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VOLUME XXXVlll l;ALL NUMBER ONE 1998

YCOIN(LINGCOUNT'v'f'7':?7 L HISTORICAL SOCIETY -l..®.5;ZZ) MUSEUM - ARCHIVES - LI BRARY ©bll.'ho ': 858west Fourth Street + williamsport, PA t7701 + 7t7-322-2256 l The BOARDOFTRUSTEES JOURNAL John L. Brush, Jr. ofthe William H. Hawks lll .i$1o.-. ollecho« INCOMING COUNTY John F. Piper, Jr., Ph.D. HISTORICALSOCIETY of qe, L/coming (Bounty Hi9{odcal g)ode,ty Published altnl ally in Williantsport, Pettitsytvania

Museum 858 WestFourth Street ' Telephone(71 7) 326-3326 In 1976, Helen Farr Sloatt donated 309 BOARDOFGOVERNORS items frottt the private collection ofJoltlt Sloan Bruce C. Buckle, Preside/zf to the LNcoming Coultty Historical Society Robert E. Kane, Jr., /sf ce Pres Museunt located twenty-Jive miles east o.f Iter Grant L. Walker, 2/?d Hce Pres. VOLUNTEERS husband's birthplace. In addition to pieces by Roger D. Shipley, 3rd Hce Pres. PenelopeAustin Marion Gamble Richard Mix John and Helen Farr Sloan, the collection Sally E. Hilsher, Zreasz/rer Nancy Baker Patty Gardner Sylvia Moore included an impressive accumulation of works Brian C. Caffrey, Secre/a/y Anne Benson Martin Gira Mary Moriarity in various ntedia by other artists, ntatty of Dorothy Berndt Joe & SandyGrafius Robert Morton whom wet'eSloan'sltiends, colleagues,attd JamesP Bressler Mary JaneArnold Olive Guthrie Paul Neyhart students.Also representedwere itemsfi'ont d$ SusanK. Beidler Viriginia Borek Fran Haas Gail A. Nuss ferent cultures, includingAfrican sculpture, Sonja Coe Evelyn Bryan Arlene B. Hater Mary Orwig Japattese children's prints, and works by Jack C. Buckle Eiderson Dean Angelique Hawkes Wayne Palmer Jim Buedel Europeatt artists. Additioitally, tile collectioit Betty Gardner Kathy Hellman Robert C. Paulhamus Art Burdge held nttlnerous published prints, iitcluding ones Jude Gedroiz Will Huffman Dr. Lame Pepperman Sally Campbell by Currier & Ives, Winslow Homer, und JessHackenburg ll John L. Hunsinger Elizabeth Potter Adelina Caporaletti Thomas Nast. Matty stents either were not Ann G. Kayarian Charles Protasio Amy Cuppa Jennifer Hughey fronted at all or not framed according to Barbara Lamade Mr. & Mrs. Lewis Jones Jean Reasner Robert Compton acceptable ntuset nt practices. To stabilize the Steven J. Moff BessieConser JaneIngersoll Charles L. Reicherter Michael Sennett condition of the collection, it was kept itt stor- Connie Crane SusanKelly Kim Reighard age until funds were acquired.for proper con- Ralph W Spinney Elise Knowlden Amy Rider Shirley Crawley servation. Itt 1995 and 11997, tile Historical Ann L. Kuntz The catalogue ofthe collec- Helen Dapp Dorthy Sandmeyer SocieQ receivedbequests front Martin a Joni Decker Barbara Kustanbauter Carla Sennett tion was written and compiled by Mussina and Haz,el Keebler that provided nec- Ruth Ditchfield JosephKustanbauter Carol E. Serwint PeltelopeAustin with the help o.f' essaryfunds to matte andlrame tnost of the Wes Dodge JamesLane Mary Sexton Verottika Lubbe, Donna Shall, works in acidfree lnateriats. Tile exhibit of the Betsy Dolan Dorothy Lechner Phyllis Shafer Chad Viltansky, Gav'yParks and MUSEUNT STAFF Samuel Dornsife Harry Lehman Carol Shetler John Sloan Collection, curated b3?Roger Sandra Rife. Salty Hilsher SandraB. Rife, f)free/or Ethel Drier Shipley, opetted Olt Septentbel" ]1, 1998. Robin Leidhecker Dr. Art Taylor provided patient aitd invaluable Martha L. Spring, Bookkeeper Euaenia Dukas Margaret Lindemuth David Taylor expertise in design and laNottt; Grace E. Callahan, A/aselr/lz Glenn Englert Mary Lou Thomas the catalogue was printed by Store Mattager Alta Feerrar PastorR. Logan Veronika Lubbe Mary E. Ulmer Hilsher Graphics. I ant very Jean T. DeSeau, .Secrera/y Robert Feerrar Teri Violet GaryW Parks,Curaforfa/ Grace S. Fleming Mary Ellen Lupton grate/til to the abovepeople CoKsultan t Cathy Flook Dorothy Maples JosephWilkins Jbr their help with tilts pi"oject. Marietta Zarr, Front nasa Lillian F. Foucart Bruce Miller Dr. & Mrs. Jack Winter Ally errors ]terein al"e mine, Richard Miller Edward Antosh, Receprfo/zis Marjorie Fralila Naomi L. Woolever with apologies. Miriam Mix Richard Willits. Cz£srodia/z Milo Frey Terry Wright Page1 great interest in the burgeoning poster to Philadelphia. In October 1900 his proposed that an alternate show exhibiting movement that sparked the field of adver- painting of Philadelphia's Walnut Street the features of realism (for the most part) tising soon to dominate twentieth-century Theater, the first of his paintings accepted should be mounted. Gallery owner and life, Sloan produced sketches of the in a major national juried show, was exhib- art dealer William Macbeth agreed to Philadelphia social set that drew critical ited at the Art Institute of Chicago. As his hold the groundbreaking show of "The attention. While working at the newspa- successas an illustrator and painter grew, Eight": Henri and Sloan, William per, Sloan entered the Pennsylvania he married Dolly on August 5, 1901 Glackens, George Luks, Everett Shinn, Academy of Fine Arts in 1892, which Sloan's reservations about Dolly's past, Arthur B. Davies, Maurice Prendergast, placed him on a direct path toward mak- including childhood abuse and neglect, not Alone on a Januaryday in materials was always on hand for .f a.h« 8t.. and Ernest Lawson. Though sales at this ing art his life as well as his livelihood. to mention prostitution, and a serious 1952, four months after her husband's the Sloan children, and they were show were disappointing, the historical His coma-nitlncntas an artist was con drinking problem (that he thought he could death, Helen Farr Sloan made her first never begrudged the time for draw- impact of the exhibition cannot be overes- firmed when in December 1892 he met help her overcome)were over-riddenby trip to Lock Haven,Pennsylvania ing and reading. Becauseof insur- timated. The breakwith the rigid formu- Robert Henri, his most significant her devotion to Sloan and his work. where John Sloan had been born on mountable financial diniculties, the las of the National Academy and the teacher, mentor, and closest friend, and During their dramatically rocky and August 2, 1871. She climbed the Sloansmoved to Philadelphia in demand for fairer judging opened the the prime force behind the landmark exhi- unorthodox marriage, John, demonstrating cemeteryhill overlooking the 1877, rejoining Henrietta's family door for the subsequentArmory Showof "How jar a person can bition of "The Eight. the strength of his commitment to Dolly Susquehanna River to the headstone who helped find work for James. In 19 13 at which the work of major 1884 John Sloan entered the college In 1893Sloan helped found the just as he demonstratedhis commitmentto of John French Sloan, her husband's go with his art depends European modernists was seen in the Charcoal Club, an arts organization com art throughouthis life, cameto be Dolly's grandfatherand namesake.Perhaps as preparatory program at Central High United Statesfor the first time. Sloan's she climbed she recalled the artist's School in the sameclass as on what is within him- prised of young artists who protested caretaker; John and Dolly Sloan remained William Glackens. another future against the stodginess of the Pennsylvania together for forty years until her death in real life subjects and his insistence that descHption of the view and his feeling This Academy and its high tuition. These 1943 beauty is thelor/rr of a thing served to about his birthplace that she alone member of the group of artists who sel/to go on. In 1902 Sloan began the fifty-three show the mediocrity of the popular senti- knew. Beside John French Sloan's would come to be known as "The included George Luke (son of a etchings drawn over three years to illus- Eight." However, James Sloan con quali$cation is not Williamsport pllysician) and Everett mental commercial successesof the day. grave, Helen Farr Sloan opened the trate the novels of Charles de Keck. In tinued to lose ground as the family's Shinn, two more future members of "The Furthermore, his attention to form also ums she'dcanied h.omNew York City inherited,Jor it means 1904 he exhibited at the National Arts and shook loose their contents, min- provider, and John had to leave Eight. opened the door to the appreciation of Club with Robert Henri's group, and in abstract art growing in force among gling the ashesof John and his first school a week before graduation to about one hundred per About the time that Sloan began take a job at Porter and Coates, achieving his first recognition as an illus- April that sameyear. he and Dolly again European artists. In fact, Sloan helped to wife, Dolly, and returning John Sloan moved to New York CiW, this time for booksellers and dealersin fine trator in the poster style, he left the hang the first Armory Show of1913 and to his birthplace. cent hard wol"k plus an good. In Septemberthey settledin at 165 John Sloan visited Lock Haven prints. Here the seventeen-year-old Inquirer tot the Philadelphia Press. On himself saw for the first time the work of taught himself etching with the help West Twenty-third Street, on the edge of only once during his busy and com- interest in what is goittg his own time, he began to work seriously what he called the "ultra-moderns." As of T%eEfc/zer k Ha/idbook by Philip the neighborhood known as the Tenderloin. plicated life sincemoving away when in oils, listening in on Robert Henri's he explains in Glsf of,4rr this exposure to Gilbert Hamerton. where Sloan studied the life of the under- he was six. Little is recorded about on aroundyou ando classheld in Sloan's