.fiarperk meek/y 1/3/1880Engraving14 3/4 x l0 1/4 76.217.308

76.217.204

76.217.241 54? Mother and ChildLithograph11 1/2 x 9 1/2

TolTt ayer,Age 29 Years

1849 copyrightLithograph13 3/8 x 9 1/4 76.217.251-54?

76.217.205

Francis H. Brown

rite New York Light Gltard's

Quick StepCurrier and Ives, published by

Hewitt & JacquesLithographprogram cover

12 1/4 x 9 76.217.40

George CruikshankThe Black Robbers

Etching4 1/2 x 3 7/8 76.217.297

T. Harper PinxThe MiltiattfreLithographl0 1/8 x 8

Ben.jamin WestHeads o.f Men:

Sttldies ofExpl'essiollInk drawing7 x 11 1/4 76.2]7.100

76.217.255

J. l\'macdonald

Lt£mber Raja19th centuryWood engraving9 3/4 x 13 3/4

Douglas AdamsFished' iltatt

1 899 c. by Frost and Readlithograph7 1/4 x l0 1/2 76.217.172

76.217.294

Lodge!'s' Caittp at Nigitt1885

Wood engraving9 3/4 x 13 3/4 76.217.295

Kellogg & ThayerThe FI'lilt

Lithograph8 7/8 x 12 7/8 76.217.241-50?

Oregoll Mexico E Phil'thus Unum]846-1848

Berlin work pattern (c. 1 848)14 1/4 x 14 1/2 76.217.99

'hand-painted design for x-stitch"

Kelloggrite Fool'at Gift

Lithograph12 3/4 x 9 1/2 76.217.241-50?

Page 24 Page 25

ArtistF. RehnP EvergoodP Evergood1. MoskowitzM. SoyerP. Reisman

C. E. PorterW DomondJ. Lasker

TitleSunset by the SealSubway SuicidesOt£r Nudist Neighbors$Navcgo General StorePortrait Sketch of GirthFulton Fish Markets(Geraniums) ex-slavePlanting Haiti (!952)CiW News-statld+Z?er/f/z Work Paffern (cl 848)*Heads ofMetl+A/arc;z nds

April ShowersThe UpsetsArt Students in the Lottvre+Mnfer+Bell Time%

Tate Summit ofMt. Washingtotl+Ch este u tun g+Grugff«g*Making HaysUnder the Fatls+

Dad's Conting+The Mol'Fling BellaLast Day ofHawestThe Nooning+Snap the WhipsStation House Lodgers+The Fishing ParQ$JudgeBlackville CroquetFrench Prints (2)Pzzck prints & covers (5)Har?erk (1888)Puck (4)The Card PartyThe Porta.ait1 812 Prints, London (3)1802 Print. LondonTheJudgeUnknownFifteen th A ttten dmen tSoftSoapIs this equal protectiott '' "

The Lotte Fisherman+Mr. Solid SoLtth4Colored RuleHa/f/ (2-page)The Modern Santson+UntitledClvi/ Mar (2-page)

A Negro Regiment {n ActionThe First Cotton GinTheXmericatl WestU.S. Dragoons OIJicerTrail [sic] ofJohn BrownStag'--LaDotlble Chaise(1830)Treeing the Fox (1820)

after AikenA4r T%oman Savers (1 860)

Mediumoiloiloillithographoil

temperan.a

temperawatercolorwatercolorsketch

wood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravinglithograph (2)n.an.a.

n.a.

n.a.n.an.a.

n.a.

n.an.an.an.a.

Harper's 1869Harper's 1878Harper's 1876Harper's 1879Harper's 1879Harper's 1874Harper's 1874Harper's 1868Puck 1868Harper's 1863

ArtistJ.C.EnglishT. WorthH. Aiken

TitleCompulsory Educatio nDeer Hunting on Long lsland+The HotlKds Are Uncoupted

(1822)--tay OK MacDti#"

HarteqtlinadeThe Consequence ofNot Shifting

the LegC7c/e Marc/z (1896)

(sheet music)English Fishing Scette

Mediumpen & inkwood engravinghandcoloredlithograph (London)printer's proofoilhandcoloredetching

r'tQtrta 'orzchortDalov lpcarRowlandson

of qe .John Slog (2ollectiort lithograph OWC)

