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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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