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Seeing the City: Sloan's New York

October 20, 2007 - January 20, 2008

Object labels for the exhibition

Connoisseurs of Prints, 1905

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.63

 

 

Fifth Avenue Critics, 1905

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.64

 

 

The Show Case, 1905

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.65

 

 

Fun, One Cent, 1905

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.66

 

 

Man Monkey, 1905

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.67

 

 

The Women's Page, 1905

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.68

 

 

Man, Wife and Child, 1905

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.69

 

 

Turning out the Light, 1905

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.70

 

 

The Little Bride, 1906

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.71

 

 

Roofs, Summer Night, 1906

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.72

 

 

Girl and Beggar, 1910

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.81

 

 

The Picture Buyer, 1911

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.82

 

William Macbeth, the art dealer who hosted The Eight exhibition in his gallery in 1908, shows pictures to a prospective client.

 

 

Hanging Clothes, 1912

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.86

 

 

Girls Sliding, 1915

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.98

 

 

Hell Hole, 1917

John Sloan

 

Etching and aquatint, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.109

 

This print portrays The Golden Swan, a dive bar at the corner of Sixth Avenue and West Fourth Street in Greenwich Village. It was a favorite of people in the theater, including Eugene O'Neill, who is pictured in the upper right corner of the print. Technically, this is one of a very few prints for which Sloan used aquatint to create broad areas of dark tones.

 

 

Washington Arch, 1923

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.129

 

 

Snowstorm in the Village, 1925

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.131

 

 

Buses in Washington Square, 1925

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.134

 

By the late teens, Greenwich Village was becoming a destination for tourists, who arrived in Washington Square on buses.

 

Subway Stairs, 1926

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.138

 

 

Sunbathers on the Roof, 1941

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.219

 

 

Sixth Avenue and Thirtieth Street, 1908

John Sloan

 

Lithograph, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1965

DAM 1965-80

 

The artist identified the woman at the center as "a girl of the streets." The Tenderloin, the neighborhood where she is walking, was known for its bordellos and dance halls.

 

Sunday, Drying Their Hair on the Roof, 1923

John Sloan

 

Lithograph, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1965

DAM 1965-81.1

 

 

Don't you want-th'umbrella?, 1904, from "The Steady," by Harvey J. O'Higgins, in McClure's Magazine, August 1905

John Sloan

 

Crayon on board

Delaware Art Museum, Gift of Helen Farr Sloan, 1980

DAM 1980-94

 

 

Self-Portrait in Gray Shirt, 1912

John Sloan

 

Oil on canvas

Delaware Art Museum, Gift of Helen Farr Sloan, 1980

DAM 1980-207

 

 

Maratta color triangle with sketch for "Jefferson Market, Sixth Avenue," 1917

John Sloan

 

Graphite on pre-printed diagram (paper)

Delaware Art Museum, Gift of Helen Farr Sloan, 1980

DAM 1980-214.134

 

In 1909, Sloan adopted the Maratta color system, which encouraged artists to plan their palettes according to "chords of color." This pre-printed diagram, with Sloan's notations, was a tool for planning a palette according to this system. Sloan's friends Robert Henri and Arthur B. Davies also adopted the Maratta system.

 

Sketch for "Jefferson Market, Sixth Avenue," c. 1917

John Sloan

 

Graphite on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1980

DAM 1980-214.135

 

 

Sketch for "Jefferson Market, Sixth Avenue," 1917

John Sloan

 

Graphite on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1980

DAM 1980-214.137

 

 

Sketch for "Easter Eve," c. 1907

John Sloan

 

Graphite on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1980

DAM 1980-214.225

 

 

Circumstances Alter Cases: "Positively disgusting! It's an outrage to public decency to allow such exposure on the streets!," 1913, from The Masses, May 1913

John Sloan

 

Crayon and ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1984

DAM 1984-13

 

Sloan's contributions to The Masses reveal his concern for social injustices in their poignant commentary upon issues such as women's rights, big business, and political corruption. Circumstances Alter Cases, for example, implies that it is in fact the wealthy women in their transparent dresses who are "an outrage to public decency" rather than the ragged beggar woman whom they thoughtlessly censure.

