Gertrude Vanderbilt Whitney printmakers' patron December 15, 1994-March 12, 1995.

12 Pages·1994·0.87 MB·English

V
Asthe seventh exhibition in theWhitney Museum's ongoingCollection in
Context series, "GertrudeVanderbiltWhitney: Printmakers' Patron" offers a
lookat a selectgroup ofetchings, drypoints, lithographs, and engravings by the
artists who were so enthusiastically supported by GertrudeVanderbiltWhitney
before the founding ofthe Museum, and whose workformed the core ofthe
initial Permanent Collection.
Prints and printmakers have long had a vital role in the Museum's
collectingand exhibition program. From its humble beginnings as a collection
ofimages by a close-knit group of NewYork printmakers, theWhitney's print
collection today numbers more than 3,000 works. In addition to expandingthe
geographic range ofartists represented, the print collection hasgrown to
include prints by artists represented in other media, as well as key works and
major portfolios by artistswho have produced some ofthe most innovative and
technically proficient work in the field.
By choosingto look backto the roots ofthe Museum's collection, print
curator David Kiehl setsthe stage forfuture exhibitions that continue to recount
thevital story of printmaking in America duringthe twentieth century.
Beth Venn, Associate Curator
PrintRoomattheWhitneyMuseumof
ANmeewriYcoarnkACritt,y.1c. W1e9s3t28thStreet.
GERTRUDE VANDERBILT WHITNEY
Gertrude VanderbiltWhitney was an extraordinary person for her day. By birth,
she was a Vanderbilt; by marriage, a Whitney; and by inclination and talent, a
sculptor. She wasalso a leadingsupporterand patron ofAmerican art ofthis
century. Her interests lay not in the acceptable, closed world ofthe academy,
but rather in a youngergeneration of"turks" who believed thatAmerican art
should depict the teeming, tumultuous activity ofthe ordinary American in
modern styles that broke the strictures ofacademic acceptability. Mrs.
Whitney's idea ofpatronage was defined by Juliana Force, herassistant and
longtime factotum, in an interview published in the New York Herald Tribune,
September 7, 1927.
John Sloan...had failed in gettingan exhibition. There
were a dozen or more men in the same group who
needed an opportunity to show theirwork. Mrs. Whitney
was theirfriend and co-worker, and she offered them
a gallery, first in her studio in Eighth Street, then
the club rooms in West Fourth Street. The original
idea was neverthat herservices should be philanthropic.
She wished merely to assist herfriends in a fraternal way.
Mrs. Whitney's support ofAmerican art followed no predetermined plan;
hergenerosity came as a natural reaction to needs as they occurred. Moreover.
GertrudeVanderbiltWhitney did not attach a hierarchy to artistic media; instead,
she encouraged artists to exploit theirvision in whatever medium suited them.
She wanted to fosteran environment in which a variety ofvisions would be wel-
come and artists could work unfettered by the academy or marketplace. Above
all. she realized that only through exhibitions could an artist effectively enter into
a meaningful dialogue with fellow artists and with the larger community. These
principles, the hallmark of Mrs. Whitney's commitment toAmerican artists ofher
day. also formed the basis forthe evolvingseries of institutions thatJuliana Force
referred to in the 1927 interview and that culminated in the foundation ofthe
Whitney Museum ofAmerican Art.
Soon after movingto Macdougal Alley in Greenwich Village in 1907.
Gertrude VanderbiltWhitney began to let artists in hercircle mount informal
exhibitions in herstudio. Seven years later, she purchased adjoiningtownhouses
on West Eighth Street and. with the help of her new assistant. Juliana Force,
opened theWhitney Studio. Exhibitions were held on a regular basis in these
galleries. With the foundingofThe Friends oftheYoungArtists in 1915. Mrs.
Whitney started a tradition of no-jury surveysofartists' work that, with modifica-
tion, continues in theWhitney Biennials ofthe present. Unlike the annuals spon-
sored by the National Academy of Design. Mrs. Whitney did not award prizes;
instead, she purchased work from the exhibitions. The popularity ofthese
surveys amongthe uncredited, youngAmerican artists, and the physical inade-
quacy oftheWhitney Studio to meet exhibition needs led to Mrs. Whitney's
next decision in herongoingsupport ofartand artists.