studio. In 1897 the latest in abstraction was the spring- Sloan'sindependentstudy privileged making honest and dishonest that 1946 visit other than that Sloan Sloan painted his first scenes of the city, a board for his own growth as an artist who gradually led him into a life devoted conception oJ your own livings in the streetsbelow his studio. In joked about wishing the house he had subject that set his work apart from the worked for rea/iza//o/z as opposed to rea/- to the study and teaching ofart. In 1905 Sloan began the New York City Life beenborn in weren't quite so middle mainstrcajn art world with its preference is/lz. In other words,the exhibit that 1890he went to work for A. Edward which comes notfrom seriesthat garneredhis prominent position class; he would like to have had more for "pretty" and sentimental subjects. spawnedmodern art in the United States Newton designing calendarsand in the American avant-garde. These works common beginnings to reinforce his With the young men of the also reinforced Sloan's own aesthetic even making etchings. His self-study copying, but from epitomize a style that radically departed abiding interest in the workers he Charcoal Club and Henri's students, Sloan as his work diHered h-oln the work of the program extended to painting at this from moribund mainstream expectations; saw struggling in his own New York producittg or creating:' had developed a lively social and artistic Europeans time, and he enrolled in a drawing community that contrasted sharply with although Sloan was asked to show this neighborhoods. But his visit as hon Sloan can easily be accordedthe class at the Spring Garden Institute. the rigid religious strictures developing work in the American Watercolor orcd native son may have stirred up title of major American Modernist as a familial and sentimentalwarmth in a Always hoping to ease his family's John Sloan, G;sr cl/',4rr among his sisters at home. In the com- Exhibition in 1906, four of the ten works financial difficulties, he accepteda result of his position between Henri and man of such deep sensibilities as pany of a few friends, he made a visit to a in this series were considered too "vulgar ' more lucrative position in the Art the European moderns of the 1913 show. John Sloan, feelings he may have Philadelphia brothel where he spent his and "obscene" for this prestigious exhibi- Department of the P/z//ade/p/z/a tion. At the sametime, Sloan's work His shiniest moment in the history of art expressedin private only to Helen, time in conversation with Anna M. Wall. may have been brief. but when glimpsed feelings that prompted her to make /aVEr/rerduring the brief period in called Dolly, a young prostitute whose received its first enthusiasticreview and straight on, it is uncompromisingly bril- the solitary joumey to her husband's journalism history when newspapers difficult life moved Sloan and who an Honorable Mention from the Carnegie final home began to enliven their solid pagesof seemedmost interested in Sloan's work Institute, his first museumprize. liant. With Henri, Sloanbroke from a stultified tradition and ushered in a new When he visited his home town text with illustrations before tech- Though an unlikely couple, whose diner Although Sloanand other members world. He claims as his own contribution almost sixty yearsafter leaving it, niques of printing photographshad encesin background, education, and intel- of the avant-garde had exhibited at the Sloan had no memory of his house been developed. Sloan was sent out ligence were visually reinforced by the National AcademyAnnual Show, a juried to modernism the "separation of form and on North Grove Street or of the first to sketch the news as it happened: dramatic differences in their heights and competition controlled by leading main- color," both as a technique and as an aes- six years of his life. His father, fires, explosions and accidents. physiques, John and Dolly became insep- stream artists who rewarded their own thetic principle However, asa realist, James,had worked as a cabinct- Compared to the other newspaper arable work with prizes while rejecting works of Sloan slid from being a radical rebel to maker, and his mother, Henrietta. artists, he was too slow to do the job Believing that he must make a move major artists suchas Robert Henri, they being passein the space of a few years as came hom a Philadelphia family right and was usually assigned rou- to New York if he were to succeed as an became increasingly unhappy with the abstraction in its many forms came to connected with the malone and sell- tine work. However, after studying artist, Sloan took a job with the ,brewhark biased and self-congratulatory judging dominate the twentieth-century art world great interest in the burgeoning poster to Philadelphia. In October 1900 his proposed that an alternate show exhibiting movement that sparked the field of adver- painting of Philadelphia's Walnut Street the features of realism (for the most part) tising soon to dominate twentieth-century Theater, the first of his paintings accepted should be mounted. Gallery owner and life, Sloan produced sketches of the in a major national juried show, was exhib- art dealer William Macbeth agreed to Philadelphia social set that drew critical ited at the Art Institute of Chicago. As his hold the groundbreaking show of "The attention. While working at the newspa- successas an illustrator and painter grew, Eight": Henri and Sloan, William per, Sloan entered the Pennsylvania he married Dolly on August 5, 1901 Glackens, George Luks, Everett Shinn, Academy of Fine Arts in 1892, which Sloan's reservations about Dolly's past, Arthur B. Davies, Maurice Prendergast, placed him on a direct path toward mak- including childhood abuse and neglect, not Alone on a Januaryday in materials was always on hand for .f a.h« 8t.. and Ernest Lawson. Though sales at this ing art his life as well as his livelihood. to mention prostitution, and a serious 1952, four months after her husband's the Sloan children, and they were show were disappointing, the historical His coma-nitlncntas an artist was con drinking problem (that he thought he could death, Helen Farr Sloan made her first never begrudged the time for draw- impact of the exhibition cannot be overes- firmed when in December 1892 he met help her overcome)were over-riddenby trip to Lock Haven,Pennsylvania ing and reading. Becauseof insur- timated. The breakwith the rigid formu- Robert Henri, his most significant her devotion to Sloan and his work. where John Sloan had been born on mountable financial diniculties, the las of the National Academy and the teacher, mentor, and closest friend, and During their dramatically rocky and August 2, 1871. She climbed the Sloansmoved to Philadelphia in demand for fairer judging opened the the prime force behind the landmark exhi- unorthodox marriage, John, demonstrating cemeteryhill overlooking the 1877, rejoining Henrietta's family door for the subsequentArmory Showof "How jar a person can bition of "The Eight. the strength of his commitment to Dolly Susquehanna River to the headstone who helped find work for James. In 19 13 at which the work of major 1884 John Sloan entered the college In 1893Sloan helped found the just as he demonstratedhis commitmentto of John French Sloan, her husband's go with his art depends European modernists was seen in the Charcoal Club, an arts organization com art throughouthis life, cameto be Dolly's grandfatherand namesake.Perhaps as preparatory program at Central High United Statesfor the first time. Sloan's she climbed she recalled the artist's School in the sameclass as on what is within him- prised of young artists who protested caretaker; John and Dolly Sloan remained William Glackens. another future against the stodginess of the Pennsylvania together for forty years until her death in real life subjects and his insistence that descHption of the view and his feeling This Academy and its high tuition. These 1943 beauty is thelor/rr of a thing served to about his birthplace that she alone member of the group of artists who sel/to go on. In 1902 Sloan began the fifty-three show the mediocrity of the popular senti- knew. Beside John French Sloan's would come to be known as "The included George Luke (son of a etchings drawn over three years to illus- Eight." However, James Sloan con quali$cation is not Williamsport pllysician) and Everett mental commercial successesof the day. grave, Helen Farr Sloan opened the trate the novels of Charles de Keck. In tinued to lose ground as the family's Shinn, two more future members of "The Furthermore, his attention to form also ums she'dcanied h.omNew York City inherited,Jor it means 1904 he exhibited at the National Arts and shook loose their contents, min- provider, and John had to leave Eight. opened the door to the appreciation of Club with Robert Henri's group, and in abstract art growing in force among gling the ashesof John and his first school a week before graduation to about one hundred per About the time that Sloan began take a job at Porter and Coates, achieving his first recognition as an illus- April that sameyear. he and Dolly again European artists. In fact, Sloan helped to wife, Dolly, and returning John Sloan moved to New York CiW, this time for booksellers and dealersin fine trator in the poster style, he left the hang the first Armory Show of1913 and to his birthplace. cent hard wol"k plus an good. In Septemberthey settledin at 165 John Sloan visited Lock Haven prints. Here the seventeen-year-old Inquirer tot the Philadelphia Press. On himself saw for the first time the work of taught himself etching with