ArtistHogarthHogarthHogarthHogarthHogarthHogarthHogarthHogarthHogarthHogarthHogarthHogarthHogarthT.CookHogarthPicassoRenoirDurer

VanDyckRembrandtPirandcsiRowlandson

TitleSotlttlwark FairThe .fear/o/ k Progress(7 plates)A Chorus ofSittgersThe Computty ofUndertakersCharacters and Caricu faresBattle ofthe PicturesA Stand oran)tsCrowns, Metres, Maces, etc.The Bench

The Five Orders ofPeriwigsT%e /macs (plate I)William HogarthAt Mrs. Hogarth'sStro fling PlayersPit TicketBtlti$ghtSeated Nude

Circumcision ofJesusPetrus BreugetDeath of the Virgitt

yalta BarbaricDr. SyntaJt with a Blue Stocking

Beatty

The Battle ofthe Nileltlustrationfrom VaniQ FairThe I)anseras, Coqttardeat{Portrait

Grouttd Dove, Cattada Jcty+Pont d€sAyts8UntitledParis Scene

three Peopte+The METH Go RotlKd+Ghetto MarketsNature Mort & BoltteiltePrisoners, Ktipstein 98Maid oflst'aelAppius Ctattditts Punished by

the PeopleUntitled#

MwicAd (}835)*New York Light (}uurd's

Quick StepsKatz-KI is in IArinter+Moose altd Wotves8Z)ante/ Meds/erGovernor Shttnk+

Life alldAge ofMan+My Little White Kittens Like

Fo Play Dominoes%

Mediumengravingengravingengravingengravingengravingengravingengravingengravingengravingengravingengravingengravingengravingengravingengravinglithographetchingn.a.n.a.n.a.

n.a.n.a.

ArtistCurricrHvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCunier/IvesCunier/IvesCunier/IvesCurrier/IvesCunier/IvesN. CurrierCurrier/IvesCunier/IvesN. CurrierCunier/IvesCurrier/IvesCurrier/IvesCunier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesGimbredeCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesN. CurrierCunier/Ives

Title

The Flower Vases

Little Red Riding HoodsGtandttta's Specs+Dottie%

Little Daisy+New York Ferry BoatsImported MessengersXol!/zg CompanionsThe Happy HomedThe Arab's BridesStt'atjord Upon 4vottFlora! Gems%

The Expectant }Vife+The Lover's Qt€arret+The Lover's Reconciliation$Steamship$'otn Inman River"Landscape CardsA/azeppa, Plate l+il/azq)pa, Plate 2#A/azq)pa, Plate 3#A/azeppa, Plate 4#ElizaIsabellaJesus Ascendeth Into HeavenFaith, Hope, Charity+Custom House. New YorkSumllter Ftowers+The Old Oakell BtlcketA Mountain Rath bleLook at MammaLook at PapaThe New Fashioned GiftGod Bless auld Keep Thembase ofFlowersThe Hundred LeafRoseThe Fox HuKter+The Bad Man at the Hour

ofDeath7ho to Go

A New Jersey Fox Hunt (]876)"John L. Suttivan+

Robert Macabre, NotaryThe DentistThe Delttist

The Universal Expositloll(1859)You Have Lost Your Suit. It'sTrue, But Yot! Have Had thePleasure oJ Hearittg MeArgue" (1848)

Mediumlithographlithographlithographlithographlithographlithographlithographlithographlithographlithographlithographlithographlithographlithographlithographlithographlithographn.a.

lithographlithographlithographlithographn.a.

n.an.a.

lithographn.a

engravingn.a.n.a

n.a.

n.a.n.a.n.a.n.a.n.a.

lithographlithograph

B

WWWWWWWWWWWWWWWw:WW

WestHomerHomerHomerHomerHomerHomerHomerHomerHomerHomerHomerHomerHomerHomerHomerHomerHomerHomer

WElbs handcoloredaquatint

lithograph(UaniQ Fair)

handcolored

etching (Paris)lithographhandcolored

engravinglithograph

signed printer'sproof

pencil drawing(German?)

handcolorcd

(London)drawingwatercolor

etchingetching/aquatintsketchwatercolor

temperaoiloiloiln.awatercolorwatercoloretchinglinoleum cut

etchinglithographlithographlithographpen & ink sketchink and wash

gouachelithographetchingetchingetchingn.a.