In 1918, Mrs. Whitney took overthe lease ofa brownstone on West
Fourth Street. Here she and Juliana Force set up theWhitney Studio Club.
Open to all artistson the recommendation of members, the Club wasa meeting
place, library, gallery, and studio space. The spirit ofcongeniality nurtured by
Mrs. Force created an environment that many would neverforget. During its
decade ofexistence, theWhitney Studio Club gave many youngartists their
first significant opportunity to exhibit, including Edward Hopper, Peggy Bacon,
Reginald Marsh, Katherine Schmidt Shubert, Yasuo Kuniyoshi, Niles Spencer,
Glenn O. Coleman, Mabel Dwight, and Stuart Davis. The survey exhibition each
springwas open to all members in whatever medium they chose. Selections
from these increasingly popularsurveys were circulated to othercities in the
country. Price listswere available forall exhibitions, since the sale ofartwas a
key ingredient in GertrudeVanderbiltWhitney's program. She and Mrs. Force
urged private collectors and public institutionsto buy from the exhibitions, and
she continued to make purchases herself, directly orthrough funds made avail-
able toJuliana Force forthis purpose.
Juliana Force also made sure that theWhitney Studio Club provided for
other needs ofits members. Exhibition openings were the excuse for parties.
The weekly eveningsketchingsessionswere equally popularevents. Fora
minimal fee of20 cents to help defray the cost ofa model, artists could
continue a practice essential to theirwork. Peggy Bacon's drypoint The
WhitneyStudio Club commemorated these crowded, convivial evenings. And,
as few members had gallery representation, Mrs. Force set up a shop within the
Club in November 1926, mainly offering prints, drawings, and watercolors. The
workwas consigned by the artists and sold without commission on the profits.
She placed advertisements, such as"What Is HomeWithouta Modern Picture?"
in magazinesto encourage collectors to buy work by youngartists. Moreover,
as with the Club exhibitions, she and Mrs. Whitney continued to purchase work
from the shop.
By 928, theWhitney Studio Club had burgeoned into a large organiza-
1
tion ofseveral hundred members with many more on the waiting list. It had
already outgrown itsWest Fourth Street buildingand in 1 923 had moved into
buildingsadjacent to the Whitney Studio on West Eighth Street. The very suc-
cess ofthe Club had lessened the stranglehold ofthe academy; new dealersfor
avant-gardeAmerican artwere openingtheirdoors. Museums once resistantto
buyingAmerican art were now actively acquiringwork by previously neglected
artists. Prints byWhitney Studio Club members could be purchased at the
Weyhe Gallery, The Downtown Gallery, and atthe Daniel and Kraushaar
Galleries, amongothers.
Gertrude Vanderbilt
Whitney and Juliana Force
felt that the times called
fora change. They closed
the Club and opened the
Whitney Studio Galleries
in the West Eighth Street
buildings. For two years,
the Galleries represented
a curious hybrid—part
museum and part com-
PeggyBacon.TheWhitney
mercial gallery. And, for
the first time, commissions were taken on sales. Through Juliana Force, Mrs.
Whitney continued to purchase new work for hergrowing collection. Acquisi-
tions made during this period point to a more systematic concern on the part of
these two forceful women to more fully represent American twentieth-century
art in all media. Gertrude VanderbiltWhitney's announcement on January 6,
930 that she would establish a museum devoted solely to American art came
1
as no surprise to many in the NewYork art world.
The newWhitney Museum ofAmerican Art opened its doors on
November 18, 1 931 in the remodeled buildings formerly occupied by Mrs.
