Rona Schneider Fine Prints


All prints are in good condition, except where defects are noted.
Click print for an enlarged view.

  Chrysler Building!!
Leon Dolice

  THE CHRYSLER BUILDING, ca. 1930. Signed in pencil in the gray border of the image, l.r. The Chrysler Building was completed in 1929 from plans by William Van Alen and stands in all its Art Deco glory at Lexington Avenue and 42nd Street. It is by far the most exciting building in the Manhattan skyline, and Dolice makes its importance very clear. The white patches of cloud and steam, the light glinting off the tall building, and the grayish aquatint of the surrounding spaces all add to the dramatic effect. In very good condition.
  Etching and aquatint, 11 3/8 x 8 inches.
  Leon Dolice

  FULTON MARKET, NO. 1, ca. 1940. Signed and titled in pencil. Two major downtown NYC landmarks, the Municipal Building and the Woolworth Building are in the background.
  Etching, 7 1/4" x 6".
  Madison Sq Garden #2
Leon Dolice

  MADISON SQUARE GARDEN, FROM THE CORNER OF MADISON AVENUE & 28th STREET, NYC, June 1924. Signed in pencil, and signed, titled, and dated in the plate. This is the second Garden; it was completed in 1890, designed by Stanford White at a cost of $3 million, and topped with the famous Augustus St. Gaudens "Diana" statue now at the Philadelphia Museum. It was unfortunately razed in 1924: Dolice must have raced to make this memento, just as Meryon recorded old Paris buildings before they were demolished in the mid-19th century. The Garden was the largest auditorium in the USA, seating about eight thousand people, and was the second tallest building in the city. There have since been two more Gardens, but none to rival this in magnificence. This print was arguably Dolice's finest work. A grand impression in fine condition.
  Etching and aquatint, 17 1/2 x 11 7/8 inches.
  Rural America
Mabel Dwight

  FARMYARD (FEEDING THE GEESE), 1947. Robinson & Pirog 111. Signed in pencil. Ed. 250. Published by Associated American Artists, printed by George Miller. This is the artist's last print, made when she was in very poor health. The kindly humor of this rural scene is enhanced by the touching serenity of this final effort. An excellent impression in good condition.
  Lithograph, 10 x 10 3/4 inches.
  New York City
Eugene Camille Fitsch

  42nd STREET, ca. 1938. Ed. 16/20. Signed, titled, and numbered in pencil, and inscribed "Imp.". In a different hand and pencil, it is inscribed to Jean Lawran (not fully legible) and has an erased date(?) of 58. This is a nighttime view of the Times Square area, with lights blazing and many pedestrians, some very well dressed, including one man in a top hat. The marquee of the Amsterdam (now owned by Disney) theater announces ‘Super Thrill/Murder…’ and the United Cigar shop (now gone) clock reads 9 p.m. A small sign offers something for 10 cents. Expertly conserved, and lined with mulberry paper. Fitsch taught the lithography night class at the Art Students League starting in the 1920s.
  Lithograph, 16 x 11 ˝ inches.
  New York City Subway
Douglas Warner Gorsline

  EXPRESS STOP, 1948. Signed in pencil. Ed. 125, issued by the Society of American Etchers. The NYC subway and people in the clothing styles of the 1940s are both evocative subjects. An excellent impression in fine condition, on watermarked paper..
  Etching, 6 1/2 x 5 7/7 inches.
  New Listing
William Gropper

  THE HORSEMEN, 1935. Signed in pencil and on the stone. Working in the WW II era, Gropper's subjects ranged from American folklore to war, politics, and deprivation. The ferocity of this interpretation of horseracing suggests more than just a traditional racing scene.This is featured by a half page illustration in the Library of Congress American Prints Catalogue. In fine condition and strongly drawn.
  Lithograph, 9 1/2 x 12 7/8 inches.
  Childe Hassam

  WASHINGTON'S HEADQUARTERS NEAR VALLEY FORGE, 1926. Clayton 265. Signed in pencil with the cypher and inscribed "imp.". Hassam is a leading American Impressionist painter, and equally renowned for his prints.
  Etching, 5 3/8" x 7".
Albert Heckman