the help West Twenty-third Street, on the edge of only once during his busy and com- interest in what is goittg his own time, he began to work seriously what he called the "ultra-moderns." As of T%eEfc/zer k Ha/idbook by Philip the neighborhood known as the Tenderloin. plicated life sincemoving away when in oils, listening in on Robert Henri's he explains in Glsf of,4rr this exposure to Gilbert Hamerton. where Sloan studied the life of the under- he was six. Little is recorded about on aroundyou ando classheld in Sloan's studio. In 1897 the latest in abstraction was the spring- Sloan'sindependentstudy privileged making honest and dishonest that 1946 visit other than that Sloan Sloan painted his first scenes of the city, a board for his own growth as an artist who gradually led him into a life devoted conception oJ your own livings in the streetsbelow his studio. In joked about wishing the house he had subject that set his work apart from the worked for rea/iza//o/z as opposed to rea/- to the study and teaching ofart. In 1905 Sloan began the New York City Life beenborn in weren't quite so middle mainstrcajn art world with its preference is/lz. In other words,the exhibit that 1890he went to work for A. Edward which comes notfrom seriesthat garneredhis prominent position class; he would like to have had more for "pretty" and sentimental subjects. spawnedmodern art in the United States Newton designing calendarsand in the American avant-garde. These works common beginnings to reinforce his With the young men of the also reinforced Sloan's own aesthetic even making etchings. His self-study copying, but from epitomize a style that radically departed abiding interest in the workers he Charcoal Club and Henri's students, Sloan as his work diHered h-oln the work of the program extended to painting at this from moribund mainstream expectations; saw struggling in his own New York producittg or creating:' had developed a lively social and artistic Europeans time, and he enrolled in a drawing community that contrasted sharply with although Sloan was asked to show this neighborhoods. But his visit as hon Sloan can easily be accordedthe class at the Spring Garden Institute. the rigid religious strictures developing work in the American Watercolor orcd native son may have stirred up title of major American Modernist as a familial and sentimentalwarmth in a Always hoping to ease his family's John Sloan, G;sr cl/',4rr among his sisters at home. In the com- Exhibition in 1906, four of the ten works financial difficulties, he accepteda result of his position between Henri and man of such deep sensibilities as pany of a few friends, he made a visit to a in this series were considered too "vulgar ' more lucrative position in the Art the European moderns of the 1913 show. John Sloan, feelings he may have Philadelphia brothel where he spent his and "obscene" for this prestigious exhibi- Department of the P/z//ade/p/z/a tion. At the sametime, Sloan's work His shiniest moment in the history of art expressedin private only to Helen, time in conversation with Anna M. Wall. may have been brief. but when glimpsed feelings that prompted her to make /aVEr/rerduring the brief period in called Dolly, a young prostitute whose received its first enthusiasticreview and straight on, it is uncompromisingly bril- the solitary joumey to her husband's journalism history when newspapers difficult life moved Sloan and who an Honorable Mention from the Carnegie final home began to enliven their solid pagesof seemedmost interested in Sloan's work Institute, his first museumprize. liant. With Henri, Sloanbroke from a stultified tradition and ushered in a new When he visited his home town text with illustrations before tech- Though an unlikely couple, whose diner Although Sloanand other members world. He claims as his own contribution almost sixty yearsafter leaving it, niques of printing photographshad encesin background, education, and intel- of the avant-garde had exhibited at the Sloan had no memory of his house been developed. Sloan was sent out ligence were visually reinforced by the National AcademyAnnual Show, a juried to modernism the "separation of form and on North Grove Street or of the first to sketch the news as it happened: dramatic differences in their heights and competition controlled by leading main- color," both as a technique and as an aes- six years of his life. His father, fires, explosions and accidents. physiques, John and Dolly became insep- stream artists who rewarded their own thetic principle However, asa realist, James,had worked as a cabinct- Compared to the other newspaper arable work with prizes while rejecting works of Sloan slid from being a radical rebel to maker, and his mother, Henrietta. artists, he was too slow to do the job Believing that he must make a move major artists suchas Robert Henri, they being passein the space of a few years as came hom a Philadelphia family right and was usually assigned rou- to New York if he were to succeed as an became increasingly unhappy with the abstraction in its many forms came to connected with the malone and sell- tine work. However, after studying artist, Sloan took a job with the ,brewhark biased and self-congratulatory judging dominate the twentieth-century art world However, Sloan lacked only com- Letters in 1942. He became president of e (6 f We live in a complex world in pictures as art while painting it. Whether tunate. But I hopethat someof the mercial success. Respectfully regardedas the New Mexico Alliance for the Arts in f H which we are mutually interdependent. it was art or not. it was what I wanted to younger artists will get hold of the idea I But the artist must be independent. I a major American artist of the first order 1949. In 1950 he not only won a gold do. Maybe the reason I haven't made a am working on this principle of realiza- medal for painting from the American bylohn Sloan think he is the only person who has a by other artists, critics, and students Art is the result of the creative con- greater position in the history of art is that tion. It is the students who spread the Academy of Arts and Letters, but was also right to be independent. The artist has I am not sufficiently critical of my own idea. In fact, someof the most important throughout his life, Sloan made his living sciousnessof the order of existence. elected to the American Academy of Arts alwayshad to fight for his life, for free- work. Like one of those women in the teaching is done from student to student by teaching and illustrating rather than by and Sciences. How can there be any ultimate solution of dom of expression,for the right to say park with a baby, I am proud of it because During the twenty-five years that I selling his works. Today,as the move that? Art is the evidence of man's under- Sloan met Helen Farr, the daughter what he believes. it is my own, a young hopeful. But we have been trying to instruct and inspire ments preceding and succeeding Sloan's standing, the evidence of civilization. of a New York City physician, at the Art There is no end, no goal in this job grow more critical in time. others Ihave learned a great deal from brief moment in the limelight recedeinto Humannessis what counts. Man doesn't Students League where she was a student. of being an artist. The longer you live the It is better to send pictures to exhibi- my students. Teaching has made me dig the fabric of history, we evaluate his work Throughout their lives, John and Dolly change much over the centuries, but there further you are from it. An artist may tions and get thejn fired than to become so into my own work; I want to say some- Sloan contended with Dolly's alcoholism as work unburdened by its popular suc- is some evidence that he is growing more develop very slowly. He may be painting se[f-critical as never to try to exhibit. thing worthwhile to the fresh young and dependence on Sloan, her deprived human, very slowly, although it is his one cess;in history all movementsbecome his best picture when he dies at seventy- Anyone who buys the paper to sec what minds with which I come in contact education and cultivation, and her frequent greatreason for being. equal, though the individual works them five. The greatestmen like Titian and the critic is saying about him when he is Because 1, too, am a student, ten years returns to prostitution that resulted in The artist has a song to sing. His Rembrandt were always growing, expand- twenty-five, will take the critic too seri- ago I turned my back on the type of work selves take their places as successful or health problems for both the Sloans. At creative mind is irritated by something he ously by the time he is thirty-five. I had done in the past, work which had not independentof their style. Today, the sametime, Dolly was a supportive ing. They didn't reachtheir top work and has to say graphically. You don't need to Young people today arc much con- been recognized by critic and public. then, Sloan'swork standsas the work of a wife who seems to have been equally then start to repeat. They kept on matur- paint masterpiecesor monumental sub cerned with having one-man shows. In my serious artist who revealed the form and ing until they died. A man like Rubens Many pictures Imake today are frankly loved as hated by Sloan's acquaintances, jects. Look out the window. Use your day a man didn't expect to have a one-man sometimes called charming and sometimes found a great formula and was content to experiments, products of my laboratory. design and imagination in everyday life imagination. Get a kick out of that spa- show until he was about forty-five. It is repeat