Whitney's studio, the Whitney Studio, theWhitney Studio Club, and the Whit-
ney Studio Galleries. The new institution had the mandate to celebrate not only
the hard-won achievements ofAmerican art ofthe previous three decades but
also to continue the founder's belief in and support ofthe creative efforts of
American artists. As the first directorofthis new museum, Juliana Force rein-
stated the annual surveys ofthe old Studio Club. Duringthe next decade, these
Annual and Biennial Exhibitions continued to invite artists—and in particular,
printmakers—to submit work. Aswas the informal practice ofthe past, Mrs.
Force purchased work from these survey exhibitions forthe collection. In addi-
tion, the Museum mounted several regional exhibitions to broaden the New
York emphasis of its own collection.
Gertrude VanderbiltWhitney's support of printmaking in America, and
especially NewYork, was an integral part of heradvocacy ofcontemporary art.
The legacy can be seen in the print collection that was an essential part ofthe
holdings ofthe newly founded Whitney Museum ofAmerican Art in 1931. As
in its predecessorestablishments, theWhitney Studio Club and theWhitney
Studio Galleries, roomswere set aside in the Museum fora print gallery as well
asforthe perusal ofunframed prints in solander boxes or on portfolio stands.
It was essentially a NewYork collection ofworks by artistsactive in the Studio
Club, includingJohn Sloan, Peggy Bacon, Yasuo Kuniyoshi, Adolf Dehn. Glenn
O. Coleman, and others. Many ofthe prints had been purchased from Club
exhibitions,.the shop, orfrom the new dealers that had taken on these artists.
In keepingwith the informal nature oftheWhitney Studio Club, records of
acquisitionswere rarely kept; instead, Mrs. Whitney's patronage must be docu-
mented through the prints themselves and the activities she sponsored.
While we can only surmise which prints were amongthe firstto enter
GertrudeVanderbiltWhitney's collection, there are prints in the Museum's
collection by artistswho were among herearly circle offriends. These include
Randall Davey's Ten Etchings Madein NewMexico (1921) as well as several
drypoints of New Mexico subjects by the sculptor Mahonri Young. As a sup-
porteroftheArmory Show that scandalized so manyvisitors in 1913, Mrs.
Whitney knewArthur B. Davies, one ofthe chieforganizers ofthe exhibition.
She probably acquired his portfolio NeufLithographies Originates (1920) within
a yearortwo ofits completion. Although these prints now seem to be among
the more conservative in the initial print holdings oftheWhitney Museum, they
represent Mrs. Whitney's developingsupportofAmerican artists.
Probably the most significant example ofMrs. Whitney's concern for
American artistsand, in particular, printmakers, was hersupport ofJohn Sloan.
Ofall the artists actively associated with herorganizations, Sloan was the most
closely identified with the break from the artistic hegemony oftheAcademy.
Collectors, gallery owners, and art criticswere shocked bywhatthey perceived
asthevulgarity ofSloan's paintingsand especially his prints. The depiction of
everyday events in the lives ofordinary people wasjusttoo farfrom the refined
scenes ofupper-class leisure, pretty landscapes, and literary subjects favored
by the polite art world of NewYork. There was no public interest in any ofthe
images in his series ofetchings New York City Life (1905-06) when itwas first
shown by a reluctant commercial gallery. The audacity of Turning OuttheLight,
an etchingofa woman in a nightdress extinguishinga gas light in her Lower East
Side tenement bedroom, was deemed scandalous. Yet itwas Sloan's firm com-
mitmentto the realities ofurban life thatwon GertrudeVanderbiltWhitney's
admiration and support. In 1916, she postponed an exhibition ofherown work
attheWhitney Studio to mount a retrospective survey ofSloan's paintings and
prints; prominentamongthe latterwere the critically damned New York City
Lifeetchings. Sloan's etchings were again featured attheWhitney Studio Club
in 1 921 . By 1931 , Mrs. Whitney had acquired two nearly completegroupsof
the artist'setchings—one forthe newly founded museum, the othergiven to
The Metropolitan Museum ofArt.
Photographs ofvarious rooms in the Studio Club showdense hangings of
printsand drawings. Elizabeth Cary in a 1927 article on the print room ofThe
Metropolitan Museum ofArt made note ofthecontemporaryAmerican prints
and added, with surprise, that "this isthe type ofwork forwhich one has been
in the habit of lookingat theWeyhe Galleries and theWhitney Studio Club,
because one has been told and told again that these are the places in which
to find it."