 

 

Study for "The Return from Toil," 1913

John Sloan

 

Ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1984

DAM 1984-39

 

 

The Return from Toil, 1913, cover design for The Masses, July 1913

John Sloan

 

Crayon and ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1992

DAM 1992-36

 

 

Sixth Avenue, 1917

John Sloan

 

Oil on panel

Delaware Art Museum, Gift of Helen Farr Sloan, 1985

DAM 1985-87

 

 

Spring Rain, 1912

John Sloan

 

Oil on canvas

Gift of the John Sloan Memorial Foundation, 1986

DAM 1986-107

 

 

The Net Result (as Seen on Broadway), 1913, from The Masses, August 1913

John Sloan

 

Crayon and ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1987

DAM 1987-11

 

Here Sloan pokes fun at the revealing new style that fashionable women were wearing. These fashion plates are strolling the "Ladies' Mile," the popular Chelsea shopping district in New York. The caption for this illustration reads, "Items from a department store's newspaper advertisement-net undervests...$1.50, net combinations...$3.50, net petticoats...$4.00, net dresses...$30.00."

 

 

Education, 1913, from The Masses, June 1913

John Sloan

 

Crayon and ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1987

DAM 1987-12

 

 

Salute, 1911, from the New York Call, October 1911

John Sloan

 

Ink and Chinese white on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1991

DAM 1991-85

 

 

The Triangle Shirtwaist Factory Fire, 1911, from the New York Call, March 27, 1911

John Sloan

 

Ink, Chinese white, and crayon on illustration board

Delaware Art Museum, Gift of Helen Farr Sloan, 1991

DAM 1991-98

 

This illustration, made for a socialist newspaper, was Sloan's response to a fire at the Triangle Shirtwaist Company factory, in which 146 women working in a sweatshop were killed.

 

 

Wet Night, Washington Square, 1928

John Sloan

 

Oil on panel

Gift of the John Sloan Memorial Foundation, 1997

DAM 1997-38

 

 

Throbbing Fountain, Night, 1908

John Sloan

 

Oil on canvas

Gift of the John Sloan Memorial Foundation, 1997

DAM 1997-40

Wet Night on the Bowery, 1911

John Sloan

 

Oil on canvas

Gift of the John Sloan Memorial Foundation, 1997

DAM 1997-42

 

 

Romany Marye in Christopher Street, 1922, 1936

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1998

DAM 1998-49

 

In the teens and 1920s, Romany Marie Marchand ran a series of Greenwich Village eateries and "tea rooms" that attracted artists and writers. Marchand, wearing several bracelets, is seated with Sloan and Dolly at the table in the foreground. Though signs for her restaurant read "Romany Marie's Tavern," Sloan always spelled her name "Marye."

 

Sixth Avenue, Greenwich Village, 1923

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1998

DAM 1998-115

 

The sign in the upper right corner identifies the location as the Moulin Rouge Cave, a basement bar located at 88 Washington Place. The Sloans lived in a fifth-floor apartment at that address from 1915 through 1927.

 

 

The "Movey" Troupe, 1920

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1998

DAM 1998-124

 

 

Arch Conspirators, 1917

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1998

DAM 1998-133

 

One night in January 1917, Sloan and five friends climbed to the roof of the Washington Square Arch to party and sign a declaration of independence for the Greenwich Republic.

 

From left to right: Charles Frederick Ellis, Marcel Duchamp (standing), Gertrude S. Drick ("Woe"), Allen Russell Mann, Betty Turner, John Sloan.

