Rona Schneider Fine Prints
  20th CENTURY PRINTS

ARTISTS P to Z

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

 
  More Pennell-19th c.
 
Joseph Pennell
(1857-1926)

  THE BRIDGE, 1923. Wuerth 800. Ed. 150. Signed in pencil. "Etched from memory at a talk on etching." (Wuerth). Demonstrations of etching skills were popular during the etching craze of the 1920s. John Taylor Arms was another practitioner of this elitist showmanship. In this etching, Pennell, a major figure in printmaking for many years, brought the Woolworth building north, which improves the composition if not the accuracy. In very good condition.
 
 
  Etching in brown ink, 9 3/4 x 6 7/8 inches.
$500.
  Price Reduced!
 
Joseph Pennell
(1857-1926)

  IN THE DRY DOCK, 1917. Wuerth lithograph 508. Ed. 50. Signed in pencil and inscribed to the celebrated Philadelphia woman muralist, Violet Oakley. This is one of Pennell's important series of War Work.
 
 
  Lithograph, 20 3/4 x 15 3/4 inches.
$350.
  Manhattan View
 
Joseph Pennell
(1857-1926)

  NEW YORK FROM GOVERNOR'S ISLAND, 1915. Wuerth 668. Ed. ca. 80. Signed in pencil. This is a rich impression printed on pale gray watermarked laid paper. Pennell, like his idol Whistler, was very particular about using fine papers. This scene shows the Manhattan skyline (in reverse) as it used to look. The Brooklyn Bridge is in the distance at the left. In excellent condition.
 
 
  Etching & drypoint, 7 5/16 x 11 3/4 inches.
$900.
  New Listing
 
Joseph Pennell
(1857-1926)

  [STREET SCENE OUTSIDE OF PENNSYLVANIA STATION, NEW YORK CITY], ca. 1919. Signed in pencil "J. Pennell," l.l., and not dated. A street sign at the right reads "Pennsylvania." Black and color pastels on medium brown paper, a favorite paper for pastels in the period. The image fills the entire sheet. This depicts a lively street scene, with many figures and the tall buildings Pennell loved. In 1919 he made ten etchings of the Penn Station area. In very good condition.
 
 
  Pastel on brown paper, sheet 12 1/2 x 9 7/8 inches.
$3000.
  New Listing
 
Joseph Pennell
(1857-1926)

  [STREET SCENE OUTSIDE OF PENNSYLVANIA STATION, NEW YORK CITY]. Detail of above pastel.
 
 
  Detail of above.
$Detail of above.
  Brooklyn Heights
 
Joseph Pennell
(1857-1926)

  PIERREPONT PLACE, MONTAGUE TERRACE, 1924. Signed in pencil. Pennell printed this impression himself, and he noted "imp." with his signature. This is the delicate, flickering style of his late etchings, which enhances this lovely street in Brooklyn Heights. Pennell was a long-time resident in the neighborhood. The composition is reversed, as is often the case in his etchings. A fine impression in excellent condition.
 
 
  Etching, 6 7/8 x 9 7/8 inches.
$425.
  Spain
 
Joseph Pennell
(1857-1926)

  ST. MARTIN'S BRIDGE, TOLEDO, 1904. Wuerth 312. Ed. 30. Signed in pencil. Pennell was our most prolific American printmaker, and a great influence on several generations of artists in his capacity as a teacher at the Art Students League. Pennell spent years abroad, and this dramatic scene in Spain is one of the many prints he created from his travels. In good condition.
 
 
  Etching, 7 7/8 x 9 15/16 inches.
SOLD.
  Downtown Manhattan
 
Joseph Pennell
(1857-1926)

  THE WEST STREET BUILDING, FROM THE SINGER BUILDING, 1908. Wuerth 491. Ed. ca. 90. Signed in pencil, inscribed "imp." and printed on antique laid paper. Pennell, like his idol Whistler, preferred to do his own printing, and often used sheets of old paper torn from ledgers or books. This imposing 1905 building, designed by Cass Gilbert (the architect in 1913 of the Woolworth Building), was 23 stories high. It occupied the block between Albany and Cedar Streets, and was by far the largest building in the area . Pennell gives us a detailed view of its neighborhood, and then acrosss the Hudson River to New Jersey. Every important city deserves a Pennell to preserve its past. A fine impression in fine condition.
 
