Rona Schneider Fine Prints
  20th CENTURY PRINTS

ARTISTS I to O

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

 
  1930s Deer
 
Edgar Imler
(1890-1973)

  DEER PARK, ca. 1937. Signed and titled in pencil. Imler here combines ten "portraits" of bucks, does, and fawns into a carefuly composed setting, with no trees to obscure the variety of poses. While some people today find deer a hazard or annoyance, Imler clearly admired these graceful creatures. A fine impression in very good condition.
 
 
  Etching amd aquatint, 11 x 9 inches.
SOLD.
  New Listing; WPA
 
Edgar Imler
(1890-1973)

  FLOOD, ca. 1937. Ed. 25. Signed and titled in pencil. This print was made for the NYC-WPA, and is #176 on the NYPL list, but it is not stamped. Imler hailed from rural Pennsylvania and had probably seen floods in his youth. However, other prints offer evidence of his travels, and since he worked for the NYC-WPA , he must have lived in New York for part of his life. This print is a crisp impression in nearly mint condition.
 
 
  Woodcut, 6 x 8 inches.
$750.
  WPA Stamped
 
Edgar Imler
(1890-1973 )

  PASSAGE [NYC, under the EL], ca. 1937. Signed and titled in pencil. Ed. 25. Has the "Federal Art Project/ NYC WPA" stamp. NYPL WPA list # 180. A crisp impression in very fine condition.
 
 
  Woodcut, 10 1/2 x 8 inches.
SOLD.
  Southwest, WPA
 
Edgar Imler
(1890- 1973)

  PUEBLO, ca. 1937. Signed and titled in pencil. This is an unstamped WPA print, #175 on the NY Public Library WPA list. It is a scene of one of the grand Indian dwellings in the Southwest, either New Mexico or Arizona. In the foreground of this domestic scene, a woman and a man are working at their handcrafts and beyond, a woman carrying a jug on her head stands on a ladder. On a wall at the left are images of three bison.
 
 
  Wood engraving, 8 x 5 7/8 inches.
SOLD.
  WPA Stamped
 
Edgar Imler
(1890-1973)

  SPRING, ca. 1937. Ed. 25. Signed and titled in pencil. This woodcut bears the stamp of the NYC-WPA. It is #174 on the NYPL WPA list. These beautifully drawn work horses are a modern echo of Peter Moran's 1880s etchings of farm animals in the Pennsylvania countryside. This is a crisp impression in nearly mint condition.
 
 
  Woodcut, 6 x 8 inches.
SOLD.
  RARE and WPA Stamped
 
Eli Jacobi
(1898-1984)

  CHATHAM SQUARE EL, 1932. Signed and titled in pencil. Stamped "Made by W.P.A./Federal Art Project/N.Y.C."

This is one of the best and scarcest prints from Jacobi's great Bowery Series. It was reproduced in The WPA Guide to New York City. IF I HAD A MILLION, the title lettered on the marquee, was a Paramount movie directed by Ernst Lubitsch, with W.C. Fields, Charles Laughton, and Gary Cooper. It was the typical escapist entertainment that helped people get through the dreary days of the Great Depression. The El and all these buildings are now gone, so this image stands as a record of that place and time. Expertly rebacked with mulberry paper.
 
 
  Linocut, 9 3/4" x 7 7/8".
$4000.
  Woodstock
 
W. D. Kaley
(active 1930s)

  RONDOUT CREEK, 1937. Signed, titled, and dated in pencil. This is a wonderful view of buildings and boats on the Rondout Creek where it enters the Hudson River near Kingston and Woodstock. Note the oil tanks at the right: Kaley did a close-up view of these in the other Kaley lithograph on my website. Although I haven't found Kaley in any Woodstock literature, it seems likely that he or she was part of the lively 1930s art scene in Woodstock. This print is a fine impression in excellent condition.
 
 
  Lithograph, 7 7/8 x 10 3/4 inches.
$650.
  Woodstock
 
W. D. Kaley
(active 1930s)

  [VIEW OF OIL TANKS ON THE RONDOUT CREEK], 1937. Signed in the stone and dated in pencil. This view is a close-up of the oil tanks on the Rondout that you can see in the the previous Kaley lithograph on this web site. These are similar to the oil tanks seen in an Albert Heckman lithograph of a scene near Poughkeepsie (coll. Woodstock Artists Association). A fine impression in excellent condition.
 
