Ashcan School Art

Gregory worked mostly in lithography, probably learned at the Art Students League in New York City. However he often drew New England subjects, so this evening Provincetown scene is ...

Original oil on canvas painting by the well known Russian/American artist, Nahum Tschacbasov.. The painting depicts a group of rabbi’s in conversation in an interior setting. Circa 1...

The ever-quirky Philip Evergood has composed a print that is at once a World War II image (The New York Times on the table has the headline 'Japs Bomb P...

Spring, Bleecker Street, Ruellan's conté crayon drawing from 1938, shows young people out in the world. And their world is Bleecker Street, New York City. The heart of Greenwich Vil...

Blanche Grambs, known to friends as 'Grambs' (1916-2010) was born in China. She came to New York as a very young woman to study at the Art Students Leag...

Originally from Illinois, Ann Michalov worked in Spokane, Seattle and Portland, where she finally settled. This lithograph however really looks very like ...

A perfect summer day. A young mother, little boy, and even smaller girl have their luncheon under a make shift 'fly' -- a stripped cloth canopy fixed up with poles. Although it is titled 'Seaside Nomads,' to me it has the look of a bay or inlet. It's relatively flat and there are all sorts of grasses, old...

Ukrainian-born, lower East Side based, Sarah Berman was active on the NYC-WPA and in artists' circles. Daniel in the Lions' Den is an etching, signed and ...

Saul Raskin's Cry of Union Square, has all my favorite things: a view of Union Square with S. Klein's department store on the right and a Chop Suey restaurant on the left. There's a ...

British-born Sid Gotcliffe has made a powerfully poignant image in the lithograph Tompkins Square Park. At the center sit three men dressed in black. Their clothes suggest they bel...

Here for your consideration is a comical take on the position of maitre d’. Unsigned. Framed in a new African mahogany frame. Overall measurements are 25.5 by 17.5 inches. Oil pain...

Bernard Schardt worked on the the WPA in NYC during the Depression. (During this period, off and on, he lived with friend and colleague Jackson Pollock...

Russian-born and European-educated Alexander Kachinsky was a designer of stage sets (for the Ballet Russe), furniture, and commercial interiors. His prints are in the collection of t...

Massachusetts-born Fred Nagler studied at the Art Students League from 1914 to 1917, with George Bridgeman and Robert Henri, and eventually became a member of the Board of Control. He taught at the Connecticut College for Women, and after the death of Grant Wood, the University of Iowa State...

Russian-born and European-educated Alexander Kachinsky was a designer of stage sets (for the Ballet Russe), furniture, and commercial interiors. His prints are in the collection of t...

Ben Messick perfectly captures the world of the 'Ashcan' period: Everyday life, local characters, people we could still meet today. He could draw like a son-of-a-gun! The date of 194...

This lithograph shows the Obelisk (Cleopatra’s Needle), 1425 BCE, in Central Park, New York City, just behind the Metropolitan Museum of Art, on Greywacke Knoll. (This makes it a double example of ‘art about art.’) Carved from a single piece of granite from Aswan, it was gifted to this country by the Khedive Ismail Pasha...

Artist and Model Conte crayon on tan paper, mounted to board, c. 1906 Unsigned (signature hs faded over time) Condition: slightly toned, mounted to board for support Image/Sheet size...

Classic American Depression-Era subject meets the French landscape? Clearly Guyer was looking at both Jean-Francois Millet and Vincent Van Gogh, who together informed this image. And...

Norman Barr recorded his beloved New York City from the Bronx, to Coney Island, to the Fulton Fish Market. In this period he was on the New Deal's Mural ...

The etching (Sheep under a Tree) is signed in pencil and annotated (in lower margin) '3rd State, 4 proofs, JN imp.' in pencil. It's in an usually spare drawing style but one that Na...

D’une élégance rare. Un luxe extrême, silencieux, magnétique. Cette pièce ancienne chinoise — un grand lit de jour devenu table basse — renaît de ses cendres à chaque ambiance qu’el...

A man with lots of whiskers is trimming his facial hair while looking in a mirror. The male figure and his beard are carefully drawn but Hirsch has cleverly just briefly sketched in ...

Mathilde de Cordoba was born in New York City and spent her career there. She is known for her studies of women and children. Convalescent is sign...

Grant Arnold's Summer Landscape, made in 1936, in the depths of the Depression, is a study in peace and calm. It's as though he found a refuge from the wo...

Everett Shinn Nude in Landscape Signed and dated upper center Sanguine on paper 13 x 10 inches Everett Shinn, a future member of the Eight and remarkable, rather theatrical persona...

