John Sloan, N.A. 1871-1951.
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Connoisseurs of Prints. 1905. Etching. Morse 127. 5 x 6 7/8 (sheet 9 3/4 x 11 3/4). Series: New York City Life, first plate. Edition 100. Exhibited: Panama-Pacific International Exposition, San Francisco, 1915. A fine impression on cream wove paper with full margins. Signed, titled, annotated '100 proofs' in pencil. Housed in an archival mat and a striking 13 1/2 x 14 3/4-inch black and gold wood frame. $4,000.
Fifth Avenue Critics. 8 x 6 (sheet 9 3/4 x 12 1/4). Edition 100 in this state (few proofs in earlier states, and a large unsigned edition printed for the Gazette des Beaux- Arts. Series: New York City Life, second plate. A rich impression printed on the full sheet of cream wove paper with deckle edges on four sides. Tack holes from drying along the outer sheet edges. Annotated '14' in pencil in the lower left-hand margin, probably by the printed, Peter Platt. Signed, dated, titled and annotated '100 proofs' in pencil by the artist. $3,000.
Fourteenth Street. The Wigwam. (Tammany Hall). 1928. Etching. Morse 235.vii.9 3/4 x 7 (sheet 17 1/4 x 11 3/8). From the first printing of 100 proofs by Peter Platt. There were an additional 10 printed by Ernest Roth. Illustrated: Reese, American Prize Prints of the 20th Century; Fifty Prints of the Year, 1929; Contemporary American Etching, American Art Dealers Association, New York, 1930. A rich impression printed on cream wove paper. Two hinge stains in the left-hand margin, well away from the image; otherwise fine condition. Signed 'Peter Platt imp' by the printer. Signed, titled and annotated '100 proofs' by Sloan. $3,500.
The Lafayette. 1928. Etching. Morse 233/vi. 4 7/8 x 6 7/8 (sheet 8 1/8 x 9 3/8). Proof prior to the intended edition of 100, that was probably closer to 80. A rich impression on cream paper with a fleur-de-lys watermark. Signed and titled "John Sloan (by H[elen] F[arr]S[loan])" in pencil (presumably because it was part of the artist's personal collection). Annotated "First state 2-'24'28" in pencil by Sloan." Morse notes 'Proofs of 1st state dated March 24, 1928.' p.259. A rare proof. Housed in a double grey and cream colored archival mat and a decorative grey and copper-colored 12 2/3 x 14 3/4-inch frame. $2,500.
Roofs, Summer Night. 1906. Etching. Morse 137.ii. 5 1/4 x 7 (sheet 9 1/2 x 12 1/8). Series: New York City Life, plate 9. A fine impression on cream laid paper on the full sheet with deckle edges. Annotated 'Peter Platt imp.' by the printer. Signed, titled and annotated "100 proofs" by Sloan in pencil. $3,450.
Wake on the Ferry. 1949. Etching. Morse 313.iv. 5 x 7 (sheet 8 3/4 x 11 7/8). Edition of 350: 200 for the Art Students League and 150 for the artist. A fine impression printed by the etcher, Ernest David Roth, on cream-colored Rives paper with wide margins. Roth used selective plate tone in the sky to suggest a rainy day. Signed, titled and annotated 'Ernest Roth imp.' by the printer. Signed, titled and annotated '200 proofs' by Sloan in pencil. $1,250.
Sloan, came to New York in 1904 and worked for some time as a freelance illustrator. With Robert Henri, he organized an exhibition of a group of urban realist painters, known as "The Eight" or the "Ashcan School," who challenged traditional notions of art. Having moved to the Village in 1912, Sloan lived with his wife Dolly at 240 West 4th Street and at 88 Washington Place.
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