 
  Lithograph, 11 x 15 1/4 inches.
$450.
  Depression Era-1930s
 
Rockwell Kent
(1882-1971)

  AND NOW WHERE?, 1936. Burne-Jones #110. This famous image was published by the American Artists Group in an edition of about 1000. Their purpose was to make meaningful art available to as wide a public as possible. On the original AAG label, included with this print, Kent scoffed at the fascination with pencil signed prints thus: "upon the receipt of this print and ten dollars I will affix my signature to it and return it properly packed and insured to the sender. But, dear collector, don't waste your money." This was the depths of the Depression, where every dollar counted: the man and woman Kent has drawn have probably lost their home. Printed on stone by George Miller on a full sheet. In very fine condition.
 
 
  Lithograph, 13 1/8 x 9 3/8 inches.
SOLD.
  A 20th c. Napoleon
 
Chaim Koppelman
(1920----)

  NAPOLEONS ON ALLIGATORS, ca. 1960. Signed and titled in pencil. Koppelman, a NYC artist based in Soho, is an especially interesting figure for his wonderful imagination. The subject of Napoleon is one that has preoccupied him for years. His prints can be found in the collection the the MMA, MOMA, Yale, and the Library of Congress. A finely drawn image in excellent condition.
 
 
  Etching, 4 1/8 x 5 1/8 inches.
$250.
  NEW YORK CITY
 
Otto Kuhler
(1894-1977)

  NEW YORK PUBLIC LIBRARY, AERIAL VIEW, 1935. Signed in pencil. Ed 50. Kuhler emigrated from Germany in 1923 and, although he drew upon industry and trains for most of his images, he also depicted NYC scenes, such as this unusual view of the much-loved NY Public Library. An excellent impression in very good condition.
 
 
  Etching, 7 5/8 x 5 5/8 inches.
$475.
  New Listing
 
Otto Kuhler
(1894-1977)

  THE OLD TOWN SQUARE, ca. 1930. Signed in pencil and printed on watermarked laid paper. This is a view of a huge cathedral tower dwarfing the houses in a town square, probably in Holland or Belgium. This may have been made while Kuhler was still in Europe, or from memory or sketches after he emigrated to the USA. In very good condition.
 
 
  Etching, 7 3/4 x 5 3/8 inches.
$300.
  New Listing
 
Martin Lewis
(1882-1962)

  CLEARING RAIN--EVENING, JAPAN, 1927. McCarron 52. Signed in pencil and inscribed "For Dr. Daniel B. Kirby--in highest appreciation. May 10/33." This subject derives from Lewis' 1920 trip to Japan after he arrived in NYC. It reveals that he was already an accomplished printmaker, and he went on to become one of our most highly sought after artists. A brilliant image in excellent condition.
 
 
  Etching, aquatint & drypoint, 14 3/4 x 9 3/8 inches.
SOLD.
  A SCARCE ETCHING
 
Martin Lewis
(1881-1962)

  TREES AT GOTEMBA, 1925. McCarron #40. Signed in pencil. There are only 38 recorded impressions of this scarce print. Lewis left Australia for NYC in 1900, and in 1920 traveled for 18 months in Japan. These trees, which resemble ones in Japanese woodcuts, reveal the infuence of Japanese traditional art on Lewis. He became one of our most influential and admired American printmakers, and his reputation grows every year. This brilliant image is in very fine condition.
 
 
  Drypoint, 10 x 7 inches.
$2400.
  Politics and Power
 
Russell Limbach
(1904-1971)

  REVIEWING STAND, 1934. Signed in pencil. This is from the "American Scene," No. 2. Illustrated and discussed in Eugene Balk, "The American Scene Print and the Cartoon," in PRINT QUARTERLY, vol. xi, no. 4 (Dec. 1994), pp. 379-394. Limbach deftly punctures the pretensions of politicians, the military, and the powerful. A fine impression in fine condition.
 
 
  Lithograph, 9 7/8 x 14 1/4 inches.
$725.
  St. Augustine, FL
 
Elizabeth Boardman Warren Lindenmuth
(1886-1980)

  ON AVILES STREET--ST. AUGUSTINE, ca. 1948. Signed with initials "E.W.L." and titled in pencil. This is the Old Fatio House, a major landmark in St. Augustine, Florida. Lindenmuth and her husband, Tod, had their studios in the house from 1934 until their deaths. This is a richly printed, evocative image in very good condition.
 