etching/aquatintetchingetchinglithographlithographlithograph

signedw/remarque

Cycling in Bois de Bottlogne(1897)

Fox and Hounds

French Wrestlers (}875)Three Men on Base (1902)*Mendoza and Humphries (179Q)

J. Leech

E.Penfield

D. Adams /qs/zing r/903) *

Horse Race 1886

Pedesh'ian Hobby Horse(1819)+

H. WickeyJ. Preston

W McnultyA. DaviesJ. PrestonW ShusterA. RhodeM.WilliamsA.RhodeW ShusterW ShusterE. GoetzF. SteinG.BealA. EntersA. Enters

A. RhodeH. FarrH. FarrE.ShinnH. FarrH. FarrD. FreemanP Bacon

GoyaGoyaGoyaGoyaGoyaSteinlenSteinlenSteinlenSteinlen

Otd Timers in Park%

Boat DocksIVatdorfAstoria Hotels.amber Garde/z#

m//age*Navajo%John SloanePortrait ofJohn Stoatl+Nude on RedoDance HalleKosbare DancedPromenade. Central ParkaStream, North Carotina$Lada With a Parasol%leonPromenade+

Jilterbugs. Stage Door Cmlteen*Naxqo Danced.4ng/za f/zfers 8The Chef':Depressioll Line Up+Sixth AxeKtte Elena ted$

Deep in Hollywood%The ClinicsEI Cottde PatatinoCartloads to the CemeteY'yBu t!$gh tThevAre Scalded--It's HallEnsayosOZd Woman+Seated Womall$Mother & Chitd+The Farewell

Daumier

F. Remingtonupper [?]TregearTregearleggS.W ForksT. WorthGericaultT. NastT. NastT. NastT. NastT. NastT. NastT. NastT. NastT. NastT. Nast

Cruikshank:spy"

GavarniManetAudubon

SignalVillonVlaminckB. Robinson

ArtistF. RehnP EvergoodP Evergood1. MoskowitzM. SoyerP. Reisman

C. E. PorterW DomondJ. Lasker

TitleSunset by the SealSubway SuicidesOt£r Nudist Neighbors$Navcgo General StorePortrait Sketch of GirthFulton Fish Markets(Geraniums) ex-slavePlanting Haiti (!952)CiW News-statld+Z?er/f/z Work Paffern (cl 848)*Heads ofMetl+A/arc;z nds

April ShowersThe UpsetsArt Students in the Lottvre+Mnfer+Bell Time%

Tate Summit ofMt. Washingtotl+Ch este u tun g+Grugff«g*Making HaysUnder the Fatls+

Dad's Conting+The Mol'Fling BellaLast Day ofHawestThe Nooning+Snap the WhipsStation House Lodgers+The Fishing ParQ$JudgeBlackville CroquetFrench Prints (2)Pzzck prints & covers (5)Har?erk (1888)Puck (4)The Card PartyThe Porta.ait1 812 Prints, London (3)1802 Print. LondonTheJudgeUnknownFifteen th A ttten dmen tSoftSoapIs this equal protectiott '' "

The Lotte Fisherman+Mr. Solid SoLtth4Colored RuleHa/f/ (2-page)The Modern Santson+UntitledClvi/ Mar (2-page)

A Negro Regiment {n ActionThe First Cotton GinTheXmericatl WestU.S. Dragoons OIJicerTrail [sic] ofJohn BrownStag'--LaDotlble Chaise(1830)Treeing the Fox (1820)

after AikenA4r T%oman Savers (1 860)

Mediumoiloiloillithographoil

temperan.a

temperawatercolorwatercolorsketch

wood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravingwood engravinglithograph (2)n.an.a.

n.a.

n.a.n.an.a.

n.a.

n.an.an.an.a.