Original drawing of a woman heading to market by the well known American artist, Everett Shinn. Mixed media work created with charcoal, pastel and gouache. Signed with the artist’s initials lower right and dated 1916. Condition is very good. Under glass. Matted and in a period gold frame with restorations. Overall framed measurements are 23.5 by 17.25 inches. Provenance: A New York City estate. Everett Shinn (1876 – 1953) Everett Shinn, a realist artist associated with the Ashcan School and member of “The Eight” was born in New Jersey in 1876. After showing an aptitude for the arts as a child, at age 15, Shinn was enrolled at the Spring Garden Institute in Philadelphia. He quickly moved on to classes at the Pennsylvania Academy of the Fine Arts and by the age of 17, he was working as a staff artist for the Philadelphia Press. While working at the Press, Shinn befriended fellow artists William J. Glackens, George Luks, and John Sloan. This group, with Robert Henri and Joseph Laub, established the Charcoal Club, a social and intellectual sort of alternative art school. In 1897, Shinn moved to New York City to work as an illustrator at the New York World. He became fascinated by the drama of the city. While visiting Europe in 1900, Shinn took interest in the work of the Impressionists, particularly those of Degas. Degas’ influence can be read in Shinn’s depictions of American theater. From his acquaintances in the theater world, Shinn began to paint decorative “rococo revivalist” murals in the homes of the wealthy elite. He also worked extensively in pastel, portraying the rough life of the city. In 1908, Shinn exhibited alongside his Charcoal Club associates, with the addition of Arthur B. Davies, Ernest Lawson, and Maurice Prendergast...

An old sailor is shown at work on a what must be a huge sailing vessel. He's splicing, or joining ropes together -- probably still a useful skill in the mi...

Joseph (Joe) Leboit made this extremely intense image of a supposedly happy recipient of a 'Derby Winner.' (Probably refers to the Irish Derby.) In fact the couple and seventeen chil...

Albert Abramovitz was working in New York in the 1930s when he made wood engravings of the construction of the Moscow subway. This image, The Wagonette, is a wrenching testament to t...

Gregory often worked in lithography, probably learned at the Art Students League in New York City. In all likelihood this is a New York scene but he also often drew New England subje...

This subject, Heifer, relates to Citron's mural project focusing on the Tennessee Valley Authority. It is signed, dated, and annotated 'Et...

Paul Gattuso attended the Art Students League and worked primarily in New York City. There is an old address with a Bronx, Grand Concourse address. Gattus...

Fernando Castro Pacheco was a Mexican muralist, painter, and printmaker. This linocut is titled to refer to the indigenous population. It is si...

Norman Barr made mural on the NYC-WPA; this lithograph was made in the WPA workshop but was not published by the WPA. The next year he was in the Army! Thi...

John Sloan (1871-1954), Barbershop, 1915, etching and aquatint, signed in pencil lower right, inscribed in pencil “For John Quinn, Esq. – John Sloan” lower left margin, (also signed ...

Irish Fair Lithograph, 1923 Signed and numbered in pencil by the artist (see photo) Titled "Irish Fair" by the artist in pencil Edition: 84 Housed in an archival frame with acid free matting (see photo) Provenance: Estate of the artist, Bellows Family Trust H.V. Allison & Company (label) Private Collection, Columbus References And Exhibitions: Reference: Mason 153 Note: An illustration commissioned by The Century Company for Don Byrne's novel The Wind Bloweth Image: 18 7/8 x 21 3/8" Frame: 29 1/2 x 30 1/2" “Eleven on a hot July morning, and the little town...

Very well executed original gouache on archival paper by the well known American artist Benjamin Kopman. The scene depicts three figures admiring a picture. Signed lower left. Circa ...

Everett Shinn Nude in Landscape Signed and dated upper center Sanguine on paper 13 x 10 inches Everett Shinn, a future member of the Eight and remarkable, rather theatrical persona...

Boys Sledding Etching, 1920 Signed and titled in pencil by the artist below image (see photos) Annotated in pencil by the artist "100 proofs" Signed and dated in the plate lower left...

Head of a Woman (Margaret) conte on wove paper, 1925 Signed and dated lower right Annotated "Margaret" in ink verso A portrait of Margaret Cassidy Manship ( d. 2012), daughter in law...

A pair of exquisite drawings by American Ashcan School artist Alexander Oscar Levy.