 
  Drypoint, 4 3/8 x 3 1/2 inches.
SOLD.
  A Judge and Lawyers
 
Charles Wheeler Locke
(1899-1983)

  [COURTROOM SCENE], ca. 1935. Unsigned. Locke, a NYC artist keenly concerned with social justice issues in the 1930s, here presents a visually enigmatic scene, but we can safely infer that he felt skeptical about the possibility of justice in a courtroom. Locke was a well-known teacher of lithography at the Art Students League. This is a rich impression in good condition.
 
 
  Lithograph, 8 9/16 x 11 1/2 inches.
$150.
  Charles Wheeler Locke
(1899-1983)

  DIOGENES, ca. 1935. Signed in pencil. Diogenes is clearly discouraged by his lack of success in finding an honest man in Washington, DC, and the politicians laugh behind his back. Locke taught lithography at the Art Students League in New York and his prints are in many of the great American museum collections; twenty are at the Library of Congress.
 
 
  Lithograph, 10 1/8" x 8 3/8".
SOLD.
  Depression Politics
 
Charles Wheeler Locke
(1899-1983)

  FREEDOM, ca. 1935. Signed in pencil. The soapbox orator has attracted a typical New York audience, ranging from a newsboy in knickers to a gent in a bowler hat. Locke's political sentiments are as applicable today as they were in the great Depression of the 1930s. He taught the daytime lithography class at the Art Students League in New York and Eugene Fitsch taught the night class. Locke was one of the ten artists who formed the Contemporary Print Group in 1933.
 
 
  Lithograph, 10 1/16 x 7 ĺ inches.
$450.
  Brooklyn Heights
 
Charles Wheeler Locke
(1899-1983)

  FURMAN STREET, LOOKING NORTH, TO THE BROOKLYN BRIDGE, 1935. Ed. 40. Signed in pencil. This is a rare view of the Brooklyn Bridge from a street below Brooklyn Heights, close to the East River docks. Locke lived in the Heights, as did his colleague, Joseph Pennell, and both favored local views. Locke taught the daytime lithography class at the Art Students League, and his prints are in many of the great American museum collections. In very fine condition.
 
 
  Lithograph, 11 1/2 x 8 1/16 inches.
$1250.
  Barroom Advice
 
Charles Wheeler Locke
(1899-1983)

  THE TIP, ca. 1937. Edl 25. Signed in pencil. Bears the Federal Art Project/NYC/WPA stamp. Locke, a dedicated lover of New York, here shows one of the popular old barrooms downtown. Is the waiter givng the patron a racing tip, or is it the other way around?
 
 
  Etching, 6 3/4 x 4 7/8 inches.
SOLD.
  Central Park, NYC
 
Louis Lozowick
(1892-1973)

  SKATERS' ISLAND, 1937. Flint 150. Signed in pencil. From the edition of 250 printed by George Miller for Associated American Artists in 1944. The serene, snowy scene is of ice skaters in Central Park, with skyscraper hotels in the distance hinting of the city beyond. Lozowick was one of the greatest 20th century American printmakers. A crisp impression in excellent condition.
 
 
  Lithograph, 8 13/16 x 12 15/16 inches.
$700.
  Harbor Scene
 
Donald Shaw MacLaughlin (Canadian-American)
(1876-1938)

  THE RUSHING TIDE, 1913. Bruette 196. Signed in pencil. Signed and dated in the plate. An unusually lively harbor scene, most likely in Europe since the Canadian-born MacLaughlin, after becoming an American citizen, lived most of his years in Europe. Tovell wrote (p. 76) that he was "considered the be the premier etcher after Whistler's death in 1903."
 
 
  Etching & drypoint, 9 5/8 x 11 1/2 inches.
$300.
  WPA Stamped
 
Claire Mahl (aka Millman, Moore, Mahlman)
(1910-1988)

  ON VACATION, ca. 1937. Ed. 25. Signed and titled in pencil. Bears the Federal Art Project/NYC/ WPA stamp. This print is typical of Mahl's early work for the WPA in which the faces of her women have been called expressionistic, verging on caricature. In very good condition.
 