 

Walnut Street Theater, Philadelphia, 1900

John Sloan

 

Oil on canvas

Delaware Art Museum, Gift of Helen Farr Sloan, 1999

DAM 1999-2

 

 

Looking out on Washington Square, 1933

John Sloan

 

Tempera underpaint, oil-varnish glaze on panel

Gift of the John Sloan Trust, 1996

DAM 2006-57

 

 

Pigeons, 1910

John Sloan

 

Oil on canvas

Museum of Fine Arts, Boston. The Hayden Collection-Charles Henry Hayden Fund, 35.52

 

 

Picture Shop Window, 1907

John Sloan

 

Oil on canvas

Collection of The Newark Museum, Gift of Mrs. Felix Fuld, 1925

 

 

Independence Square, Philadelphia, 1900

John Sloan

 

Oil on canvas

Abby and Alan D. Levy, Los Angeles

 

 

Ferry Slip, Winter, 1905-06

John Sloan

 

Oil on canvas

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Gift of the Joseph H. Hirshhorn Foundation, 1966

 

 

The Coffee Line, 1905

John Sloan

 

Oil on canvas

Carnegie Museum of Art, Pittsburgh; Fellows of the Museum of Art Fund, 1983

 

Sloan captures a winter night in snow-covered Madison Square Park. One of New York's newspapers provided free coffee for cold, hungry men, lined up in the middle of the canvas.

 

Sunset, West Twenty-third Street, 1905-06

John Sloan

 

Oil on canvas

Joslyn Art Museum, Omaha, Nebraska; 25th Anniversary purchase

 

 

Dust Storm, Fifth Avenue, 1906

John Sloan

 

Oil on canvas

Lent by The Metropolitan Museum of Art, George A. Hearn Fund, 1921 (21.41.2)

 

 

Easter Eve, 1907

John Sloan

 

Oil on canvas

Private collection, Washington, D.C.

 

 

The Wake of the Ferry No. 2, 1907

John Sloan

 

Oil on canvas

The Phillips Collection, Washington, D.C.

 

 

The Haymarket, Sixth Avenue, 1907

John Sloan

 

Oil on canvas

Brooklyn Museum, Gift of Mrs. Harry Payne Whitney, 1923, 23.60

 

A notorious dance hall and hangout for the underworld, the Haymarket was located at Sixth Avenue and 30th Street in the Tenderloin district. Its regular patrons reportedly included crooked gamblers, prostitutes, slummers, and visiting firemen, as well as Diamond Jim Brady.

 

Election Night, 1907

John Sloan

 

Oil on canvas

Memorial Art Gallery of the University of Rochester, Marion Stratton Gould Fund (41.33)

 

 

Three A. M., 1909

John Sloan

 

Oil on canvas

Philadelphia Museum of Art: Gift of Mrs. Cyrus McCormick, 1946

 

 

Lake, Central Park, c. 1909

John Sloan

 

Oil on linen mounted on cardboard

Private collection, New York

 

 

The Coburn Players, 1910

John Sloan

 

Oil on canvas

Dayton Art Institute, Museum purchase with funds provided by the Junior League of Dayton, Inc., and Mrs. Susanne R. McConnaughey, 1961.6

 

 

Carmine Theater, 1912

John Sloan

 

Oil on canvas

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Gift of Joseph H. Hirshhorn Foundation, 1966

 

 

Six O'Clock Winter, 1912

John Sloan

 

Oil on canvas

The Phillips Collection, Washington, D. C.

 

 

Kitchen and Bath, 1912

John Sloan

 

Oil on composition board

Whitney Museum of American Art, New York; Gift of Mr. and Mrs. Albert Hackett, 60.44

 

 

McSorley's Back Room, 1912

John Sloan

 

Oil on canvas

Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; Purchased through the Julia L. Whittier Fund (#P.946.24)

 

 

Red Kimono on the Roof, 1912

John Sloan

 

Oil on canvas

Indianapolis Museum of Art, James E. Roberts Fund, 54.55

 

 

Rain, Rooftops, West 4th Street, 1913

John Sloan

 

Oil on canvas

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Gift of the Joseph H. Hirshhorn Foundation, 1966

 

 

Rainbow, New York City, 1913

John Sloan

 

Oil on canvas

Cheekwood Museum of Art

 

 

Movies, 1913

John Sloan

 

Oil on canvas

Toledo Museum of Art, Museum Purchase Fund

 

 

Roof Gossips, 1913

John Sloan

 

Oil on canvas

Collection of Arizona State University Art Museum. Gift of Oliver B. James

 

 

Spring Planting, Greenwich Village, 1913

John Sloan

 

Oil on canvas

Columbus Museum of Art, Ohio, Museum purchase, Howald Fund II

 

 

Maid Cutting Ice, 1915

John Sloan

 

Oil on canvas

Nasher Museum of Art at Duke University, Gift of Sarah and Kenneth Harris in honor of Dr. and Mrs. James H. Semans (1976.70.1)

 

Sloan witnessed this scene on his way to Gertrude Vanderbilt Whitney's Greenwich Village studio. At the studio, Mrs. Whitney gave the invited artists art supplies, whiskey, and cigars and requested that they paint something within five days. This was the painting Sloan created, and it was shown, alongside the others created in the same milieu, in an exhibition.