Amy Londoner Beach at Atlantic City, circa 1922 Signed lower right Pastel on paper Sight 23 x 18 inches Amy Londoner (April 12, 1875 – 1951) was an American painter who exhibited at the 1913 Armory Show. One of the first students of the Henri School of Art in 1909. Prior to the Armory Show of 1913, Amy Londoner and her classmates studied with "Ashcan" painter Robert Henri at the Henri School of Art in New York, N.Y. One notable oil painting, 'The Vase', was painted by both Henri and Londoner. Londoner was born in Lexington, Missouri on April 12, 1875. Her parents were Moses and Rebecca Londoner, who moved to Leadville, Colorado, by 1880. In 1899, Amy took responsibility for her father who had come to Los Angeles from Leadville and had mental issues. By 1900, Amy was living with her parents and sister, Blanche, in the vicinity of Leadville, Denver, Colorado. While little was written about her early life, Denver City directories indicated that nineteenth-century members of the family were merchants, with family ties to New York, N.Y. The family had a male servant. Londoner traveled with her mother to England in 1907 then shortly later, both returned to New York in 1909. Londoner was 34 years old at the time, and, according to standards of the day, should have married and raised a family long before. Instead, she enrolled as one of the first students at the Henri School of Art in 1909. At the Henri School, Londoner established friendships with Carl Sprinchorn (1887-1971), a young Swedish immigrant, and Edith Reynolds (1883-1964), daughter of wealthy industrialist family from Wilkes-Barre, PA. Londoner's correspondence, which often included references to Blanche, listed the sisters' primary address as the Hotel Endicott at 81st Street and Columbus Avenue, NYC. Other correspondence also reached Londoner in the city via Mrs. Theodore Bernstein at 252 West 74th Street; 102 West 73rd Street; and the Independent School of Art at 1947 Broadway. In 1911, Londoner vacationed at the Hotel Trexler in Atlantic City, NJ. As indicated by an undated photograph, Londoner also spent time with Edith Reynolds and Robert Henri at 'The Pines', the Reynolds family estate in Bear Creek, PA. Through her connections with the Henri School, Londoner entered progressive social and professional circles. Henri's admonition, phrased in the vocabulary of his historical time period, that one must become a "man" first and an artist second, attracted both male and female students to classes where development of unique personal styles, tailored to convey individual insights and experiences, was prized above the mastery of standardized, technical skill. Far from being dilettantes, women students at the Henri School were daring individuals willing to challenge tradition. As noted by former student Helen Appleton Read, "it was a mark of defiance,to join the radical Henri group." As Henri offered educational alternatives for women artists, he initiated exhibition opportunities for them as well. Troubled by the exclusion of work by younger artists from annual exhibitions at the National Academy of Design, Henri was instrumental in organizing the no-jury, no-prize Exhibition of Independent Artists in 1910. About half of the 103 artists included in the exhibition were or had been Henri students, while twenty of the twenty-six women exhibiting had studied with Henri. Among the exhibition's 631 pieces, nine were by Amy Londoner, including the notorious 'Lady with a Headache'. Similarly, fourteen of Henri's women students exhibited in the groundbreaking Armory Show of 1913, forming about eight percent of the American exhibitors and one-third of American women exhibitors. Of the nine documented works submitted by Londoner, five were rejected, while four pastels of Atlantic City beach scenes, including 'The Beach Umbrellas' now in the Remington Collection, were displayed. Following Henri's example, Londoner served as an art instructor for younger students at the Modern School, whose only requirement was to genuinely draw what they pleased. The work of dancer Isadora Duncan, another artist devoted to the ideals of a liberal education, was also lauded by the Modern School. Henri, who long admired Duncan and invited members of her troupe to model for his classes, wrote an appreciation of her for the Modern School journal in 1915. She was also the subject of Londoner's pastel Isadora Duncan and the Children: Praise Ye the Lord with Dance. In 1914, Londoner traveled to France to spend summer abroad, living at 99 rue Notre Dames des Champs, Paris, France. As the tenets of European modernism spread throughout the United States, Londoner showed regularly at venues which a new generation of artists considered increasingly passe, including the annual Society of Independent Artists' exhibitions between 1918 and 1934, and the Salons of America exhibition in 1922. Londoner also exhibited at the Morton Gallery, Opportunity Gallery, Leonard Clayton Gallery and Brownell-Lambertson Galleries in NYC. Her painting of a 'Blond Girl' was one of two works included in the College Art Associations Traveling Exhibition of 1929, which toured colleges across the country to broad acclaim. Londoner later in life suffered from illnesses then suffered a stroke which resulted in medical bills significantly mounting over the years that her old friends from the Henri School, including Carl Sprinchorn, Florence Dreyfous, Florence Barley, and Josephine Nivison Hopper, scrambled to raise funds and find suitable long-term care facilities for Londoner. Londoner later joined Reynolds in Bear Creek, PA. Always known for her keen wit, Londoner retained her humor and concern for her works even during her illness, noting that "if anything happens to the Endicott, I guess they will just throw them out." Sprinchorn and Reynolds, however, did not allow this to happen. In 1960, Londoner's paintings 'Amsterdam Avenue at 74th Street' and 'The Builders' were loaned by Reynolds to a show commemorating the Fiftieth Anniversary of the Exhibition of Independent Artists in 1910, presented at the Delaware Art Center, Wilmington, DE. In the late 80's, Francis William Remington, 'Bill Remington', of Bear Creek Village PA, along with his neighbor and artist Frances Anstett Brennan, both had profound admiration for Amy Londoner's art work and accomplishments as a woman who played a significant role in the Ashcan movement. Remington acquired a significant number of Londoner's artwork along with Frances Anstett Brenan that later was part of an exhibition of Londoner's artwork in April 15 of 2007, at the Hope Horn...