 
  Etching, sandpaper & drypoint, 10 7/8 x 8 3/8 inches.
$875.
  New Listing
 
Joseph Pennell
(1857-1926)

  WOOLWORTH THROUGH THE ARCH, 1921. Wuerth 785. Ed. ca. 200. Signed in pencil and inscribed "imp." Printed on antique laid paper, as Whistler did. Architect Cass Gilbert's 1913 "Cathedral of Commerce," seen through the arch of the Municipal Building, was then the tallest building in the city. After nearly a century Gilbert's masterpiece is still the most famous building in downtown New York. A bright impression in excellent condition.
 
 
  Etching, sandpaper and drypoint, 9 7/8 x 6 7/8 inches.
SOLD.
  New Listing
 
Joseph Pennell
(1857-1926)

  WREN'S CITY, 1909. Weurth 504. Ed. ca. 75. Signed and noted "imp." in pencil, and printed on fine laid paper. Pennell lived in England for many years and was an avid documenter of London. He excelled in the difficult medium of mezzotint, and his use of it to create dramatic nighttime views has seldom been surpassed. In very fine condition.
 
 
  Mezzotint, 10 x 11 7/8 inches.
$3500.
  New Listing
 
Joseph Pennell
(1857-1926)

  THE CITY--EVENING, 1909 . Wuerth 506. Ed. ca. 50. Signed and noted "imp." in pencil, and printed on fine laid paper. Pennell lived in England for many years, and was an avid documenter of London. He excelled in the use of the difficut mediuim of mezzotint, using it to create dramatic nighttime views. In this impression he has increased the darkness in the sky and generally created a smokier look than in some other impressions of this mezzotint. Pennell followed Whistler's example in trimming margins, and this print has very narrow margins at top and left, is trimmed to the plate mark on the right, and has a 3/8 inch bottom margin, otherwise in very fine condition. A scarce print.
 
 
  Mezzotint, 10 x 14 13/16 inches.
SOLD.
  Rural America
 
Mac Emanuel Raboy
(1914-1967)

  PITCHING HAY, ca. 1937. Signed and titled in pencil. Although Raboy was a NYC native, and worked for the WPA/FAP/NYC, making 14 prints there, his interests seemed to be evenly divided between urban and rural subjects. Both were depicted with the same careful eye and hand. He also spent about 3 decades illustrating such comics as Captain Marvel and Flash Gordon. His fine art prints are in the collections of the MMA, LC, Univ. of KY, and Univ. of MI. This is a crisp impression in superb condition.
 
 
  Woodcut, 4 x 6 inches.
SOLD.
  The Bowery
 
George Renouard
(1885-??)

  [DOWN AND OUT], ca. 1935. Ed. 2/9. Unsigned but the edition number is in pencil. A lithograph by Renouard wih a similar subject, titled"Third Avenue," is in the collection of the Library of Congress. The subject of "Down and Out" is a group of derelicts on the Bowery in New York City. It is drawn and inked to express that dark subject matter. In fine condition.
 
 
  Etching, 8 7/8 x 10 3/4 inches.
$400.
  WPA; Blacks
 
Dan (Donato) Rico
(1910- )

  FLOOD VICTIMS, ca. 1937. Signed and titled in pencil. Ed. ca. 25. This is a WPA print, not stamped, and is #67 on the New York Public Library WPA print list. This is a moving depiction of the hardship of life for African-Americans, as well as others, during the Depression.
 
 
  Wood engraving, 4 5/8" x 6 1/8".
SOLD.
  New Listing
 
Ernest David Roth
(1879-1964)

  THE BUTTRESS, PONTE VECCHIO, FLORENCE, 1907. Signed and dated in pencil. Ed. ca. 60. This is #17 in American Etchers, voI. I. This is among the earliest of Roth's Italian etchings done in his soft early style: the ancient shops on the beloved bridge are rendered with the greatest delicacy. This etching is very similar to Roth's #11, Ponte Vecchio, Evening, Florence, 1906. An excellent impression in fine condition.
 