Harper's 1869Harper's 1878Harper's 1876Harper's 1879Harper's 1879Harper's 1874Harper's 1874Harper's 1868Puck 1868Harper's 1863

ArtistJ.C.EnglishT. WorthH. Aiken

TitleCompulsory Educatio nDeer Hunting on Long lsland+The HotlKds Are Uncoupted

(1822)--tay OK MacDti#"

HarteqtlinadeThe Consequence ofNot Shifting

the LegC7c/e Marc/z (1896)

(sheet music)English Fishing Scette

Mediumpen & inkwood engravinghandcoloredlithograph (London)printer's proofoilhandcoloredetching

r'tQtrta 'orzchortDalov lpcarRowlandson

of qe .John Slog (2ollectiort lithograph OWC)

ArtistHogarthHogarthHogarthHogarthHogarthHogarthHogarthHogarthHogarthHogarthHogarthHogarthHogarthT.CookHogarthPicassoRenoirDurer

VanDyckRembrandtPirandcsiRowlandson

TitleSotlttlwark FairThe .fear/o/ k Progress(7 plates)A Chorus ofSittgersThe Computty ofUndertakersCharacters and Caricu faresBattle ofthe PicturesA Stand oran)tsCrowns, Metres, Maces, etc.The Bench

The Five Orders ofPeriwigsT%e /macs (plate I)William HogarthAt Mrs. Hogarth'sStro fling PlayersPit TicketBtlti$ghtSeated Nude

Circumcision ofJesusPetrus BreugetDeath of the Virgitt

yalta BarbaricDr. SyntaJt with a Blue Stocking

Beatty

The Battle ofthe Nileltlustrationfrom VaniQ FairThe I)anseras, Coqttardeat{Portrait

Grouttd Dove, Cattada Jcty+Pont d€sAyts8UntitledParis Scene

three Peopte+The METH Go RotlKd+Ghetto MarketsNature Mort & BoltteiltePrisoners, Ktipstein 98Maid oflst'aelAppius Ctattditts Punished by

the PeopleUntitled#

MwicAd (}835)*New York Light (}uurd's

Quick StepsKatz-KI is in IArinter+Moose altd Wotves8Z)ante/ Meds/erGovernor Shttnk+

Life alldAge ofMan+My Little White Kittens Like

Fo Play Dominoes%

Mediumengravingengravingengravingengravingengravingengravingengravingengravingengravingengravingengravingengravingengravingengravingengravinglithographetchingn.a.n.a.n.a.

n.a.n.a.

ArtistCurricrHvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCunier/IvesCunier/IvesCunier/IvesCurrier/IvesCunier/IvesN. CurrierCurrier/IvesCunier/IvesN. CurrierCunier/IvesCurrier/IvesCurrier/IvesCunier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesGimbredeCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesCurrier/IvesN. CurrierCunier/Ives

Title

The Flower Vases

Little Red Riding HoodsGtandttta's Specs+Dottie%

Little Daisy+New York Ferry BoatsImported MessengersXol!/zg CompanionsThe Happy HomedThe Arab's BridesStt'atjord Upon 4vottFlora! Gems%

The Expectant }Vife+The Lover's Qt€arret+The Lover's Reconciliation$Steamship$'otn Inman River"Landscape CardsA/azeppa, Plate l+il/azq)pa, Plate 2#A/azq)pa, Plate 3#A/azeppa, Plate 4#ElizaIsabellaJesus Ascendeth Into HeavenFaith, Hope, Charity+Custom House. New YorkSumllter Ftowers+The Old Oakell BtlcketA Mountain Rath bleLook at MammaLook at PapaThe New Fashioned GiftGod Bless auld Keep Thembase ofFlowersThe Hundred LeafRoseThe Fox HuKter+The Bad Man at the Hour

ofDeath7ho to Go

A New Jersey Fox Hunt (]876)"John L. Suttivan+

Robert Macabre, NotaryThe DentistThe Delttist

The Universal Expositloll(1859)You Have Lost Your Suit. It'sTrue, But Yot! Have Had thePleasure oJ Hearittg MeArgue" (1848)

Mediumlithographlithographlithographlithographlithographlithographlithographlithographlithographlithographlithographlithographlithographlithographlithographlithographlithographn.a.

lithographlithographlithographlithographn.a.

n.an.a.

lithographn.a

engravingn.a.n.a

n.a.

n.a.n.a.n.a.n.a.n.a.

lithographlithograph

B

WWWWWWWWWWWWWWWw:WW

WestHomerHomerHomerHomerHomerHomerHomerHomerHomerHomerHomerHomerHomerHomerHomerHomerHomerHomer

WElbs handcoloredaquatint

lithograph(UaniQ Fair)

handcolored

etching (Paris)lithographhandcolored

engravinglithograph

signed printer'sproof

pencil drawing(German?)