Herbert Ferber (Silvers--1906-1991) is recognized as one of the most original artists of the New York Abstractionist Expressionist group. His sculptures were known for their 'pierced...

Red Ballboy or Studies for "Tennis Tournament" Crayon on paper, c. 1920 Unsigned Condition: three vertical folds created by the artist to transport the drawing from the tennis match ...

Woman Pulling on a Slip Conte on paper, c. 1910 Signed lower right: "E. Shinn" (see photo of legs, signature on right) Provenance: Estate of the Artist (see label) Graham Gallery, N...

Mal's (At Cliff Evan's Cabin), by Waldo Midgley. watercolor, 9 x 12 inches (Framed size: 18.5 x 21 inches), $1,500 Waldo Midgley (1888-1986) had a fruit...

Man, Wife and Child Etching, 1905 Signed and titled in pencil by the artist below image (see photo) Annotated in pencil by the artist "100 proofs" Signed and dated in the plate lower...

Irving Place Burlesque Etching, 1930 Unsigned (as usual for the Whitney edition) Numbered in pencil lower left Blind stamp of the Whitney Museum (WM) lower right From: Reginald Marsh...

Margarett W. McKean Sargent Stepping Out, 1916 Signed and dated on base Bronze 14 x 6 x 8 inches Provenance Private Collection, Hingham, Massachusetts Walker-Cunningham Fine Art, St. Louis, Missouri, 2007 Exhibited New York, Hawthorne Fine Art...

Sloan, John. SISTERS AT THE WINDOW. Etching, 1923 (M. 208). 5" x 4", signed and titled in pencil and inscribed "100 Proofs," of which only 76 were printed this being one of 25 early ...

If ever there was an image that fit the description of 'Ashcan,' Harry Rein's Competition, made for the NYC WPA, is clearly it! Some impressions have the WPA sstamp, including the o...

The etching (Crucifixion) is signed and titled in pencil. Signed 'Fred' and possibly dated '27' in the image at lower left. It's in an usually spare drawing style but one that Nagl...

James Penney was widely known for his New Yorker covers as well as his paintings and prints. Penney was from Saint Joseph, Missouri. He trained in NYC at the Art Students League. The New-York Historical Society and the Library of Congress both have collections of his work. Signed, titled, and dated. Especially like the test marks at the lower right and the way the lawyer is leaning/relaxing on the judge...

Russian-born and European-educated Alexander Kachinsky was a designer of stage sets (for the Ballet Russe), furniture, and commercial interiors. His prints are in the collection of the Library of Congress, the Smithsonian American Art museum, and the Baltimore Museum of Art. He came to this country in the 1920s. An impression of this subject in the Smithsonian. "Cloudy Day," about 1940, is an idyllic country scene, possibly the artist's White Plains...

Don Freeman is best known for his paintings and works on paper of New York City's theatre industry: the signage, the stages and sets, the actors, the costumers and ushers, anything a...

Norman Barr recorded his beloved New York City from the Bronx, to Coney Island, to the Fulton Fish Market. In this period he was on the New Deal's Mural ...

Norman Barr recorded his beloved New York City from the Bronx, to Coney Island, to the Fulton Fish Market. In this period he was on the New Deal's Mural ...

Paul Gattuso attended the Art Students League and worked primarily in New York City. There is an old address with a Bronx, Grand Concourse address. Gattus...

Louis Bouché was based in New York and taught at the Art Students League. The figure was an important subject in his oeuvre. An ink drawing on tan paper, ...