 
  Lithograph, 12 1/2 x 7 inches.
$400.
  WPA Mezzotint
 
Samuel L. Margolies
(1897-1974)

  GLOUCESTER EVENING, ca. 1937. Ed. 25. Signed and titled in pencil. Number 158 on the NY Public Library WPA list. Margolies was a NY city born artist who favored rural subjects for many of his pritns, and used mezzotint to good effect in some of them. In fine condition.
 
 
  Mezzotint, 9 7/8 x 11 1/2 inches.
$500.
  NEW LISTING
 
John Marin
(1870-1953)

  SAILBOAT, 1932. Zigrosser #155. Signed in the plate, "Marin 32." Ed. 200, published by the American Artists Group, New York.The original American Artists Group label is included. Zigrosser wrote in Prints and their Creators, p. 96, that Marin's "graphic production...had great significance....His later prints are rare but important....in the Sailboat of 1932 the keynote is abstraction and synthesis for essentials." This has been professionally conserved, lined with mulberry paper and wheat starch paste. A good impression now in good condition.
 
 
  Etching, 6 7/8 x 9 1/4 inches.
SOLD.
  OPERA--NEW LISTING
 
Reginald Marsh
(1898-1954)

  BOX AT THE METROPOLITAN, 1934. Sasowsky 143. Number 37 from the Whitney Museum edition of 100. A wonderful commentary on the upper classes in the depth of the Depression by one of our best social observers. A crisp impression in mint condition.
 
 
  Etching, 10 x 8 inches.
SOLD.
  Artist's Wife
 
Reginald Marsh
(1898-1954)

  FELICIA, 1937. Sasowsky 173, vii/vii. Ed. ca. 5. Pencil signed by the artist's widow, Felicia Marsh, the subject of the print. Marsh was a fine portraitist, and he was one of the few artists of the era to try his hand at the technically difficult medium of engraving . In very good condition.
 
 
  Engraving, 9 x 6 inches.
SOLD.
  Portrait of Artist
 
Reginald Marsh
(1898-1954)

  KENNETH HAYES MILLER, 1931. Sasowsky 108. Ed 26. Signed in pencil and annotated "16." Marsh was one of the few artists of the era who was an accomplished portraitist and this image is in the great tradition of artists' portraits of fellow artists. Miller, as well as being an artist, was also Marsh's teacher for four months in 1927-28, and this portrait is a tribute to Miller. Printed on a golden toned paper; in very good tradition.
 
 
  Etching, 7 x 5 inches.
SOLD.
  Coney Island
 
Reginald Marsh
(1898-1954)

  MERRY-GO-ROUND, 1940. Sasowsky 210. Whitney Museum ed. of 100, 1969. Signed in the plate and with the Museum blind stamp. Marsh recorded all the zest of life in Brooklyn's beloved Coney Island. The Whitney Museum impressions are excellent, and are growing increasingly scarce (inquire for others). Marsh was one of the few artists of the era to try his hand at the difficult medium of engraving. In fine condition.
 
 
  Engraving, 8 x 12 inches.
SOLD.
  CONEY ISLAND--NEW
 
Reginald Marsh
(1898-1954)

  MODERN 1939 VENUS, 1939. Sasowsky 184. Signed in the plate, "Marsh 1939." This is from the Whitney Museum edition of 100 and has the WM blindstamp in the margin. The banner on the prize-winning Venus reads "Steeplechase Park/ Modern 1939 Venus." Steeplechase Park in Coney Island, Brooklyn, is gone, but it was one of the best amusement parks ever created. The movie cameras, the microphone and the watching crowds are a wonderful evocation of life as the country was emerging from the Great Depression. A fine impression in mint condition.
 
 
  Etching, 8 x 12 inches.
$1200..
  Reginald Marsh
(1898-1954)

  STEEPLECHASE, 1932. Sasowsky 138. Signed in the plate. A very fine Whitney Museum edition, with their blind stamp. Marsh's images of New York City life impart all the flavor and feeling of the era, and he arguably drew the best figures of any 20th century American artist.
 
 
  Etching, 8 x 11 inches.
SOLD.
  Reginald Marsh
(1898-1954)

  WOODEN HORSES, 1936. Signed in the plate, and bears the Whitney Museum blind stamp. In very fine condition. The central female figure is very beautiful, and she is so intent on riding the horse that she seems oblivious to the the lechrous man gasping her around the waist.
 