 
  Etching, 9 x 7 3/4 inches.
$450.
  Venezia
 
Ernest David Roth
(1879-1964)

  VENICE, 1924. Signed and dated in pencil. Signed, dated, and titled in the plate. Roth was the subject of a loving essay by John Taylor Arms in the Print Collectors Quarterly, Feb. 1938, in which Arms reproduced the pencil drawing for this plate. Roth has transferred all of the expquisite detail of the drawing of an ordinary street scene in Venice, his favorite city, to this beautiful etching. A crisp impression in fine condition.
 
 
  Etching, 9 1/2 x 7 1/8 inches.
SOLD.
  WPA, Waterfront
 
Isaac J. Sanger
(1899-1986)

  COAL BARGES, ca. 1937. Ed. 25. Signed and titled in pencil. This is #12 on the NY Public Library WPA list. When the NYC WPA artists' workshop was organized, Sanger, experienced at woodcuts and wood engravings, assisted the younger artists in learning these skills. This scene of the industrial waterfront of NY is rendered with astonshing crispness. In very fine condition.
 
 
  Woodcut, 4 x 5 inches.
$400.
  Isaac J. Sanger
(1899-1986)

  NEAR FRANCONIA, N.H., ca. 1937. Signed and titled in pencil. Stamped "Federal Art Project/NYC/WPA." Ed. ca. 25. This is illustrated in James Watrous, A Century of American Printmaking, 1880-1980, p.98, fig.4.1.
 
 
  Wood engraving, 7 7/8" x 9 7/8".
SOLD.
  NYC-WPA
 
Isaac J. Sanger
(1899-1986)

  NEW HAMPSHIRE LANDSCAPE, ca. 1937. Ed. 25. Made for the NYC-WPA, number 15 on the NYPL WPA list, but not stamped. This wonderful image of men fishing near a lakeside cabin amid the evergreens is beautifully printed in black and moss green inks. In fine condition.
 
 
  Color woodcut, 8 x 10 7/8 inches.
$650.
  WPA
 
Louis Schanker
(1903-1981)

  AERIAL ACT, 1940. Ed. 55 plus 20 trial proofs. Johnson, Brooklyn Museum #22. Signed in pencil and has the artist's monogram in the block. Published by the WPA. The colors are bright; printed on a wove Japan paper. In 1950, Una Johnson wrote in a Brooklyn Museum catalogue, "Schanker has been a pioneer in the development of abstractions in color. A serious and expert craftsman, he has done much to advance the creative use of the woodcut in color as a vehicle of contemporary expression." He was a supervisor in the Graphic Arts section of the NYC WPA when this woodcut was made.
 
 
  Woodcut in color, 12" x 14".
$1950.
  Price slashed
 
Louis Schanker
(1903-1981)

  MUSICAL CLOWNS, 1939. Johnson 31. 1st ed. 30, 2nd ed. 22. Signed and titled in pencil. Schanker traveled with the circus for two years as a teenager, and the circus (and sports) were the focus of many of his liveliest woodcuts. The influence of European Cubism is very strong in this woodcut. Schanker was a leading figure in American modernist printmaking. This is one of his finest images and is printed in black, red and blue on soft Japanese paper. A bright impression of a rare print, in fine condition
 
 
  Color woodcut: image, 11 3/8 x 15 inches; sheet, 13 3/4 x 18 inches.
$2200.
  Sports
 
Louis Schanker
(1903-1981)

  POLO, ca. 1941. Signed and titled in pencil. The artist's chop mark is printed in the l.r. corner of the image. No stated edition, but most of his were very small. Printed on soft Japanese paper in magenta, orange, blue, and yellow on a rich black background. The effect of the strong colors bouncing off the black ground enhances the sense of action in the subject. (There is a black and white version of this image dated 1941.) The marginal printing smudges, slightly imperfect registration of the color blocks, and unusual manipulation of the colors led David Acton to write, "Schanker's inventive attitude toward technique became a hallmark of his color woodcuts in the 1940s....The artist always printed his own blocks and encouraged potentially creative accidents during the process." (Worcester Art Museum, 1990.) Schanker devoted many prints to sports. In excellent condition.
 
