Ashcan School Art

Original watercolor and gouache city snowscape attributed to the hand of Hans Peter Nelson. Signed lower left ”H. Nelson”. Condition is excellent. Circa 1940. Under glass. The art...

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, ...

Francis Mora is often considered to be the American artist who most depicted Hispanic culture in American and abroad. He made a trip to Spain in the early 1900's and created mostly ...

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...

1920 Social Realism Etching by John French Sloan titled "Bandits Cave" Compelling etching by John Sloan (American 1871 - 1951), 1920 during first year of prohibition showing a estab...

Reginald Marsh, 'A Morning in May', etching, 1936, edition 100 (Whitney, 1969), Sasowsky 169. Unsigned as published; numbered '89/100' in pencil. A superb, richly-inked impression, ...

Leon Dolice managed to capture New York City moments and places dear to all New Yorkers. This view of the arch in Washington Square Park is a perfect example. It's shown from Fifth A...

Reginald Marsh, 'Erie R.R. Locos Watering (Locomotives Watering)', etching, 1934, edition 100 (Whitney, 1969), Sasowsky 155. Unsigned as published; numbered '68/100' in pencil. A su...

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...

This Depression-era New York City subway scene says it all. The body language of all five passengers tells us where each of them is in his or her ...

Owen Weiri (also Wiiri, 1916-1974) was a Finnish-American who served in the Spanish Civil War and then, during World War ll, in the American armed forces as a marine. Industrial sub...

1940s New York Interior -- An Evening Scene of Artist and His Wife Wonderful moody 1940s New York interior and figurative oil painting in Ashcan Schoo...

Frederick K. Detwiller, 'The Sixth Avenue Spur, New York City', lithograph, 1924, edition 20. Signed, dated, titled, and annotated 'Lith 20' in pencil. Inscribed 'To my Friend Herbert L. Jones' in pencil. Signed and dated, in the stone, lower right; initialed and dated '1927' in the stone, lower left. A fine, richly-inked impression, on cream wove paper, with margins (7/8 to 1 1/4 inches); slight toning in the top left sheet edge, otherwise in good condition. Scarce. Image size 20 1/2 x 14 inches (521 x 356 mm); sheet size 22 1/2 x 16 inches (572 x 406 mm). Archivally matted to museum standards, unframed. ABOUT THE IMAGE The Sixth Avenue El was constructed in the late 1870s by the Gilbert Elevated Railway and reorganized as the Metropolitan Elevated Railway. By 1878, it was running from Rector Street to 58th Street. Soon after that, it was taken over by the Manhattan Railway Company, with three other Manhattan elevated train lines. The company built a connection, the ‘spur’ by which it turned west on 53rd Street to merge with the 9th Avenue El—paralleling the present-day route of the 6th Avenue subway. The Sixth Avenue El served the “Ladies Mile” shops (including the Siegel-Cooper emporium, whose building now houses Bed...

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 ...

Lawrence Beall Smith draws four men in a park, each with his back to a giant, strong tree. The year is 1938 and the country is coming out of the Depression but World War II is alread...

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...

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! And this is a v...

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...

The sailors are still in uniform in this post-World War I print of young people meeting at a semi-secluded park setting, Snug Harbor, along Riverside Drive...

Chicago-born Golinkin studied at the Artist Students League with George Luks. After working as an illustrator for New York papers he joined the Navy in 1939 and retired as a Rear Adm...

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...

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...

This lithograph is signed in pencil. Leonard Pytlak lived on the East Side of Manhattan and this image recalls the 59th Street Bridge (also known as the Queensboro Bridge and the Ed Koch Queensboro Bridge), completed in 1909. It goes from Manhattan to Queens and passes over Roosevelt Island...

An idyllic scene at New York City's favorite beach, Coney Island. Before the year was over Barr was in the Army. It is ink and litho-crayon. Barr liked that medium because it didn't ...

the Shop Window New York City, 1940s 17.75X25 sight size. Maurice Becker (1889–1975) was a radical political artist best known for his work in the 1910s and 1920s for such publica...