Gertrude Vanderbilt Whitney and Juliana Force encouraged printmaking
asa means by which an artist could expect a steady, even ifsmall, income.
One ofthe reasons the shop was set up in the Studio Club was to stimulate
Club members to make prints forsale. In 1927 Mrs. Whitney asked Juliana
Force to hire the services of master printerCeorge C. Miller foran evening.
His lithography press was brought into the Club's rooms and zinc plates were
handed out. The purpose was to demonstrate how easily an artist could draw
on a plate, which could then be printed at a modest cost. Unlike etching, the
artist did not need to be familiarwith the technical aspectsofthe process; that
was up to the printer. Louis Bouche, Niles Spencer, and Yasuo Kuniyoshi were
amongthe artistswho made their first lithographs that evening.
The Millereveningwas not forgotten by its participants; indeed, many of
the prints and especially the lithographs by Studio Club artists that were sold at
The Downtown Gallery and at theWeyhe Gallery in the late 1 920s and 1 930s
were printed by George Miller. Soon afterthe Millerevening, Kuniyoshi left for
a year in Paris, where he made more than forty lithographs at the Desjobert
Press; a numberofthese were bought by Mrs. Whitney and Juliana Force on
his return.
TheWhitney Studio Galleries opened in November 1928 with an
exhibition ofGlenn O. Coleman's twelve Lithographs ofNew York. One set each
was sold to The Brooklyn Museum and The Art Institute ofChicago; it was at
this time that the set currently in theWhitney Museum wasalso purchased.
Through Juliana Force, Mrs. Whitney continued to purchase prints forthe
collection, but nowwith a more thoughtful look at the growingcollection as a
whole. Prints were acquired to augment the holdings ofartists actively sup-
ported by earlier purchases of paintingand drawings. Many ofthe Sloan
etchingswere probably acquired in the last years ofthe decade. Work by
otherartistsofthe day not previously represented in the collection was also
purchased. It wasat this time thatCharles Sheeler's lithograph Industrial
Series, No. I (1 928) and John Marin's etching The Woolworth Building, No. 2
(1913) entered Mrs. Whitney's collection. These new acquisitions brought a
greater unity to the story ofAmerican art as it would be represented in the
Whitney Museum ofAmerican Art.
Gertrude VanderbiltWhitney's patronage ofAmerican printmakers has
been an unheralded aspect of hersupport ofAmerican art ofthis century. The
vitality ofAmerican printmaking in the decade between the twoWorld Wars and
especially those quintessential images ofthe 1920s and 1 930s owe much to
Mrs. Whitney's prescient establishment ofthe Studio Club. The prints she pur-
chased from Studio Club exhibitions and members have enriched the Museum's
visual rerord oftheAmerican art produced during her lifetime.