handcolorcd

(London)drawingwatercolor

etchingetching/aquatintsketchwatercolor

temperaoiloiloiln.awatercolorwatercoloretchinglinoleum cut

etchinglithographlithographlithographpen & ink sketchink and wash

gouachelithographetchingetchingetchingn.a.

etching/aquatintetchingetchinglithographlithographlithograph

signedw/remarque

Cycling in Bois de Bottlogne(1897)

Fox and Hounds

French Wrestlers (}875)Three Men on Base (1902)*Mendoza and Humphries (179Q)

J. Leech

E.Penfield

D. Adams /qs/zing r/903) *

Horse Race 1886

Pedesh'ian Hobby Horse(1819)+

H. WickeyJ. Preston

W McnultyA. DaviesJ. PrestonW ShusterA. RhodeM.WilliamsA.RhodeW ShusterW ShusterE. GoetzF. SteinG.BealA. EntersA. Enters

A. RhodeH. FarrH. FarrE.ShinnH. FarrH. FarrD. FreemanP Bacon

GoyaGoyaGoyaGoyaGoyaSteinlenSteinlenSteinlenSteinlen

Otd Timers in Park%

Boat DocksIVatdorfAstoria Hotels.amber Garde/z#

m//age*Navajo%John SloanePortrait ofJohn Stoatl+Nude on RedoDance HalleKosbare DancedPromenade. Central ParkaStream, North Carotina$Lada With a Parasol%leonPromenade+

Jilterbugs. Stage Door Cmlteen*Naxqo Danced.4ng/za f/zfers 8The Chef':Depressioll Line Up+Sixth AxeKtte Elena ted$

Deep in Hollywood%The ClinicsEI Cottde PatatinoCartloads to the CemeteY'yBu t!$gh tThevAre Scalded--It's HallEnsayosOZd Woman+Seated Womall$Mother & Chitd+The Farewell

Daumier

F. Remingtonupper [?]TregearTregearleggS.W ForksT. WorthGericaultT. NastT. NastT. NastT. NastT. NastT. NastT. NastT. NastT. NastT. Nast

Cruikshank:spy"

GavarniManetAudubon

SignalVillonVlaminckB. Robinson

ArtistSteinbergW.HomerWIHomcr

TitleTableThe Chinese {K New York$The Noon Recess+

Yoruba Dance Mask "Blue Betty 'Baule Horned MaskCast Bronze Head, wicker baseCloth, figures with fish and birdsCloth figures of men and lionsLumber Raft ':Loggers' Catltp at NightsAbraham LincolnThe Black Robbers+'lWo MattJulia Ward HoweA brahatlt Lincoln auld Son

LelbndatettrBlack Childrell

Mediumn.a.

engravingengraving

'n. Joh- 81..« Etch@s

The Little Bride (\9Q6b'k 16Mo ng moma (1913)+ 94.Boys S/edd/ng (1920)+ 94G/r/ /m X/mo/za (]913)+ 94.Refwrn rum zo// (191s)+ 94.arch Const/refers (1917)# 94XXyth .Ann iversary:

Dolly and J.S. Aug. S, 1926(1926)* 94

See/ng .New Hark (1917)+ 94Tbe S/zow Case 1913+ 94Rendezvous, or Ettters 1927a

or Angna Enters 1926+ 94He }Vas a Little Boy, Patience

(1925)+ 94The Wake on tile Ferry(1945)* 94

,4 7%irsrloi",4rf (1939)* 94Sa/emma/zs#fp (1930)+ 94Fifth Avenue Critics or

Une Rue & New York

(1913)* 94Rag /'fakers (]913)+ 94/Vlghr Wf/zhou's (1910y: 94Safe ade: M. Z)aponf (1902)+ 94.Wilde wi/h Clfgarerre (1931)+ 94The Pier re .Buyer (1911)+ 94.Nude Read;ng (]928)+ 94.Nude By Z?oakcase (1931)*P 94Krazlshaar's (1926)+ 94The/mdfa/z Z)erowr(1927)'; 94The Green Hour: Angna