  THE VILLAGE, ca. 1937. Ed. 15/25. LC #5. Signed, titled, and numbered in pencil. This image is probably of a village near the Hudson River, since Heckman worked in the Woodstock area. He was a pupil of Arthur Dow, studied at Columbia University, and was part of the NYC WPA, doing etching and block printing. In this print, the influences of Cubism in the structure and Impressionism in the flickering lines are striking. See Phagan, "Made in Woodstock," Vassar College, 2002.
  Etching & drypoint, 10 1/2 x 14 1/8 inches.
John P. Heins

  CORSICAN HILLSIDE, ca. 1937. Signed and titled in pencil. Made for the NYC-WPA, but not stamped, and it is #138 on the NY Public Library WPA list. Corsica, best known as the birthplace of Napoleon, mainly has a wild and mountainous landscape, where banditry was not supressed until the 1930s. Although the island is off the coast of Italy and a dialect of Italian is spoken, it became a department of France.Heins had a gift for making beautifully patterned linocuts, and here he depicts a fine farm tucked between steep hillsides. This is a brilliant impression in very fine condition.
  Linoleum cut, 7 x 9 inches.
John P. Heins

  RAILROAD CROSSING, ca. 1937. Ed. 25. Signed and titled in pencil. Made for the WPA, but not stamped. NYPL #139. A wonderful evocation of rural life, in very fine condition.
  Woodcut, 4 x 6 inches.
John P. Heins

  STILL LIFE, ca. 1937. Ed. 25. Signed and titled in pencil. This print was made for the NYC-WPA, but is not stamped. It is in the NYPL collection, number 136 in their WPA print list. Heins was an exceptionally good printmaker about whom little is known.
  Linoleum cut, 10 x 8 inches.
  WPA, New York City
Riva Helfond
(1910- )

  LIBERTY STREET FERRY (NYC), 1941. Signed and titled in pencil. This is a WPA print, but is not stamped. It is #293 on the NYPL WPA print list. Ed. ca. 25. This view of the west side of Manhattan, with the ferry crossing the Hudson River, is illustrated in "Black Printmakers and the WPA," 1989. Helfond has been a presence in American art since the WPA era, as a painter, printmaker and teacher, and her work is the collections of many major museums.
  Lithograph, 12 1/4" x 15 1/4".
  (image inverted)
Joseph Hirsch

  ARTIST'S HAND, 1966. Cole #51. Signed and numbered in pencil. Ed. 171/200. Printed by Burr Miller. This print was commissioned by the Beth Shalom Synagogue in White Plains, NY. It was chosen by Sylvan Cole as the frontispiece for his catalogue raisonné on Hirsch's prints. A crisp impression in fine condition.
  Lithograph, 15 3/4 x 11 1/2 inches.
  New York City Harbor
F. Werner Hoppe
(active ca. 1920-1930)

  [VIEW OF LOWER MANHATTAN FROM GOVERNOR'S ISLAND], ca. 1925. Signed in pencil. Printed in brownish ink, in very good condition. This view includes the Woolworth Building and the Staten Island ferry slips. Now that the historic island has been turned over to NYC, it will be interesting to watch what new uses it is put to.
  Etching, 9 15/16 x 12 11/16 inches.
  F. Werner Hoppe
(active ca. 1920-1930)

  NEW YORK STOCK EXCHANGE, ca. 1925. Signed in pencil. This grand old building is one of the most imposing in New York, as befits its importance in the financial world.
  Etching, 9" x 7".
  F. Werner Hoppe 
(active ca. 1920-1930)


  THE WOOLWORTH BUILDING, THROUGH THE ARCH, ca. 1920. Signed and titled in pencil. Hoppe devoted himself to scenes of lower Manhattan, and frequently included this landmark building whose Gothic revival details inspired its nickname, "the cathedral of commerce." Nearest to the arch is the City Hall.
  Etching, 8 15/16" x 4 7/8".
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