 

Jefferson Market, 1917, retouched 1922

John Sloan

 

Oil on canvas

Courtesy of the Pennsylvania Academy of the Fine Arts, Henry D. Gilpin Fund, 1944.10

 

 

Bonfire in the Snow, c. 1919

John Sloan

 

Oil on canvas

Montclair Art Museum. Museum Purchase; Lang Acquisition Fund

 

 

Roof Tops, c. 1917

John Sloan

 

Oil on board

Collection of Stephen and Mina Weiner

 

 

West from Fifth and Tenth, c. 1920

John Sloan

 

Graphite on paper

Collection of Ken Ratner, New York

 

 

 

Grand Central Station, 1924

John Sloan

 

Oil on canvas

Montgomery Museum of Fine Arts, Montgomery, Alabama, The Blount Collection

 

 

Flowers of Spring, 1924

John Sloan

 

Oil on canvas

Museum of Fine Arts, Boston, Gift of Miss Amelia E. White, 67.1162

 

 

The White Way, c. 1926

John Sloan

 

Oil on canvas

Philadelphia Museum of Art: Gift of Mrs. Cyrus McCormick, 1946

 

 

A Roof in Chelsea, 1940, 1945, 1951

John Sloan

 

Tempera underpaint, oil-varnish glaze on panel

Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; Purchased through the Julia L. Whittier Fund (946.12.2)

 

 

Tammany Hall, New York, 1946, 1950

John Sloan

 

Glaxseed tempera underpaint, oil-varnish glaze on panel

Anonymous

 

 

"New York in Summer," illustrated letter, John Sloan to Dolly Sloan, July 25, 1905

John Sloan

 

Ink on paper

John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

"Waiting," illustrated letter, John Sloan to Dolly Sloan, February 21, 1906

John Sloan

 

Ink on paper

John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

"The hat is not a bit exaggerated in size," illustrated letter, John Sloan to Dolly Sloan, September 16, 1908

John Sloan

 

Ink on paper

John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

"Saturday we move to 165 West 23rd St of which below is a drawerin," illustrated letter, John Sloan to Robert Henri, September 22, 1904

John Sloan

 

Ink on paper

John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

Illustrated letter, John Sloan to Robert Henri, November 13, 1912

John Sloan

 

Ink on paper

John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

In this letter, Sloan demonstrates the proximity and relative sizes of his home and studio in Greenwich Village. Sloan leans out the window of the tall flatiron building with a telescope, while his wife Dolly leans out the window of their apartment on Perry Street waving a handkerchief.

 

The Garret, Thompson Street and Washington Square South, 1926

John Sloan

 

Photograph (reproduction)

John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

View through Washington Square Arch of Bell Tower, c. 1927

John Sloan

 

Photograph (reproduction)

John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

Illustrated letter, John Sloan to Will Shuster, New York, March 2, 1927

John Sloan

 

Ink on paper

Letters from John Sloan to Will and Selma Shuster, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

One Fifth Avenue under Construction, 1927

John Sloan

 

Photograph (reproduction)

John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

Washington Square, c. 1927

John Sloan

 

Photograph (reproduction)

John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

Judson Memorial Church and Bell Tower, c. 1927

John Sloan

 

Photograph (reproduction)

John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

Construction Site on Sixth Avenue, 1927

John Sloan

 

Photograph (reproduction)

John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

View of Sloan's Studio at 53 Washington Square from Park, 1927

John Sloan

 

Photograph (reproduction)

John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

Man and Boy Walking in Washington Square Park, 1928

John Sloan

 

Photograph (reproduction)