David W. Kiehl. Adjunct Curator. Prints
1
WORKS IN THE EXHIBITION
Dimensionsareininches,followedbycentimeters; PaulCadmus(b. 1904)
heightprecedeswidth. AllworksareinthePerma- TheFleetsIn!, 1934
nentCollectionoftheWhitneyMuseumofAmerican Etching:sheet,93/4x157/8(24.8x40.3);
Art. Worksintheexhibitionmaychange. plate.7 1/2x 14 1/8(19.1 x35.9)
Purchase 34.38
PeggyBacon(1895-1987)
TheWhitneyStudioClub, 1925 NicolaiCikovsky(1894-1984)
Drypoint:sheet,9x11 (22.9x27.9); Unemployed, 1934
plate,5 13/16x9(14.8x22.9) Lithograph:sheet,9 1/2x12 3/8(24.1x31.4);
GiftofGertrudeVanderbiltWhitney 31.596 image,7 1/8x87/8(18.1 x22.5)
Purchase 34.41
TheArdentBowlers, 1932
Drypoint;sheet. 11 3/8x185/8(28.9x47.3); GlennO.Coleman(1887-1932)
plate,6x 13 15/16(15.2x35.4) Bonfire, 1928,fromtheseriesLithographsof
Purchase 32.85 NewYork
Lithograph:sheet, 157/8x227/8(40.3x58.1);
ThomasHartBenton(1889-1975) image. 135/16x185/16(33.8x46.5)
MineStrike, 1933,fromtheportfolio GiftofJulianaForce 31.698.5
777eAmericanScene—Series2
Lithograph:sheet, 11 1/2x 16(29.2x40.6); Hurdy-CurdyBallet, 1928,fromtheseries
image,97/8x 103/4(25.1 x27.3) LithographsofNewYork
Purchase 34.37.1 Lithograph:sheet, 163/16x20 1/4(41.1 x51.4);
image, 12 3/16x15 13/16(31 x40.2)
PamelaBianco(b 1906) GiftofJulianaForce 31.698.12
Zinnias, 1927
Lithograph:sheet, 143/8x911/16(36.5x24.6); HowardCook(1901-1980)
image. 11 7/16x67/8(29.1 x 17.5) TheLobo. 1927
GiftofGertrudeVanderbiltWhitney 31.606 Etching:sheet,7 13/16x10 1/2(19.8x26.7);
plate,3 15/16x5 15/16(10x 15.1)
CeorgeBiddle(1885-1973) Purchase 51.960
TomMooney, 1933,fromtheportfolio
TheAmericanSceneNo. I JohnSteuartCurry(1897-1946)
Lithograph:sheet. 157/8x11 1/4(40.3x28.6); TheTornado, 1932
image, 13 1/4x9(33.7x22.9) Lithograph:sheet. 11 1/4x157/8(28.6x40.3);
Purchase 33.83.1 image.9 15/16x14 1/8(25.2x35.9)
Purchase 32.97
IsabelBishop(1902-1988)
AttheBaseoftheFlagpole, 1928 Manhunt, 1934,fromtheportfolioTheAmerican
Etching:sheet,8 1/2x11 (21.6x27.9); Scene—Series2
plate,5x6 (12.7x 15.2) Lithograph:sheet. 11 1/2x157/8(29.2x40.3);
Purchase 32.87 image.93/4x 127/8(24.8x32.7)
Purchase 34.37.2
OntheStreet. 193
Etching:sheet,7 1/8x 14 15/16(18.1 x37.9); RandallDavey(1887-1964)
plate,4 15/16x10 13/16(12.5x27.5) Penitentes. 1921,fromtheportfolioTenEtchings
Purchase 34.34 MadeinNewMexico
Etching:sheet,7 1/4x 10 1/8(18.4x25.7);
AaronBohrod(1907-1992) plate.5 1/8x7 7/16(13x 18.9)
Construction, 1930 GiftofGertrudeVanderbiltWhitney 31.656.7
Lithograph:sheet. 12 1/8x17 1/2(30.8x44.5);
image,87/8x14 1/8(22.5x35.9) ArthurB. Davies(1862-1928)
Purchase 33.85 CreekAthletes. 1920,fromtheportfolio
NeufLithographiesOriginates
FiskeBoyd(1895-1975) Lithograph:sheet. 147/8x 1 15/16(37.8x
ApartmentHouses, 1926 27.8);image. 103/8x8(26.4x20.3)
Etching:sheet.9 1/4x 12 3/8(23.5x31.4); Purchase 31.701.4
plate,55/16x67/8(15.1 x 17.5)
Purchase 31 612 StuartDavis(1892-1964)
HoteldeFrance. 1928
JacobBurck(1904-1982) Lithograph:sheet.22x147/8(55.9x37.8);
TheLordProvides. 1934,fromtheportfolio image, 137/8x10 15/16(35.2x27.8)
TheAmericanSceneNo. I GiftofJulianaForce 31.705
Lithograph:sheet. 16x11 1/4(40.6x28.6);
image, 12x9 1/8(30.5x23.2)
Purchase 33.832
) 1
Glenn Coleman.Bonfire. 1928
AdolfDehn(1895-1968) EmilGanso(1895-1941)
Girls. 1928 NudeBeforeMirror. 1930
Lithograph:sheet. 14 1/16x21 5/8(35.7x549); Aquatint,soft-groundetching,androulette:sheet.