 
  Etching, 8 x 13 1/4 inches.
SOLD.
  Football
 
Fletcher Martin
(1904-1979)

  FOOTBALL SCRIMMAGE, n.d.. Ed. 250. Signed and numbered in pencil. The Colorado-born Martin was a painter, illustrator and educator who never lost his taste for macho sports despite years of living in New York. He received many awards and his prints are in such museum collections as the MMA, WMAA, PAFA, AND MOMA. Printed in black ink on a tan ground. Very pale "mat burn"; otherwise in excellent condition.
 
 
  Lithograph, 10 5/8 x 13 5/8 inches.
$850.
  Central Park
 
William Charles McNulty
(1889-1963)

  59th STREET LAKE, ca. 1930. Ed. 5/75. Signed, titled, and numbered in pencil. This is a view to the skyscrapers on Central Park South from the Central Park Lake. The foreground shows a placid scene of people in rowboats on the lake in contrast to the big-city backdrop to the south. A crisp impression in very good condition.
 
 
  Etching and drypoint, 11 13/16 x 7 15/16 inches.
$800.
  Times Square
 
William Charles McNulty
(1889-1963)

  ROARING FORTIES, ca. 1930. Ed. 75. Signed, titled, and numbered in pencil. A magnificent bird's-eye view of Times Square. Pencil Points, Dec. 1930, v. XI, no. 12, praised McNulty as one of the few artists today "recording on copper the rapidly changing aspect of our big cities as the changes are being made."
 
 
  Etching and drypoint, 12 3/16" x 9 1/16".
$900.
  New Listing
 
William Charles McNulty
(1889-1963)

  TOWERS IN THE SUN, 1934. Ed. 100. Signed, titled, numbered and dedicated in pencil: "Towers in the Sun. 100 Imps. To Jenny and Max--two happy towers in the sun. From Bill 1945." The Chrysler and Empire State buildings were new and thrilling additions to the Manhattan skyline. McNulty was an indefatigable city-watcher, but
along with his love of the architecture, in this image he has added a humanizing touch in the lower right corner: A woman hanging laundry on the rooftop is a tiny reminder that all these crisp geometrical shapes of stone have people in them. Pencil Points, Dec. 1930, v. XI, no. 12, praised McNulty as one of the few artists today "recording on copper the rapidly changing aspect of our big cities as the changes are being made." His outlook, however, was to celebrate, not bemoan, the changes. A brilliant image in splendid condition.
 
 
  Etching, 10 7/8 x 12 3/4 inches.
$1700.
  Chinatown, NYC
 
Charles F. W. Mielatz
(1864-1919)

  RESTAURANT IN CHINATOWN, 1906. Pencil signed. The sign on the balcony says "restaurant," so Chinatown has been a good place to eat in NYC for at least a century, and maybe longer. Mielatz,
the 2nd teacher of etching at the NAD, was especially noted for his NYC architectural scenes. Printed by the artist in brown ink on lightly cockled Japan paper. Otherwise in fine condition.
 
 
  Etching, 9 7/8 x 6 1/4 inches.
$800.
  Soho
 
Charles Frederick William Mielatz
(1864-1919)

  OLD DOOR, HOUSTON STREET, 1903. Signed in pencil, "Mielatz, Imp." Printed in brown ink on thin Japan paper. Houston Street crosses lower Manhattan from the East River to the Hudson River, and is the border of now hip areas like Soho, the East Village, and the Lower East Side. In 1903 it was, in part, a serene residential neighborhood of elegant houses such as this one. Here a maid is peeking out of the door at a young girl begging on the stoop, a rare instance of social commentary by Mielatz. In good condition.
 
 
  Etching, 9 3/8 x 6 1/2 inches.
$450.
  Charles F. W. Mielatz
(1864-1919)

  ST. PAULíS CHAPEL, NEW YORK, 1906. Signed in pencil and printed in light brown ink. This church still stands, and is the oldest Colonial one in the city. Mielatz taught etching at the National Academy of Design and was the leading printmaker of NYC views in this period. (Inquire for other Mielatz prints.)
 
 
  Etching, 9 3/4" x 6 7/8".
SOLD.
  NEW
 
Minnie Lois Murphy
(1901-1962

  [FACTORY TOWN], 1931. Ed. 3/25. Signed, dated, and numbered in pencil. Initialed in the block. Murphy worked for the NYC-WPA in 1936-37, studied at the Art Students League, and was a painter, designed and illustrator. Her prints are at the MMA, Whitney, NYPL, and Library of Congress. In very good condition.
 