E lars (1930)+ 94He was a little boy, Patience

(first state) 1925+ 94Growing Up in Greenwich

I,'l//age (1916)+ 94Z)ed/za/pz (I'asf/e(1888)+ 94Do/4P, .2936 (1936)# 94.Bo/!/ire (1920y; 94The B/ac# Po/ (1937)+ 94Mam, Mime, C/z//d (1905)The Wo/zzen k /'age (1905)Shine, Washingtolt Square (L9'Z3)Snowstornt itt tue Village

217.30977.1

77.377.4of the .John 81oart collection

MacdonaldMacdonald

wood engravingwood engravingphotographetchingphotographphotographphotographlithographengravinglithographprintwood engraving

ArtistSteinlen

TitleLes Getites Noises

Mediumoriginal two-color

postercovercover

lithograph

Artist TitleGroups of unframed American &. Englishmany unknow'n, most handcoloredKellogg &

Thayer The fruit 8Kellogg The /'/ora/ G€##Kellogg &

Comstock f/f//e .f7enw8Kellogg Zhe,4d/elr#Kellogg Mo//lark .Jl9y*Kellogg 5 printsJ. Baillie The .Sfsfers8J. Baillie Z0/77 //yec 4ge 29 hears

J. Baillie 2 printsT. H. Pinx The A/f/?ia/zzre8

W A. Rogers86 English Almanac SheetsI French/Englsih caricature

(c. 1800)I Album Sheet, New Jersey

(c. 1870) n.a.18th c.engraving offort

l\Tedium

prints, disposition of Cruikshank

SteinlenSteinlenSteinlen

Gf/ B/as, March 20, 1897-1900Gi/ B/as, January 2, 1 897-1900Uo llall and Crowd

77.6

llJ77.8

lithographlithograph C. Vernier

Prints by Japanese Children aged 8-14A. Ogawa SrzowK. Sekiguchi Horsest. P\\uCkh Elephant and FrieltdsT. Kogure ConcertK. Suzuki /is/zT. Tachibani raff/esM. Tuskihara Sc/e/?ce C/ass

C. Maruyaln C/zf/dre/zT. Koizumi HarborA. Togashira Zita zper Lasso/I]'. Mayairi Boy ma/hng DogsN. Saito PagodaH. Sawada Workers

Mori New heczr k fesfiva "(Jan.)Mor\ The First Day of the Horse (Teb.\Mori Gfr/k Hesffva/ (March)Mori C/left /i/assam 7 /1/e (April)

Mori Boy k Fest/va/ (May)Mori l?al/z (June)

Mori Fesriva/ (#'//ze Slurs (July)Mori Bon Fesffva/ (Aug.)Mori C/ZWsrz/?r/ze/ ? r/n .fQsf/va/ (Sept.)

Mori Mczrke/zng Gzanf Audis/zes (Oct.)Mori OPe/I A#arkef Eesfiva/ (Nov. )Mori Z,as/ Day ofMarker/ng (Dec.)

lithographlithographlithographn.a

lithographlithographn.alithographlithographn.a

printprintpuntprintprintpuntprintprintprintprintprintprintprintprint.printprintprintprintprintprintprintprintprintprintprint

TakagashiraH{2rper's ,2/16/1862

Ha rper 's ,1/3/1880

Ha rper 's ,1/3/1880C. Graham

Trtlntpet Lessoit

Surrender effort Donetson +77.10

A Merry Christmas+ engraving

engravingBrillging Hon2e ChristntasPrese11ts +

77.11

77.1277.13

Artist's Portfolio brown leathern.a.

unknown 77

77

77

77

77

77

77

77

77

77

14

15

16

17

18

19

20

21

22

23

NineteenthHadn Fair,5/ 4/ 1 861Harper's,3/9/1861

Ha rper 's ,11/30/1861Ha rper 's ,2/9/1861Ha rper 's ,lO/19/1867

Ha rper 's ,7/6/1867

Ha rper 's ,6/19/1880Ha rper 's ,12/14/1872

Century EngravingsThe Atnerican Eagle Scorching

the Snake ofSecessio IThe Flight ofAbraham

Sheets and Their MaJaufacture

The North and South

The Sheridan Receptioll

African Sculpture and TextilesYoruba Epa MaskSenoufu Ointment PotPeul Blanket

Lo Society Masks (2)Abomey TapestryBaga Bird StatuetteLarge Korhogo ClothBaule Ancestor FigureBaule Gob Moon MaskColi Moon Mask