image. 10 15/16x 15(27.8x38.1) 14x101/8(35.6x25.7);plate. 11 3/4x77/8
GiftofGertrudeVanderbiltWhitney 31.712 (29.8x20)
Purchase 31 675
Sisters, 1928.fromtheportfolioPansLithographs
Lithograph sheet. 15 1/8x221/4(38.4x56.5); WilliamCropper(1897-1977)
image. 10 15/16x 15(278x38 1) Sweatshop. 1934,fromtheportfolioTheAmerican
GiftofGertrudeVanderbiltWhitney 31.708.2 Scene—Series2
Lithograph:sheet. 11 7/16x157/8(29.1 x403);
MabelDwight(1876-1955) image.9 1/2x 12(24.1 x30.5)
Mechano. WonderoftheWorld. 1928 Purchase 34 37.3
Lithograph:sheet. 16x11 3/8(40.6x28.9);
image. 125/16x95/16(31 3x237) EdwardHopper(1882-1967)
GiftofGertrudeVanderbiltWhitney 31.722 AmericanLandscape. 1920
Etching:sheet. 133/8x 18 1/4(34x464);
ErnestFiene11894-1965) plate.75/16x 125/16(18.6x31 3)
Waterfront. Manhattan. 1931 Purchase 31 690
Lithograph:sheet. 16x22 7/8(406x58.1);
image. 11 1/8x175/8(283x448) NightShadows. 1921.fromtheNew
Purchase 31.730 RepublicPortfolio
Etching sheet.95/8x11 (24.4x27.9);
Don Freeman(1908-1978) plate.67/8x83/16(17.5x208)
ShubertAlley. 1932 GiftofGertrudeVanderbiltWhitney 31.69
Lithograph:sheet. 113/8x171/2(28.9x445);
image.93/4x12 3/4(24.8x32.4) EarleHorter(1881-1940)
Purchase 32.102 TheDarkTower. 1919.fromtheportfolioTwelve
PrintsbyContemporaryAmericanArtists
WElaenvadtaedCCatagti(o1n8.9139-216946) Epltacthei.ng6:xsh4ee3t./41(7155./28xx112311/)8(44.8x33.3);
Lithograph sheet. 149/16x 17 3/16(37x437). GiftofGertrudeVanderbiltWhitney 31 694 I
image. 133/8x 16(34x40.6)
GiftofGertrudeVanderbiltWhitney 31731 Victoria Hutson Huntley I900-1971
KoppersCoke. 1932
Lithograph sheet. 12 3/4x163/4(324x425).
image.95/8x133/8(244x34)
Purchase 3394
1
YasuoKuniyoshi(1889-1953) BreadLine—NoOneHasStarved, 1932
MilkingtheCow, 1927 Etchingandengraving:sheet,97/8x141/8
Lithograph:sheet, 11 1/2x157/8(29.2x40.3); (25.1 x35.9);plate,63/8x11 7/8(16.2x30.2)
image,85/8x 10 1/4(21.9x26) KatherineSchmidtShubertBequest 82.43.1
KatherineSchmidtShubertBequest 83.44.3
UnionSquare, 1933,fromtheportfolioThe
GirlinFeatheredHat, 1928 AmericanSceneNo. I
Lithographonchinecolle:sheet, 18 1/16x Lithograph:sheet, 15 13/16x113/8(40.2x28.9);
12 13/16(45.9x32.5);image,7 1/2x57/8 image, 135/8x8 1/2(34.6x21.6)
(19.1 x 14.9) Purchase 33.83.5
GiftofGertrudeVanderbiltWhitney 31.760
DavidMcCosh(1903-1981)
NightPolice,Paris, 1928 AbandonedHouse, 1931
Lithographonchinecolle:sheet, 127/16x815/16 Lithograph:sheet, 12 1/2x187/8(31.8x47.9);