 
  Color woodcut: image 7 7/8 x 7 1/4; sheet, 12 3/8 x 8 3/8 inches.
$1700.
  Anton Joseph Friederich Schutz
(1894- 19 ??)

  [EAST RIVER VIEW], ca. 1920. Unsigned in the plate. A view from the piers across the river, with about ten small and large commercial boats steaming along. Large factories are across the river, with almost a dozen huge chimneys belching smoke. This is probably Schutz's most interesting print.
 
 
  Etching, 8 3/4 x 11 7/8 inches.
SOLD.
  Brooklyn
 
Harry Shokler
(1896-1978)

  RAILROAD YARDS, 1937. Ed. 11/50. Signed, titled, and numbered in pencil. Signed and dated in the plate. A lively view of the busy railroad yards on the dock below Brooklyn Heights, with boxcars, a steam locomotive, and for contrast, a horse-drawn cart. The view across the East River is of lower Manhattan. In excellent condition.
 
 
  Etching, 6 7/8 x 9 3/4 inches.
$300.
  Pathetic Postman
 
John Sloan
(1871-1951)

  HIS APPOINTED ROUNDS, 1938. Ed. 75. Morse 304 ii/ii. Signed, titled and numbered in pencil. This print is from the first edition of 50 printed by White in 1938. In 1951 Roth printed 25 more. The planned edition had been 100. This sad scene of an exhausted mailman collapsed on the sidewalk under a huge mailbag is very touching and typical of Sloan's heartfelt scenes of NYC life. In very fine condition.
 
 
  Etching and mezzotint, 5 7/16 x 6 7/8 inches.
$1500.
  Village Bohemians
 
John Sloan
(1871-1951)

  ARCH CONSPIRATORS, 1917. Morse 183. Ed. 100. Signed, editioned, and titled in pencil by Sloan. Also signed "Ernest Roth, imp." Roth, himself a talented etcher, was also a fine printer. On the evening of January 23, 1917, a group of six Greenwich Village bohemians invaded the roof of the famed Washington Square arch through an unlocked door and had a wonderful party, feasting on sandwiches and hot coffee, and tying colored balloons to the parapet. Along with Sloan, one of the conspirators was Marcel Duchamp, all of them proposing the secession of Greenwich Village from the United States. On fine laid paper, in very fine condition.
 
 
  Etching, 4 1/2 x 6 inches.
$3900.
  Washington Square
 
John Sloan
(1871-1951)

  GIRLS SLIDING, 1915. Morse 171. Ed. 100. Signed, numbered, and titled in pencil. Annotated, "Chas. S. White imp." Sloan wrote: "Healthy, happy girls putting on a floor show for appreciative bums in Washington Square." The Washington Square arch is seen at the edge of the park. Sloan was partial to snowy winter scenes in the park. A very fine impression in excellent condition.
 
 
  Etching, 4 1/4 x 6 inches.
SOLD.
  NYC SUBWAY--NEW
 
John Sloan
(1871-1951)

  READING IN THE SUBWAY, 1926. Morse 223. Planned edition, 100, only 85 printed. Signed in pencil and inscribed by Sloan with these lines from a 1620 poem: "Her feet beneath her petticoat/ Like little mice peeped in and out,/ As if they feared the light." The sign on the wall next to the reader says "Rub with Sloan's Ointment," which surely was a double entendre. Sloan had made a similarly titillating view of a woman's legs and stocking tops just a week before in "Subway Stairs" (Morse 221). His sense of humor was pretty irrepressible. A beautiful impression in excellent condition.
 