Korubla Firespitter MaskBank Cloth

Adinkra Blanket (Dahomey)Dahomev Kita BlanketDahomev Adinlaa Blanket

War Relics 77.24

Journal o.fCivitization

The Americall Collllnolt School

The So/afar /zz Olin C/v// War (Baltimore)The So/deer in Olrr Civl/ War (Philadelphia)Z%e So/afar /n Olin Clef/ mar(New York)Zhe So/deer //z OIK C/v// War (Vienna, VA)The So/deer i/z Diff Cfvf/ War (Cooper InstituteThe Soldier in Otfr Civi! War (Momoe, VA.)Zhe So/afar //z Olrr C/vf/ mar(Fort Walker)The Soldier in Otlr Civic War (New York)

The War in VirginiaBarracks Erected in Parkjbr Troops, N. Y.The Oath ofFidetity to the Flag

77.2777.2877.2977.30

NY)

Page28 %Currently in the Collection. + Curreyttly in the CollectioYt

ArtistSteinbergW.HomerWIHomcr

TitleTableThe Chinese {K New York$The Noon Recess+

Yoruba Dance Mask "Blue Betty 'Baule Horned MaskCast Bronze Head, wicker baseCloth, figures with fish and birdsCloth figures of men and lionsLumber Raft ':Loggers' Catltp at NightsAbraham LincolnThe Black Robbers+'lWo MattJulia Ward HoweA brahatlt Lincoln auld Son

LelbndatettrBlack Childrell

Mediumn.a.

engravingengraving

'n. Joh- 81..« Etch@s

The Little Bride (\9Q6b'k 16Mo ng moma (1913)+ 94.Boys S/edd/ng (1920)+ 94G/r/ /m X/mo/za (]913)+ 94.Refwrn rum zo// (191s)+ 94.arch Const/refers (1917)# 94XXyth .Ann iversary:

Dolly and J.S. Aug. S, 1926(1926)* 94

See/ng .New Hark (1917)+ 94Tbe S/zow Case 1913+ 94Rendezvous, or Ettters 1927a

or Angna Enters 1926+ 94He }Vas a Little Boy, Patience

(1925)+ 94The Wake on tile Ferry(1945)* 94

,4 7%irsrloi",4rf (1939)* 94Sa/emma/zs#fp (1930)+ 94Fifth Avenue Critics or

Une Rue & New York

(1913)* 94Rag /'fakers (]913)+ 94/Vlghr Wf/zhou's (1910y: 94Safe ade: M. Z)aponf (1902)+ 94.Wilde wi/h Clfgarerre (1931)+ 94The Pier re .Buyer (1911)+ 94.Nude Read;ng (]928)+ 94.Nude By Z?oakcase (1931)*P 94Krazlshaar's (1926)+ 94The/mdfa/z Z)erowr(1927)'; 94The Green Hour: Angna

E lars (1930)+ 94He was a little boy, Patience

(first state) 1925+ 94Growing Up in Greenwich

I,'l//age (1916)+ 94Z)ed/za/pz (I'asf/e(1888)+ 94Do/4P, .2936 (1936)# 94.Bo/!/ire (1920y; 94The B/ac# Po/ (1937)+ 94Mam, Mime, C/z//d (1905)The Wo/zzen k /'age (1905)Shine, Washingtolt Square (L9'Z3)Snowstornt itt tue Village

217.30977.1

77.377.4of the .John 81oart collection

MacdonaldMacdonald

wood engravingwood engravingphotographetchingphotographphotographphotographlithographengravinglithographprintwood engraving

ArtistSteinlen

TitleLes Getites Noises

Mediumoriginal two-color

postercovercover

lithograph

Artist TitleGroups of unframed American &. Englishmany unknow'n, most handcoloredKellogg &

Thayer The fruit 8Kellogg The /'/ora/ G€##Kellogg &

Comstock f/f//e .f7enw8Kellogg Zhe,4d/elr#Kellogg Mo//lark .Jl9y*Kellogg 5 printsJ. Baillie The .Sfsfers8J. Baillie Z0/77 //yec 4ge 29 hears