 
  Woodcut, 7 3/4 x 9 1/2 inches.
$600.
  New Listing
 
George Nama
(born 1939)

  MONUMENT FOR JEAN ARP, 1971. Artist's proof, signed, titled and dated in pencil. This is one of a pair of homages to the 20th c. artists Nama, along with many others, revered as leaders in abstract art. Nama, a prominent National Academician, was honored by a dinner at the NAD in 2005. This print has Nama's blindstamp and is a brilliantly colored silk screen in mint condition.
 
 
  Color serigraph, 15 x 20 inches.
SOLD.
  New Listing
 
George Nama
(born 1939)

  BLACK MONUMENT, 1971. Artist's proof, signed, titled, and dated in pencil. This has the artist's blindstamp. It can stand alone or as one of a set of 3 Nama made in the 1970's. A brilliantly colored mid-20th century abstraction in mint condition.
 
 
  Color serigraph, 15 x 20 inches.
SOLD.
  New Listing
 
George Nama
(born 1939).

  MONUMENT TO SONIA DELAUNAY, 1971. Artist's proof, signed, titled, and dated in pencil, and bears Nama's blindstamp. This is one of a pair of homages to 20th c. abstract artists. Nama is an active member of the National Academy, which honored him with a dinner in 2005. He studied with Hayter at Atelier 17, and has taught at the School of Visual Arts and Pratt Insitute. This silkscreen is printed in brilliant colors and is in mint condition.
 
 
  Color serigraph, 20 x 15 inches.
SOLD.
  WPA
 
Ann Nooney
(1900-1970)

  CONNECTICUT BARN, ca. 1940. Ed. ca. 25. Signed and titled in pencil. This is a WPA print. #440 on the NYPL WPA list, but it is not stamped. Although Nooney was a NYC artist, she seemed to delight in getting out of the city to experience rural life. A rich impression in fine condition.
 
 
  Lithograph, 12 x 16 inches.
$400.
  WPA
 
Ann Nooney
(1900-ca. 1970)

  GOSHEN FAIR, ca. 1940. Ed. ca. 25. Signed and titled in pencil This is a WPA print, #443 on the NYPL WPA list, but it is not stamped. This is an unusual and delightful subject. The impression is bright but there is a small amount of scattered pale foxing in the outer margins and verso. Otherwise in very good condition.
 
 
  Lithograph, 11 7/8 x 15 1/8 inches.
SOLD.
  Ann Nooney
(1900-ca. 1970)

  HARLEM RIVER, ca. 1940. Signed and titled in pencil. WPA stamp was scraped off. Three of her prints are illus. in WPA Guide to New York City, 1939 (rpt. 1992). Nooney was one of the many active NYC women artists during the depression, and 22 of her prints are in the WPA collection of the NYPL print room. (Other prints by Nooney are available.)
 
 
  Lithograph, 12 3/4" x 11 1/8".
SOLD.
  WPA Woman Artist
 
Ann Nooney
(1900-1970)

  SUBURBAN HILLTOP, ca. 1940. Ed. 25. Signed and titled in pencil. WPA but not stamped. Number 444 in NY Public Library WPA list. Nooney was one of dozens of American women printmakers working in NY city during the Depression, many of whom are just being rediscovered today. Her lithographs are at the Univ. of MI, the NYPL, Univ. of KS, and the Library of Congress. This is a fine impression in fine condition.
 
 
  Lithograph, 10 x 14 inches.
$475.
  Bror Julius Olsson Nordfeldt
(Swedish-American, 1878-1955)

  NEW YORK HARBOR FROM WEEHAWKEN, NEW JERSEY, ca. 1915. Signed in pencil, printed by the artist, and noted in pencil, "Selected Proof B.J.O.N." This is a view from a pier on the New Jersey side of the Hudson River, looking across to the west side of Manhattan.
 
 
  Etching and drypoint, 9 3/8" x 12 3/4".
SOLD.
  Bror Julius Olsson Nordfeldt
(Swedish-American, 1878-1955)

  WALL STREET, ca. 1914. Signed in pencil. A view along Wall Street, with Trinity church at the end. A rich impression of the most famous financial street in the world.
 
 
  Etching & drypoint, 13 7/8" x 7 7/8".
SOLD.
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