himself. In Rembrandt's later But in looking over my paintings and while demonstrating the highest level of called despicable. Sloan's frustration with cial adventure, the textures of things, the very bad to bc interested in this kind of Dolly's emotional difficulties was bal- work, done when the public ceasedto rec- etchings of the last ten years, I f'eel satis- craRmanship in his technique. reality of that world. Find the design in thing. Too many pictures are being paint fied that a number of them stand out as anced by friendships he made among stu- ognize him, he achieved the greatest plas ]n 1910 Sloanjoined the Socialist ed for exhibitions with the hope of crash- dents and models who visited his studio. things. tic realization of all the masters.Old and more powerful and truly creative works Party and becamethe art editor of the ing the museums. The art schools are full His relationship with Helen Farr, however, Seeingfrogs and facesin cloudsis half blind, he drew with his mind and than thoseof my earlier period. Now that journal The Masses. He took on private of talented studentswho are carried away was clearly a lifesaver for him at a time not imagination. Imagination is the understanding to please himself. not the I am sixty-eight years old. I am grateful students whom he taught in each of the by the desire to paint like successful when his relationship with Dolly was at its courage to say what you think and not to have lived this long and look forward studios he rented over the years in New public. artists, instead of following the line of worst. He and Helen married on February what you see. Max Eastmanhas said:- to more years of hard work. I am just a York and then in Gloucester for several The artist is in competition with their own personal desire and interest. 5, 1944, almost one year after Dolly's The scientist describes water as H20; the student, chewing on a bone, the way himself only. A bird doesnot sing beauti- You young people with your fresh summers. He sold his first painting in death. John Sloan died on September7, Picassois. poet goes further and says "it is wet." We fully because there is a contest. Great minds, must weigh the words of every man 1913. The year 19]6 was perhapsthe 195 1 following an illness. Fifteen years wantto describethings that way. An men are not even aware of competition. over forty-five. T said that when I was most important of his career. He had his later in 1976, Helen Farr Sloan donated first one-manexhibition at Mrs. H.P. ideograph is better than the thing itself. Jury exhibitions and the awarding of forty-five and I am saying it now again the estate of John Sloan to the largest A better work of art tries to say the thing prizes are detrimental to art. When peo- Every time I tell you something,weigh it REFERENCES Whitney's studio, the inception of the regional museum closest to his birthplace, rather than to be the thing. The image ple vote about matters of taste the thing with your minds. You don't have to take Whitney Museum. That Septemberhe the Lycoming County Historical Society. has greater realization than the thing Sloan, John. G/sf (fHrf. New )'ork also began teaching at the Art Students selected is always mediocre, inofT'endive, what I say. I am not an authority. There itself. That is the great beauty of poet- innocuous. are no authorities over art. American Artists Group, 1939. League, where he continued until 1938 lnd his work was also taken on at the ry,--realization brought about by the use My life has not been very eventful The great artist is the bloom on a Morse, Peter.John S/aa 's Prfnfs; of images. plant, which is the art of the period. There KraushaarGallery, which representedhim "Etchittg is a way oJ but my work has made it utterly worth A Catalogue Raissone ofthe for the rest of his life. In 1917 he held An artist is a productof life, a while. The only reason I am in the pro may be more than one bloom. All the rest Etcitings, Lithographs, and Posters. drawing -- purely a of us are the roots, shoots and branches of Nen' Haven: Yale University Press, his first one-man show at the gallery. social creature. Of necessity he cannot session is because it is fun. I have always that plant or falling petals from the flower 1969. In 1918 Sloan became the president drawittg technique. mingle with people as much as he would painted for myself and made my living by The work we are doing today is a prepara of the Society of Independent Artists, a like, but he reachesthem through his illustrating and teaching. Some of the Sloan, llelen Farr. Jo/zmS/aam The line is a symbol work. The artist is a spectator of life. He etchings and a few paintings made twenty bon for the great artists who are to come. ]Vew hark ffc/z;ngs. Nen ' York: position he held for life. Shortly there- We are still individualists. We have understandsit without needing to have years ago se]] now and then, but I have Dutton, 1978. after, he and Dolly made a trip to Santa which expresses no traditional art. There are men like physical experiences. Hc doesn't need to nevermade a living from my painting. Tf Fe. Falling in love with the environment, Rivera and Orozco who have been able to Watson, Stephen..S/rai ge without equivocation participate in adventures. The artist is they bought a home there in 1920 and what I am doing now were selling I would assimilatetheir native racial tradition. but BeflHe//ows.New )/ork: Abbeville, the thought ofthe interested in life the wav God is interest. think there was somethingthe n)attcrwith 199]. Brooks, Van Wack. Jo/zzzS/oam; ,4 .f)a;afar's f€He.New York: 1955 Loughery, John. John .Slob/z /)a/nfer ails .Re6ef New York Henry Holt, 1995 Perlman, Bernard B., ed deane attd describe RevotillttioKal'ies ofRealisnt: Tke Letters ofJolt11 Stoalt attd Robert things?' ,f/e/n-i Princeton: Princeton University Press, 1997 I never thought of one of my good Johtt Sloan, Gist ofArt However, Sloan lacked only com- Letters in 1942. He became president of e (6 f We live in a complex world in pictures as art while painting it. Whether tunate. But I hopethat someof the mercial success. Respectfully regardedas the New Mexico Alliance for the Arts in f H which we are mutually interdependent. it was art or not. it was what I wanted to younger artists will get hold of the idea I But the artist must be independent. I a major American artist of the first order 1949. In 1950 he not only won a gold do. Maybe the reason I haven't made a am working on this principle of realiza- medal for painting from the American bylohn Sloan think he is the only person who has a by other artists, critics, and students Art is the result of the creative con- greater position in the history of art is that tion. It is the students who spread the Academy of Arts and Letters, but was also right to be independent. The artist has I am not sufficiently critical of my own idea. In fact, someof the most important throughout his life, Sloan made his living sciousnessof the order of existence. elected to the American Academy of Arts alwayshad to fight for his life, for free- work. Like one of those women in the teaching is done from student to student by teaching and illustrating rather than by and Sciences. How can there be any ultimate solution of dom of expression,for the right to say park with a baby, I am proud of it because During the twenty-five years that I selling his works. Today,as the move that? Art is the evidence of man's under- Sloan met Helen Farr, the daughter what he believes. it is my own, a young hopeful. But we have been trying to instruct and inspire ments preceding and succeeding Sloan's standing, the evidence of civilization. of a New York City physician, at the Art There is no end, no goal in this job grow more critical in time. others Ihave learned a great deal from brief moment in the limelight recedeinto Humannessis what counts. Man doesn't Students League where she was a student. of being an artist. The longer you live the It is better to send pictures to exhibi- my students. Teaching has made me dig the fabric of history, we evaluate his work Throughout their lives, John and Dolly change much over the centuries, but there further you are from it. An artist may tions and get thejn fired than to become so into my own work; I want to say some- Sloan contended with Dolly's alcoholism as work unburdened by its popular suc- is some evidence that he is growing more develop very slowly. He may be painting se[f-critical as never to try to exhibit. thing worthwhile to the fresh young and dependence on Sloan, her deprived human, very slowly, although it is his one cess;in history all movementsbecome his best picture when he dies at seventy- Anyone who buys the paper to sec what minds with which I come in contact education and cultivation, and her frequent greatreason for being. equal, though the individual works them five. The greatestmen like Titian and the critic is saying about him when he is Because 1, too, am a student, ten years returns to prostitution that resulted in The artist has a song to sing. His Rembrandt were always growing, expand- twenty-five, will take the critic too seri- ago I turned my back on the type of work selves take their places as successful or health problems for both the Sloans. At creative mind is irritated by something he ously by the time he is thirty-five. I had done in the past, work which had not independentof their style. Today, the sametime, Dolly was a supportive ing. They didn't reachtheir top work and has to say graphically. You don't need to Young people today arc much con- been recognized by critic and public. then, Sloan'swork standsas the work of a wife