(31.6x22.7);image,8 112x 1 3/4(21.6x27.3) image, 11 1/8x 145/8(28.3x37.1)
GiftofJulianaForce 31.761 Purchase 33.97
RussellLimbach(1904-1971) KennethHayesMiller(1876-1952)
ReviewingStand. 1934,fromtheportfolio LeavingtheShop. 1925
77?eAmericanScene—Series2 Etching:sheet,99/16x125/16(24.3x31.3);
Lithograph:sheet, 11 1/4x157/8(28.6x40.3); plate,7 15/16x97/8(20.2x25.1)
image.93/4x 14 1/8(24.8x35.9) Purchase 31.790
Purchase 34.37.4
DepartmentStore. 1930
CharlesLocke(1899-1983) Etching:sheet, 103/16x7 3/16(25.9x 18.3);
Alacarte, 1928 plate,6 15/16x4 15/16(17.6x 12.5)
Lithographonchinecolle:sheet, 12 13/16x11 1/8 Purchase 31.792
(32.5x28.3);image,9 1/8x7 5/8(23.2x 19.4)
Purchase 31.767 JeromeMyers(1867-1940)
Springtime. 1919,fromtheportfolioTwelvePrints
JohnWardLockwood(1894-1963) byContemporaryAmericanArtists
ThePlaza, Taos, 1929 Drypoint:sheet, 177/8x131/2(45.4x34.3);
Lithograph:sheet, 13 11/16x167/8(34.8x42.9); plate,7 15/16x57/8(20.2x 14.9)
image, 11 x 139/16(27.9x34.4) GiftofGertrudeVanderbiltWhitney 31.694.4
Purchase 31.769
GeorgePicken(1898-1971)
LouisLozowick(1892-1973) Interior, 1923
Crane. 1928 Etching:sheet, 10 1/16x71/4(25.6x 18.4);
Lithograph:image, 12 1/4x83/8(31.1 x21.3) plate,7 15/16x5 15/16(20.2x 1.5.1)
Purchase 31.770 GiftofGertrudeVanderbiltWhitney 31.80
Tanks#2. 1929 SalvatorePinto(1904-1975)
Lithograph:sheet, 18 1/8x 13(46x33); BeachScene,c. 1929
image, 145/8x9(37.1x22.9) Wood-engraving:sheet, 107/8x153/4(27.6x
Purchase 31.946 40);image,6 1 1/16x87/6(17x21.4)
Purchase 32.114
LuigiLucioni(1900-1988)
LowerFifthAvenue, 1928 CarolineSpeareRohland(1885-1965)
Etching:sheet, 11 3/4x101/16(29.8x25.6); ConeyIsland, 1928
plate,97/8x7 15/16(25.1 x20.2) Lithograph:sheet, 17 3/4x14(45.1 x35.6);
Purchase 31.771 image, 16 1/8x 12 3/8(41 x31.4)
Purchase 32.1 16
JohnMarin(1870-1953)
TheWoolworthBuilding,No.2. 1913 CharlesSheeler(1883-1965)
Etchinganddrypoint:sheet, 1613/16x141/16 IndustrialSeries,No. I. 1928
(42.7x35.7);plate, 127/8x103/8(32.7x26.4) Lithograph:sheet, 11 1/4x16(28.6x40.6);
GiftofGertrudeVanderbiltWhitney 31.776 image,8 1/8x11 1/8(20.6x28.3)
GiftofGertrudeVanderbiltWhitney 31.807
ReginaldMarsh(1898-1954)
Merry-Co-Round, 930 JohnSloan(1871-1951)
1
Etching:sheet,8 15/16x12 3/4(22.7x32.4); ConnoisseursofPrints. 1905,fromtheseries
plate,63/4x93/4(17.1 x24.8) NewYorkCityLife
GiftofMr.andMrs.MichaelH.Irving 78.90 Etching:sheet,99/16x121/2(24.3x31.8);
plate,4 15/16x69/16(12.5x 16.7)
Purchase 31.813