J. Baillie 2 printsT. H. Pinx The A/f/?ia/zzre8

W A. Rogers86 English Almanac SheetsI French/Englsih caricature

(c. 1800)I Album Sheet, New Jersey

(c. 1870) n.a.18th c.engraving offort

l\Tedium

prints, disposition of Cruikshank

SteinlenSteinlenSteinlen

Gf/ B/as, March 20, 1897-1900Gi/ B/as, January 2, 1 897-1900Uo llall and Crowd

77.6

llJ77.8

lithographlithograph C. Vernier

Prints by Japanese Children aged 8-14A. Ogawa SrzowK. Sekiguchi Horsest. P\\uCkh Elephant and FrieltdsT. Kogure ConcertK. Suzuki /is/zT. Tachibani raff/esM. Tuskihara Sc/e/?ce C/ass

C. Maruyaln C/zf/dre/zT. Koizumi HarborA. Togashira Zita zper Lasso/I]'. Mayairi Boy ma/hng DogsN. Saito PagodaH. Sawada Workers

Mori New heczr k fesfiva "(Jan.)Mor\ The First Day of the Horse (Teb.\Mori Gfr/k Hesffva/ (March)Mori C/left /i/assam 7 /1/e (April)

Mori Boy k Fest/va/ (May)Mori l?al/z (June)

Mori Fesriva/ (#'//ze Slurs (July)Mori Bon Fesffva/ (Aug.)Mori C/ZWsrz/?r/ze/ ? r/n .fQsf/va/ (Sept.)

Mori Mczrke/zng Gzanf Audis/zes (Oct.)Mori OPe/I A#arkef Eesfiva/ (Nov. )Mori Z,as/ Day ofMarker/ng (Dec.)

lithographlithographlithographn.a

lithographlithographn.alithographlithographn.a

printprintpuntprintprintpuntprintprintprintprintprintprintprintprint.printprintprintprintprintprintprintprintprintprintprint

TakagashiraH{2rper's ,2/16/1862

Ha rper 's ,1/3/1880

Ha rper 's ,1/3/1880C. Graham

Trtlntpet Lessoit

Surrender effort Donetson +77.10

A Merry Christmas+ engraving

engravingBrillging Hon2e ChristntasPrese11ts +

77.11

77.1277.13

Artist's Portfolio brown leathern.a.

unknown 77

77

77

77

77

77

77

77

77

77

14

15

16

17

18

19

20

21

22

23

NineteenthHadn Fair,5/ 4/ 1 861Harper's,3/9/1861

Ha rper 's ,11/30/1861Ha rper 's ,2/9/1861Ha rper 's ,lO/19/1867

Ha rper 's ,7/6/1867

Ha rper 's ,6/19/1880Ha rper 's ,12/14/1872

Century EngravingsThe Atnerican Eagle Scorching

the Snake ofSecessio IThe Flight ofAbraham

Sheets and Their MaJaufacture

The North and South

The Sheridan Receptioll

African Sculpture and TextilesYoruba Epa MaskSenoufu Ointment PotPeul Blanket

Lo Society Masks (2)Abomey TapestryBaga Bird StatuetteLarge Korhogo ClothBaule Ancestor FigureBaule Gob Moon MaskColi Moon Mask

Korubla Firespitter MaskBank Cloth

Adinkra Blanket (Dahomey)Dahomev Kita BlanketDahomev Adinlaa Blanket

War Relics 77.24

Journal o.fCivitization

The Americall Collllnolt School

The So/afar /zz Olin C/v// War (Baltimore)The So/deer in Olrr Civl/ War (Philadelphia)Z%e So/afar /n Olin Clef/ mar(New York)Zhe So/deer //z OIK C/v// War (Vienna, VA)The So/deer i/z Diff Cfvf/ War (Cooper InstituteThe Soldier in Otfr Civi! War (Momoe, VA.)Zhe So/afar //z Olrr C/vf/ mar(Fort Walker)The Soldier in Otlr Civic War (New York)

The War in VirginiaBarracks Erected in Parkjbr Troops, N. Y.The Oath ofFidetity to the Flag

77.2777.2877.2977.30

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Page28 %Currently in the Collection. + Curreyttly in the CollectioYt

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VOLUME XXXVlllNUMBER ONE

l;ALL1998

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858 west Fourth Street + williamsport, PA t7701 + 7t7-322-2256 MUSEUM - ARCHIVES - LI BRARY