who seems to have been equally then start to repeat. They kept on matur- paint masterpiecesor monumental sub cerned with having one-man shows. In my serious artist who revealed the form and ing until they died. A man like Rubens Many pictures Imake today are frankly loved as hated by Sloan's acquaintances, jects. Look out the window. Use your day a man didn't expect to have a one-man sometimes called charming and sometimes found a great formula and was content to experiments, products of my laboratory. design and imagination in everyday life imagination. Get a kick out of that spa- show until he was about forty-five. It is repeat himself. In Rembrandt's later But in looking over my paintings and while demonstrating the highest level of called despicable. Sloan's frustration with cial adventure, the textures of things, the very bad to bc interested in this kind of Dolly's emotional difficulties was bal- work, done when the public ceasedto rec- etchings of the last ten years, I f'eel satis- craRmanship in his technique. reality of that world. Find the design in thing. Too many pictures are being paint fied that a number of them stand out as anced by friendships he made among stu- ognize him, he achieved the greatest plas ]n 1910 Sloanjoined the Socialist ed for exhibitions with the hope of crash- dents and models who visited his studio. things. tic realization of all the masters.Old and more powerful and truly creative works Party and becamethe art editor of the ing the museums. The art schools are full His relationship with Helen Farr, however, Seeingfrogs and facesin cloudsis half blind, he drew with his mind and than thoseof my earlier period. Now that journal The Masses. He took on private of talented studentswho are carried away was clearly a lifesaver for him at a time not imagination. Imagination is the understanding to please himself. not the I am sixty-eight years old. I am grateful students whom he taught in each of the by the desire to paint like successful when his relationship with Dolly was at its courage to say what you think and not to have lived this long and look forward studios he rented over the years in New public. artists, instead of following the line of worst. He and Helen married on February what you see. Max Eastmanhas said:- to more years of hard work. I am just a York and then in Gloucester for several The artist is in competition with their own personal desire and interest. 5, 1944, almost one year after Dolly's The scientist describes water as H20; the student, chewing on a bone, the way himself only. A bird doesnot sing beauti- You young people with your fresh summers. He sold his first painting in death. John Sloan died on September7, Picassois. poet goes further and says "it is wet." We fully because there is a contest. Great minds, must weigh the words of every man 1913. The year 19]6 was perhapsthe 195 1 following an illness. Fifteen years wantto describethings that way. An men are not even aware of competition. over forty-five. T said that when I was most important of his career. He had his later in 1976, Helen Farr Sloan donated first one-manexhibition at Mrs. H.P. ideograph is better than the thing itself. Jury exhibitions and the awarding of forty-five and I am saying it now again the estate of John Sloan to the largest A better work of art tries to say the thing prizes are detrimental to art. When peo- Every time I tell you something,weigh it REFERENCES Whitney's studio, the inception of the regional museum closest to his birthplace, rather than to be the thing. The image ple vote about matters of taste the thing with your minds. You don't have to take Whitney Museum. That Septemberhe the Lycoming County Historical Society. has greater realization than the thing Sloan, John. G/sf (fHrf. New )'ork also began teaching at the Art Students selected is always mediocre, inofT'endive, what I say. I am not an authority. There itself. That is the great beauty of poet- innocuous. are no authorities over art. American Artists Group, 1939. League, where he continued until 1938 lnd his work was also taken on at the ry,--realization brought about by the use My life has not been very eventful The great artist is the bloom on a Morse, Peter.John S/aa 's Prfnfs; of images. plant, which is the art of the period. There KraushaarGallery, which representedhim "Etchittg is a way oJ but my work has made it utterly worth A Catalogue Raissone ofthe for the rest of his life. In 1917 he held An artist is a productof life, a while. The only reason I am in the pro may be more than one bloom. All the rest Etcitings, Lithographs, and Posters. drawing -- purely a of us are the roots, shoots and branches of Nen' Haven: Yale University Press, his first one-man show at the gallery. social creature. Of necessity he cannot session is because it is fun. I have always that plant or falling petals from the flower 1969. In 1918 Sloan became the president drawittg technique. mingle with people as much as he would painted for myself and made my living by The work we are doing today is a prepara of the Society of Independent Artists, a like, but he reachesthem through his illustrating and teaching. Some of the Sloan, llelen Farr. Jo/zmS/aam The line is a symbol work. The artist is a spectator of life. He etchings and a few paintings made twenty bon for the great artists who are to come. ]Vew hark ffc/z;ngs. Nen ' York: position he held for life. Shortly there- We are still individualists. We have understandsit without needing to have years ago se]] now and then, but I have Dutton, 1978. after, he and Dolly made a trip to Santa which expresses no traditional art. There are men like physical experiences. Hc doesn't need to nevermade a living from my painting. Tf Fe. Falling in love with the environment, Rivera and Orozco who have been able to Watson, Stephen..S/rai ge without equivocation participate in adventures. The artist is they bought a home there in 1920 and what I am doing now were selling I would assimilatetheir native racial tradition. but BeflHe//ows.New )/ork: Abbeville, the thought ofthe interested in life the wav God is interest. think there was somethingthe n)attcrwith 199]. Brooks, Van Wack. Jo/zzzS/oam; ,4 .f)a;afar's f€He.New York: 1955 Loughery, John. John .Slob/z /)a/nfer ails .Re6ef New York Henry Holt, 1995 Perlman, Bernard B., ed deane attd describe RevotillttioKal'ies ofRealisnt: Tke Letters ofJolt11 Stoalt attd Robert things?' ,f/e/n-i Princeton: Princeton University Press, 1997 I never thought of one of my good Johtt Sloan, Gist ofArt he Joh-. 81oan (2ollecbo-. N.«Wy.,Kew$1 8. ? The New York City Life Series is comprised of the works that came to be culled "Sloatts" regardless of the work Sloait did as Ins cui'eerprogressed: settsitive, realistic repo'esentationsof ordinat'y sceitesJrotn daily life itt the City. Early t\ventieth-century art critics, who oren considered these depictions of ordinary(not beautiful) people engaged in muttdutte activities to be "vulgar;' coined the tenn "Ash Can School" to refer to these woi'ks The etchings are listed in chronotogi- und others by ntentbei's of" Tile Eight" calorder,andeach anti?includes The New York City Life Series included tltejollowiltg etchings cotnpletedfront 1905-06: (wheatknown): Connoisseur ofPrints ]'FiftltApenue Critics +Sho\p Case (1) Title of )pork (unless other- Dedham Castle, After Tut"tier wise }toted, titles given itere Malt hTonkey Fun, One Cent ': Wonton's Page are those wi'itten, presum- TttntingOut theLight oman, Wife,and Child Roofs,SuntlnerNight + Tile Little Bride ably itt Helen Farr Sloan's Sighted ''John Sloctn hand, olt the proof; titles (per HFS) Thi'eeother later works are getterally consideredpal't of tile set: sometimes vary slightly in Gil'l and Beggar ]'Night Windows RTile Picture Buyer Morse); 1888 (2) alternate titles; 3 1/4x S il\chas ITlte sevenworks marked with an asteriskare included in tile LCHS John Sloan Collection.] (3) signature (usually signed on 100 proc-$s the proofby Heleit Farr ETttestRoth imp. Sloan; Sloan's signattwe in Une Rue a,New York plate); (4)date oJ' plate; [Morse: Filth Avenue Critics] (S) image size; Sloan'sfirst (6) in$ol'station handwritten Olt attempt at etching: Sighted ''John Sloan (per HFS) the print (indicated by copied from a quotation marks); and watercolor, etching, or (7) notes and iitscriptions 4 1/2 x 6 3/4 inches handwritten on tile priltt chromolithograph that Pt£blished in Gazette des Beatle-Arts 1909 (indicated by quotatiolt hung over the Sloan family's mantelpiece. Imp. a PorcaboeuJ,Paris marks). Morse: Copy of Tumer's subject Amor/za/lzCast/e 0/7//ze tweed. "Early A briefdescription and/or notes proofs of this print lack many of the accidental scratcheswhich later appeared about the workfrom other sources Morse quoting Sloan: '''These were typical of the on the plate, notably the two strong vertical lines that are directly above the right follow. Pritnary soni'cesare indicated fashionable ladies who used to drive up and down the end of the low part of the castle." Morse quotesJohn Sloan: ''This little plate, as: Morse, Bt'ooks, Butiard & Scott, Avenue about four o'clock of an afternoon, showing them- Perlmait, aitd Stoalt (Gist ofArt). the earliest of my efforts at etching, is so timidly bitten that it looks like a dry- point. The exciting action of the acid evidently frightened me so that it is hard selves and criticizing others.' . . 'These two fashionable for me to believe that the lines ever saw acid. Done at the age of seventeen." ladies used to drive up and down Fifth Avenue every day. I think the portraits are good and people have recognized them years later '" ( 137).