 
  Etching, 5 x 4 inches.
$2500.
  New Listing
 
John Sloan
(1871-1931)

  A THIRST FOR ART, 1939. Morse 306 iii/iv. Ed. 100. Signed in pencil and signed "100 proofs." Dartmouth College gave Sloan a large one-man show of 81 etchings in 1946 and included some of Sloan's comments in the catalogue, such as: "One of those exhibition opening cocktail parties. Enthusiasm resulting from the lifting of Prohibition prevails over interest in art." Elsewhere Sloan remarked, "They don't see the pctures at all, knocking them crooked on the wall with their shoulders." Sloan drew a solid mass of people parallel to the picture plane, all with their backs to the art work on the wall behind them. All attention is focused on the cocktail shaker.
 
 
  Etching, 4 x 6 inches.
$3200.
  John Sloan
(1871-1951)

  WAKE ON THE FERRY [with the Brooklyn Bridge],1949. Morse 313. Signed in pencil. Edition 350 (200 were for the Art Students League), iv/iv. This was Sloan's last print. He wrote that a "Drunken Irish 'Wake'... [with] a hearse and merry-making mourners on the front of a ferry boat" would make an amusing subject.
 
 
  Etching, 5" x 7".
SOLD.
  NEW LISTING
 
John Sloan
(1871-1951)

  THE WOMEN'S PAGE, 1905. Morse 132. Signed in pencil, edition 100. This is from Sloan's "NYC Life" series, and he wrote of it, "Observation of life in furnished rooms back of my 23rd St. studio...."
Zigrosser, quoting Sloan, wrote: "It was chosen by Sloan as one of his favorite prints, 'perhaps the best all-around example, both in subject matter and treatment'." Beautifully printed and in excellent condition.
 
 
  Etching, 5 x 7 inches.
$3200.
  WPA Stamped
 
Chuzo Tamotzu
(1891-??)

  HORSE AND WAGON, ca. 1937. Ed. ca. 25. Signed and titled in pencil. Bears the WPA/NYC stamp front and back. Work by this Japanese- born artist who worked for the Federal Art Project in NYC and Woodstock is scarce. Faint stain in upper margin but not affecting the image. A rich impression in in fine condition.
 
 
  Lithograph, 8 3/4 x 12 1/2 inches.
$400.
  New Listing
 
Harry Le Roy Taskey
(1892-1958)

  HERALD SQUARE, N.Y., ca. 1936. Small edition. Signed and titled in pencil. Taskey generally executed urban subjects, and this is typical of his style. The sign says " H & M Tunnel": that was opened up to 33rd St. in 1910, but the whole system was bankrupt by the 1950s. This lithograph captures a piece of NYC history A strong lithograph on a large white sheet, in perfect condition
 
 
  Lithograph, 13 1/16 x 10 7/8 inches.
$775..
  Canal in France
 
Vaughn Trowbridge
(1869-1926)

  CANAL ST. SEBASTIAN, MARTIGUES, 1911. Ed. 3/55. Signed, dated, titled, and numbered in pencil. Signed in the plate with his monogram, an inverted triangle with V and T inserted, and dated. By the turn of the century Trowbridge, born in New York, becaome an expatriate, taking Italy, Spain and France as his subject matter. This scene is on the south coast of France, just west of Marseille. Trowbridge was especially noted here for his color etchings, which he first exhibited at the St. Louis Exposition in 1904. His exhibitions in NYC later received rave reviews in the newspapers and art magazines. This is in fine condition, with fresh, bright colors.
 
 
  Color etching, 12 3/8 x 7 3/8 inches.
SOLD.
  New Listing
 
Vaughn Trowbridge
(1869-1926)

  SAINT TROPHIME, ARLES, 1911. Ed. 62/110. Signed, dated, and numbered in pencil. Signed in the plate with his monogram (an inverted triangle with V and T inserted), and titled and dated. Printed on wove paper. By the turn of the century Trowbridge, born in New York, became an expatriate, taking Italy, Spain and France as his subject matter. His exhibitions in NYC received rave reviews in the newspapers and art magasines. Trowbridge has captured in fine detail this lively scene of men, women and children leaving mass, with the figures set in front of the famed and magnificent portal of Saint Trophime. A brilliant image in fine condition.
 