The dimensions are for the image; there are large margins. This lithograph is signed in pencil. A native New Yorker, Ann Nooney (1900-1970) recorded the urban scene while on the Wo...

Born in Czarist Russia Norman Barr (1908-1994) came to New York as a young boy and except for a few night classes at the school of the National Academy of ...

While nothing is known about this artist (maybe even the spelling of the last name?), the drawing is so skilled and the composition compelling that there MUST be other work! And use ...

Francis Luis Mora was considered one of America's finest "sketchers". A collection of his Sketchbooks are at the Smithsonian and this work came out of one in the early 1990's from t...

Hal Frater's "Pink Sky" is a moody landscape that masterfully captures the play of light at dusk. Dominated by a majestic mountain under a vast, dusky sky, the painting is steeped in warm shades of pink and red that wash across the canvas, lending a dreamlike atmosphere to the scene. The dark silhouette of the mountain anchors the composition, while the reflections on the water's surface add a dynamic contrast to the softness of the sky. Frater's brushwork is loose and expressive, allowing the colors to blend and creating a sense of movement within the stillness of the landscape. This work evokes a quiet reflection and the serene beauty of nature, emphasizing the grandeur of the natural world as it succumbs to the tranquil blanket of night. About the Artist: Hal Frater was not just an artist, but a storyteller who left us on February 3, 2008, on the cusp of his 99th birthday. His fifty-year tenure as a commercial artist was a testament to his adaptability and appeal. Yet it was in his private studio where Frater’s true passion lay — painting not for clients, but for his own soul's expression. His work, always striving to capture the nuances of the human spirit, reflected his sharp observational skills. His artistry was honed not in formal schools, but alongside his peers in spontaneous gatherings, painting from life, sharing techniques and critiques that fueled their collective growth. Influenced by the likes of Jack Levine, Raphael Soyer, John Sloan, Thomas Hart Benton, Reginald Marsh, and Phillip Reisman...

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...

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 ...

Original oil on masonite painting of Fleet Week with sailors flirting with young women on the dock by the American artist, Sarah Pace Carothers Rhode. ...

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...

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...

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...

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

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 ...

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...

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...

This lithograph is signed and number in pencil. It is numbered 18/18 indicating there were 18 impressions of this subject printed.

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...

Norman Barr recorded his beloved New York City from the Bronx, to Coney Island, to the Fulton Fish Market. Although Barr was on the Mural Project of the ...

An important American modern landscape by Ashcan school artist Alexander O. Levy. This painting was featured in the retrospective for the artist held at the Burchfield Penney Art Ce...

James Penney was widely known for his New Yorker covers as well as his paintings and prints. This lithograph of male laborers, Street Pavers, remi...

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...

Great Wall Street piece by John R. Grabach (March 2, 1886 – March 17, 1981) with expressive colors and figures. Grabach was a renowned American painter, best known for his evocative...

Conte crayon on paper, c. 1905-1909 Signed lower right Archival frame by Graham Gallery, New York, hand carved frame with silk matting and gold fillet (see photo of corner) Provenanc...

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...

Landscape by George Luks (1867-1933) Oil on canvas 11 x 14 inches unframed (27.94 x 35.56 cm) Signed lower left Description: George Luks was an American artist originally born in Pe...

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...

Clown With Big Pants, 1942, by Everett Shinn (1876-1953) Oil on canvas 12 x 10 inches unframed (30.48 x 25.4 cm) 19 ½ x 17 ¼ inches framed (49.53 x 43.815 cm) Signed and dated on bot...

Signed LL John Grabach was a highly regarded New Jersey artist, teacher and author of a classic text, How to Draw the Human Figure. He was born in Massachusetts, and with his widow...

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...

Edith (Glackens) Dimock (1876 - 1955) Untitled (Female Nude), circa 1915 Oil on canvas 34 1/2 x 28 1/4 inches Signed lower left Provenance: Private Colle...

Alexander O. Levy was a painter, illustrator, printmaker and designer who was born in 1881 in Bonn, Germany. He died in 1946 in Buffalo, New York. At age three, he was brought to ...