Sighted ''John Sloayt (per HFS) SigrtedJS 1902/frotll the de Kook series, Mo+lsiet,tr Dupont: vo{. 2 1905/ New YorkCity Life Series S x 3 1/2 inches 4 1/2 x 6 34 inches Peters Bros. imp.' JS {n Sloan's hand '' artist's proof with reluarque 100 proofs Gaston imp. [Morse: Gaston 25 proc-/s pt'esunlably destroyed] One of fifty-three etchings drawn by Sloan to illustrate an edi Lion of the novels of Charles Paul de Kock for Quinby & Co. in Morse quoting Sloan: "' Material from West23rd Street Boston. Fifty-two were used. William Glackens was instrumental and Sixth Avenue appealed to me at this til-rle. The devices of in getting the commission for Sloan. Sloan credits this work with the toilette, which were then secrets, created more excitement among the ado helping him master his technique early on. lescents than they would today. Already it is apparent that the Connoisseurs motive was fading ''' (138).

Page 6 Lycorrdng(9ourtfy Higtodca1society Page 7 he Joh-. 81oan (2ollecbo-. N.«Wy.,Kew$1 8. ? The New York City Life Series is comprised of the works that came to be culled "Sloatts" regardless of the work Sloait did as Ins cui'eerprogressed: settsitive, realistic repo'esentationsof ordinat'y sceitesJrotn daily life itt the City. Early t\ventieth-century art critics, who oren considered these depictions of ordinary(not beautiful) people engaged in muttdutte activities to be "vulgar;' coined the tenn "Ash Can School" to refer to these woi'ks The etchings are listed in chronotogi- und others by ntentbei's of" Tile Eight" calorder,andeach anti?includes The New York City Life Series included tltejollowiltg etchings cotnpletedfront 1905-06: (wheatknown): Connoisseur ofPrints ]'FiftltApenue Critics +Sho\p Case (1) Title of )pork (unless other- Dedham Castle, After Tut"tier wise }toted, titles given itere Malt hTonkey Fun, One Cent ': Wonton's Page are those wi'itten, presum- TttntingOut theLight oman, Wife,and Child Roofs,SuntlnerNight + Tile Little Bride ably itt Helen Farr Sloan's Sighted ''John Sloctn hand, olt the proof; titles (per HFS) Thi'eeother later works are getterally consideredpal't of tile set: sometimes vary slightly in Gil'l and Beggar ]'Night Windows RTile Picture Buyer Morse); 1888 (2) alternate titles; 3 1/4x S il\chas ITlte sevenworks marked with an asteriskare included in tile LCHS John Sloan Collection.] (3) signature (usually signed on 100 proc-$s the proofby Heleit Farr ETttestRoth imp. Sloan; Sloan's signattwe in Une Rue a,New York plate); (4)date oJ' plate; [Morse: Filth Avenue Critics] (S) image size; Sloan'sfirst (6) in$ol'station handwritten Olt attempt at etching: Sighted ''John Sloan (per HFS) the print (indicated by copied from a quotation marks); and watercolor, etching, or (7) notes and iitscriptions 4 1/2 x 6 3/4 inches handwritten on tile priltt chromolithograph that Pt£blished in Gazette des Beatle-Arts 1909 (indicated by quotatiolt hung over the Sloan family's mantelpiece. Imp. a PorcaboeuJ,Paris marks). Morse: Copy of Tumer's subject Amor/za/lzCast/e 0/7//ze tweed. "Early A briefdescription and/or notes proofs of this print lack many of the accidental scratcheswhich later appeared about the workfrom other sources Morse quoting Sloan: '''These were typical of the on the plate, notably the two strong vertical lines that are directly above the right follow. Pritnary soni'cesare indicated fashionable ladies who used to drive up and down the end of the low part of the castle." Morse quotesJohn Sloan: ''This little plate, as: Morse, Bt'ooks, Butiard & Scott, Avenue about four o'clock of an afternoon, showing them- Perlmait, aitd Stoalt (Gist ofArt). the earliest of my efforts at etching, is so timidly bitten that it looks like a dry- point. The exciting action of the acid evidently frightened me so that it is hard selves and criticizing others.' . . 'These two fashionable for me to believe that the lines ever saw acid. Done at the age of seventeen." ladies used to drive up and down Fifth Avenue every day. I think the portraits are good and people have recognized them years later '" ( 137).