John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

View of Tenements and Rooftops from Roof of 53 Washington Square, 1928

John Sloan

 

Photograph (reproduction)

John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

New York Skyline through the Balcony Railing from the Chelsea Hotel, 1943

John Sloan

 

Photograph (reproduction)

John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

Down at the Corner, 1913, from Harper's Weekly, August 16, 1913

John Sloan

 

Crayon with pen and ink on paper

Collection of Ken Ratner, New York

 

 

"'I sure will,' cried Buck," 1914, from "Fruits of Repentance," by William Holloway, in Century Magazine, October 1914

John Sloan

 

Ink and graphite on paper

Collection of Ken Ratner, New York

 

 

The First Applicant, 1910, from "A Christmas Job," by Allan Updegraff, in Coming Nation, December 24, 1910

John Sloan

 

Ink and graphite on paper

Phyllis and Norman Aerenson

 

 

Recruiting in Union Square, 1909

John Sloan

 

Oil on canvas

Collection of The Butler Institute of American Art, Youngstown, Ohio, Museum Purchase, 1954

 

 

Street Corner, c. 1906

John Sloan

 

Charcoal and white chalk on paper

Collection of Stephen and Mina Weiner

 

 

Stein at Window, Sixth Avenue, 1918

John Sloan

 

Oil on canvas

Virginia Museum of Fine Arts, Richmond, The Adolph D. and Wilkins C. Williams Fund

 

 

Cornelia Street, 1920

John Sloan

 

Oil on canvas

Private collection

 

 

"Where's Wendy," illustrated letter, John Sloan to Dolly Sloan, undated, c. 1905-06

John Sloan

 

Ink on paper

John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

A Map of Greenwich Village, 1934

Tony Sarg (1882-1942)

 

Printed matter

Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

Map of the Business District of New York, Brooklyn, and Jersey City, 1909

Rand McNally and Co.

 

Printed matter

Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

Washington Square Arch with Building under Construction in Background, 1927

John Sloan

 

Photograph (reproduction)

John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

Magazines illustrated by John Sloan

(Left to right)

McClure's Magazine, August 1905

The Masses, July 1913

The Masses, June 1913

 

John Sloan Manuscript Collection, Helen Farr Sloan Library & Archives, Delaware Art Museum

 

 

Walnut Street Theater, Philadelphia, 1900

John Sloan

 

Oil on canvas

Delaware Art Museum, Gift of Helen Farr Sloan, 1999

DAM 1999-2

 

John Sloan's first city paintings were scenes of Philadelphia. Most, like Walnut Street Theater, Philadelphia, and Independence Square, Philadelphia, were scenes of his neighborhood.

 

 

The Lafayette, 1927

John Sloan

 

Oil on canvas

Lent by The Metropolitan Museum of Art, Gift of The Friends of John Sloan, 1928 (28.18)

 

 

Night Windows, 1910

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.80

 

 

Upper left:

Study for "The City from Greenwich Village," I, 1922

John Sloan

 

Graphite on tracing paper

National Gallery of Art, Washington, DC, Gift of Helen Farr Sloan, 1970 (1970.22.1)

 

Lower left:

The City from Greenwich Village, 1922

John Sloan

 

Graphite on tracing paper

National Gallery of Art, Washington, DC, Gift of Helen Farr Sloan, 1971 (1971.54.1)

 

Center:

Study for "The City from Greenwich Village," II, 1922

John Sloan

 

Graphite on paper

National Gallery of Art, Washington, DC, Gift of Helen Farr Sloan, 1970 (1970.22.2)

 

Upper right:

Study for "The City from Greenwich Village," III, 1922

John Sloan

 

Red colored pencil with touches of graphite

National Gallery of Art, Washington, DC, Gift of Helen Farr Sloan, 1970 (1970.22.3)

 

Lower right:

The City from Greenwich Village, 1922

John Sloan

 

Graphite on paper

National Gallery of Art, Washington, DC, Gift of Helen Farr Sloan, 1970 (1971.54.2)

 

Bandits Cave, 1920

John Sloan

 

Etching, ink on paper

Delaware Art Museum, Gift of Helen Farr Sloan, 1963

DAM 1963-20.114

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