 
  Etching and drypoint, 11 1/2 x 12 1/4 inches.
$800.
  British Artist
 
William Walcot
(1874-1943)

  THE BROOKLYN BRIDGE, 1923. Ed. 375. Signed in pencil. This is printed on wove paper watermarked "A.C. & H.W.D., Inc., New York." Walcot was commissioned to do a set of NYC etchings which were published by Dickens in New York and London. The municipal building looms large at the left of the bridge and there is wonderful boat traffic in the East River but, as always, the Brooklyn Bridge is the starring attraction. Apart from a slight vertical smudge of printers' ink at the top right, this is a delicate impression in good condition.
 
 
  Etching, aquatint & drypoint, 8 1/2 x 9 3/4 inches.
$450.
  WPA Stamped
 
Hyman Warsager
(1909-1974)

  MY BACKYARD, ca. 1937. Ed. ca. 25. Bears the "Federal Art Project/ NYC/ WPA stamp. and is number 16 in the NYPL WPA collection. The shared laundry poles were typically seen in the yards of older city buildings. A few pale foxing spots, verso. Otherwise in good condition.
 
 
  Woodcut, 7 5/8 x 5 7/8 inches.
SOLD.
  Albert Jones Webb
(1891- ?? )

  MARKET ARGUMENT, ca. 1937. WPA stamp. Signed and titled in pencil. NYPL 528. (Slight foxing and stain in u.and l. margins, under the mat, not affecting image, stamp, or signature.) Webb was a prolific recorder of life in the Lower East Side immigrant neighborhood of NYC. Two of his prints are illus. in WPA Guide to New York City, 1939 (reprint 1992), and 30 of his prints are in the WPA collection of the NYPL print room. (Several duplicates of these are available in my inventory.)
 
 
  Lithograph, 15" x 12 1/4".
SOLD.
  Lower East Side
 
Albert James Webb
(1891-19??)

  MUSIC LOVERS, ca. 1937. Signed and titled in pencil. Webb was a WPA artist who devoted many years to chronicling the lives of the poor on the lower east side of Manhattan. In this print he captures the zest of an itinerant street musician and the great interest of his small audience. A rich impression in very good condition.
 
 
  Drypoint and etching, 8 1/4 x 9 inches.
$300.
  WPA Humor
 
Albert Jones Webb
(1891-19 )

  PRINT COLLECTORS, ca. 1936. Signed and titled in pencil. Webb worked for the WPA/NYC, and this print is #536 on the NYPublic Library list. Webb's lively sense of humor led him to gently caricature his subjects, not to ridicule but to humanize. These collectors are serious, but having fun. Faintly light struck in upper right corner, otherwise in good condition.
 
 
  Lithograph, 11 1/4 x 11 inches.
$450.
  Immigrant Life in NY
 
Albert Jones Webb
(1891-19 )

  WARMING UP, ca. 1937. Ed. 25. Signed and titled in pencil. This is a WPA print, but not stamped. There is a stamped impression in the Library of Congress collection. This image was used to illustrate the WPA Guide to NYC. Webb here portrays the essence of immigrant life on the Lower East Side during the Depression. A rich impression in good condition.
 
 
  Drypoint and etching, 9 1/4 x 9 1/4 inches.
$550.
  A Canadian Viewpoint
 
Charles Henry White
(1878-1918)

  WATER STREET, PHILADELPHIA, 1905. Signed in pencil and printed by the artist. Although he was a Canadian, White became well-known here for his precisely detailed etchings of American cities. See Tovell, "Charles Henry White, Canada's Painter-Etcher of American Cities," Imprint, Spring, 1997. A crisp impression in excellent condition.
 
 
  Etching, 6 3/4 x 8 13/16 inches.
$350.
  Fine Portrait
 
Franklin T. Wood
(1887-1945)

  [PORTRAIT OF OLD MAN IN HAT], n.d. Signed in pencil, printed on laid paper. At least seven of the eleven etchings by Wood at the Library of Congress are portraits of old men, and it's clearly a subject at which he excelled. A bright impression in fine condition.
 
 
  Etching, 8 13/16 x 5 13/16 inches.
$250.
Artists A to C    D to H    I to O    P to Z    Main Menu
Copyright 2002-2005 Rona Schneider Fine Prints. All rights reserved.