Page 6 Lycorrdng(9ourtfy Higtodca1society Page 7 The Little Bride

Signed ''John Sloan 1906/ New York CiQ Life Series 4 3/4 x 6 34 inches PetersBros. Imp. b'/ Joh- 8)1o'- Scenefrom what was called the ''French Church '' north of 23rd Street (Morse The Wonton'sPage 149).

Signed "John Sloan" 1905/ New York City Life Series Night Windows 4 1/2 x 6 1/2 inches "D. S. Gaston imp." Signed ''John Sloan '' (per HFS) 5 1/4 x 7inches ''Sloan's personal inventory lists fourteen proofs of 100 proofs Frenchy-nan's[Gaston 's] printing,' which have probably ErnestRoth imp. Foldpapers'' been subsequently destroyed'' (Morse 141). Morse: "Sloan identifies this print as one of his Exhibited in the Armory Show, 19 13 favorite prints in terms of subject and treatment; it was "While his faithful wife is doing the wash downstairs my inspired by Sloan's observations of life going on around neighbor casts a roving eye across the areaway. A common- him from his studio on 23rd Street in New York City." Sloan quoted in place or even vulgar incident may produce a work of art" Morse: "'The psychologists say we all have a little peeper instinct, and that's a result of peeping the life across from me when I had a studio on 23rd (Sloan quoted in Morse 176). Street. This woman in this sordid room, sordidly dressed undressed with a poor little kid crawling around reading the Women'sPage, getting hints on fashion and housekeeping. That's all. It's the irony of that I was putting over. No intent to make a design, in this case, but to put over this ironical attitude that my mind assumedin regard to what my eye saw'" (141). The Picture Btlyer

Not Signed

5 }/4 x 7 iltckes Man, Wife, and Child 100 proofs JS imp. [Morse: ''Early 60, Roth 2S, Peters and Signed''.John Sloan Platt '>, altd Gastott 25; Sloan's personal (horizotttat signature in plate) invelltoW in 1931 Lists 18procl$s by Ptatt] 1905/ New YorkCity Lila series 4 1/2 x 6 }/2 inches 100proof Exhibitedinthe Erllest Roth imp. (oldpaper) Armory Show of 1913. Represents a scene from the gallery of William Macbeth where the groundbreaking show of "The Eight" was held. ' This scene'rewarded hours spent at my back Morse: Sloan's inscription on a proof for John Quinn: "An incident in windows.. . . A small family in scantquarters''' (Sloanin the galleries of William Macbeth he is shown purring in the ear of the vic- Morse ]45). tim": in an NYS article, Sloan explained that he "Made some liquid ground and used it for the first time to protect a ground which before biting showed some symptoms of weakness the Picture Buyer plate" (177).

Page 8 Lycotnin$ (bounty Hi9todca1Society .Page9 The Little Bride

Not Signed

Page 8 Lycotnin$ (bounty Hi9todca1Society .Page9 Rau Picket s

Signed''John Sloan }913 2 3/4)c 3 34 inches This pt"o(glbt John Quinn JSimp.

Girl in Kimono Morse: '''A glimpse into one of the cellars in WastThird Sighed ''John Sloan Street under the elevated tracks, which were occupied by rag 19}3 porters' (JS 1945). Used as a Christmas-New Year greeting." 4)c 5 }/2 inches 100 pt'offs

Sloan's model was lsa Urquhardt Glenn (Mrs. Bayard Return .front Toil Schindel), a cousin of J. Mcneil Whistler. Morse quotes Sloan: '''Less reality is found in this plate than in most oth- Signed''John Sloctn ers of this period, for the reason that it was made directly 191S from life. I feel that it is too much a visual record. The 4 }/4 x 6{Kches earnest study from the living model in the plates I etched 100 proofs from ] 93 I to 1933 was directed toward more dynamic 'ES Gaston imp." realization, beyond the visual '"( 187). An earlier drawing made before this etching was on the cover of Zhe Masses,July 1913. It was the subject of a dispute among the editors, some of whom felt that the Woman With Hand to Chin cheerfulness of the workers did not appropriately reflect the workers' condition. [Morse] Yottlag WolnattFLCHS] Morse quoting Sloan: '''A bevy of boisterousgirls with plenty of energy left after a hard day's work '" (202). Signed''Johtt Sloaltper HFS 1969 19}3 6 1/2 x 3 1/4 inches printer's proof' Growing Up in GI'eenwiclt Village butte Baskitt imp. Signed ''John Sloan (per HFS) 1916 Morse: "This plate, though unsigned, was 6 }/2 x 3 }/4 inches clearly identified by JS as his work to HFS. 100 proofs Stylistically, it is unquestionable. . . . Perhaps a ErnestRoth imp. [oldpaper] demonstration plate for a student. The plate may have been set aside and not published for that reason. It is clearly a completed work. Morse quoting Sloan: '''A glimpse of the trials of a Village girl emerging into young ladyhood' (JS 1945).'" Morse quoting HFS: "'Sloan did not print ''The edition of this etching was printed in from this plate until some years after making it. He had felt it was 1969. An impression is included in each of the 150 copies comprising the coarsely bitten''(1966). special limited edition of this book: Jo/z/z.S/oa/z Prf/z/s. The 25 artist's proofs are reserved for the Sloan Estate. Different papers have been used for edition prints and artist's proofs. All are signed by HFS . . . " (188). Page 10 L'/corning <2ounty Historical Society Page11 Rau Picket s

Signed''John Sloan }913 2 3/4)c 3 34 inches This pt"o(glbt John Quinn JSimp.

Morse quoting Sloan Arch Conspirators 'A lively impressionfrom WashingtonSquare after a snowstorm. In going back Signed ''John Sloan (per HFS) .v ]9}7 over my etchings for the pur 4 }/2 x 6{nches pose of these comments, it seems notable that I have been more interested in life than in ''art." Too many of us today are over-concernedwith formulas. 100 proo$k There is little doubt, however, that we will emerge eventually better artists for Ernest Roth imp. [otd paper] having been through a period of conscious study'" (223). Representsa party held on the roof of the Washington Squarearch. Present,from left to right, are CharlesEllis (actor), Marcel Duchamp (artist, standing), Gertrude Drink Bon,fire (poet), Allen Russell Mann, Betty Turner, and John Sloan (face in three-quarters front view). During the party, the revelers drew up a Signed ''Joh+t Sloan (per HFS) nonsensedeclaration of secessionfor Greenwich Village from the United 1920 States and claimed protection of President Wilson as a small nation. S }/4 x 7 1/2 inches Morse quoting Sloan: '''Gertrude S. Drick, poet, was a wild little crea- 100 proolk ture. I had found that the bronze door of the Arch was open. She said we ErnestRoth imp. Foldpaper] must have a picnic. We had hot water bottles to sit on, sandwiches, and thor mos bottles of coffee. There was a spiral iron stairway, then a big chamber Morse quoting Sloan: "'This fire frolic in a vacant eighteen feet high, the width of the Arch, then a stairway to a trap door. lot hasresulted in a plate with fine qualitiesof light and When we left, we fastened colored balloons to the parapet. They stayed movement'" (224). about a week. One of my bohemian incidents, one of the very few '" (209).

Shine, WashingtottSquare Seeittg New York Signed ''John Sloatt }923 Signed''JohttSloan i9}7 5 x 7inches 2 3/8 x 3 3/4 inches Workingproof' 100proojs JSlmp. Ernest Roth imp. [old paper] Morse quoting Sloan: "'It has been said that my work has been Morse: "The title refers to tour busses [sic] influenced by Cruikshank, but no critic has traced it to its true source, which taking sightseersaround the city. Used as a New is the work of John Leech, particularly in his Punch drawings. Cruikshank's Year's card, inscribed: Greetings 1918, from Anna M. and John Sloan.' people always have a quality of caricature''' (23 1). Morse quoting Sloan '''Poultry on the way to East Side execution. A sketch plate'''(214). Page 12 L/corning (2ounf/ Hi9{odca1society Page 13 a b :!: H Signed''JohrtSloun ]920 S }/4 x 7inches b'/ .Joh« 8)1o'*'': JSimp.

SignedJ.S. !92S 7 x 5 ittches ;J.S. Johlt Sloan's hated'' 100 pt'oops E. S. Gastott imp.'' [Morse. Gaston 2S p+"obabtydestroyed]

He was a little boy, Patience Morse quoting Sloan: '''Viewed from my studio on Washington Place, the Signed''Johtt Sloan Jefferson Market Court tower and elevated }92S tracks on Sixth Avenue under a swirl of S)c 4 inches snow'" (241). First State Jatt. 22-}925 JSimp.' Fashions ofthe Past

The first state probably represents work exhibited at the New Signed ''Johtt Stoctn }926 Society of Artists exhibition at Anderson galleries, January 6-3 1, 1925 8 x }0 illches 100 proolk Ernest Roth imp.

Morse quoting Sloan: "A well-arranged shop win dow and the contrasting costumes of the passers-by, whose dress of the time will in turn become costumes ofthe past" (249).

He was a little boy,Patiettce

Signed ''John Sloan XXVth Anniversary Dolly and JS, 1925 Aug. 5, 1926 S )c 4 iltches He was a Little Bov / ''Patience Signed ''John Stoart anal state 1926 100 pt'offs 4 )c 5 {ttches JSimp. Peter Platt imp. An alternativetitle to this The subject is a comic duet from Act I of Gilbert and Sullivan's design for an anniversaryparty Patieltce. invitation was ''On the Rocks." a title that Sloan thought summed up the couple's marital state. The "rocky" marriage lasted forty years. Morse quoting Sloan: '''An invitation to what turned out to be a very jolly affair in the garden of our SanteFe studio about 80 people'" (25 1).

Page 14 L}'coming(9ounfy Hi9{odca18ocie,V Page 15 Snowstorntin the Village

SignedJ.S. !92S 7 x 5 ittches ;J.S. Johlt Sloan's hated'' 100 pt'oops E. S. Gastott imp.'' [Morse. Gaston 2S p+"obabtydestroyed]

Morse quoting Sloan: "A well-arranged shop win dow and the contrasting costumes of the passers-by, whose dress of the time will in turn become costumes ofthe past" (249).

He was a little boy,Patiettce

Page 14 L}'coming(9ounfy Hi9{odca18ocie,V Page 15 The Indian Detour

Signed''John Sloan }927 b'/ Joh- 8,t"- 6x 7 }/4 inches 100 proofs Peter Platt imp.

Morse quoting Sloan: "A satire on the Harvey Indian Tour. Busses [sic] take the tourists out to view the Indian Enter's 1927 dances, which are religious ceremonials and naturally not understoodas such by the visiting crowds.' This sceneis identi- Morse ''Rendezvous''; Caption: Miss Attgtta Enters fied as the corn dance at Santo Domingo Pueblo, in an undated Signed''John Sloala article from the Sa/7/aXe ivey ,Mexican of August or September 1936.' 1927 } 1/8x 3 }/8inches 100 proofs JSimp.' Nude Readittg Enters }927'' Signed ''John Sloata Morse quoting Sloan: "'A plate made for New Year's the title 1928 '1927 Enters'' (253). S x 7inches 100 prop.lk'' crossed out 3rd state workittgproof' JSimp.

Kraushaar's Morse quoting Sloan: "'This nude posed in the etcher'sstudio Signed''John gives the first strong evidence of sculptural approach. It is interesting to Sloan (per HFS)" recall that the same quality is being sought in the paintings of and since that ]926 time.''' (259). 4 x S {ttches 100 proofs Sdg$ptqn$bi. Ernest Roth imp [old papers'' Signed ''John Sloan (per HFS)

John F. 4 x S inches Kraushaar'sGallery 100 proolk held Sloan'sfirst Chas. White imp. one-man show in 1917 and from then on handled John Sloan's work. Morse quoting Sloan: '''My old friend, John F. Kraushaar, engaged in Morse quoting Sloan: ''The wily art of selling a thing that is the difficultjob of selling a picture to a man whose wife feels she needs neither liked nor wanted"(268). sables"'(254).

Page 16 (9ourtfy Higbdca1 8ocie,t>' Page 17 The Indian Detour

Signed''John Sloan }927 b'/ Joh- 8,t"- 6x 7 }/4 inches 100 proofs Peter Platt imp.

Page 16 (9ourtfy Higbdca1 8ocie,t>' Page 17 Nude by Bookcase Signed ''John Sloan b'/ Joh- 8)1o';- }931 4 x 5 inches 100 proofs Ernest Roth imp. [old papers'' The Greets Hour:Angna Ettters Morse quoting Sloan: "'Nothing could be less informative or romantic Signed''John Sloan 1930 than the titles of these etchings'' (285). S)c 4 inches 100 proofs Dolly, 1936 Peter Platt imp.'

Sighted ''John Slocttt 1936 6)c 8 inches Morse quoting Sloan: "'l have made several etchings ] 00 proc$s produced under the inspiration of the creative genius of Angna Chas. White imp. Enters. This one has given me great satisfaction" (271). 25 prods ofthis state-

A portrait of John Sloan'swife (Ann M. Wall) of forty years. Socialist and fundraiser, Dolly was equally loved and hated by Sloan's colleagues. With Sloan, she was instrumen tal in organizing and mounting the first exposition of Native American art that Nude With opened doors to appreciating Third World art in the twentieth century. arette

Signed''John Sloan 193} S 1/2)t 7inches Signed''John Sloan 1939 100 proofs 4x 6{nches Ernest Roth imp. 4th state 100proof Morse quoting Charles White imp. Sloan: "'The nudes Morse quoting Sloan: of this period were "'One of those exhibition needleddirectly on opening cocktail parties. the plate without pre- Enthusiasm resulting from the lif:ting of Prohibition prevails over interest in liminary studies, and when they achieve results like this I feel that they are of art.' . . . ' They don't see the pictures at all, knocking them crooked on the wall lasting importance. They kind of amaze me nowadays'" (280). with their shoulders'" (339).

Page 18 L/c07ning (BountyHigtodca1 8ocie,ty Page 19 Nude by Bookcase Signed ''John Sloan b'/ Joh- 8)1o';- }931 4 x 5 inches 100 proofs Ernest Roth imp. [old papers'' The Greets Hour:Angna Ettters Morse quoting Sloan: "'Nothing could be less informative or romantic Signed''John Sloan 1930 than the titles of these etchings'' (285). S)c 4 inches 100 proofs Dolly, 1936 Peter Platt imp.'

Page 18 L/c07ning (BountyHigtodca1 8ocie,ty Page 19 lo.- <19.ll..tio- b'/doh- 8,t '-- 8 \,'Joel bl ' H.t.« f:am 81o.':

Navajo Dcutce Angna Enters Depressiott Line-Up Sixth Avenue Elevated Lithograph Etching 1930 Watercolor The Black Pot l0 1/8 x 7 9 1/2 x 7 Brush wash drawing l0 1/2x 8 1/2 10 proofs 76.217.192 14 3/4 x 19 76.217.195 Signed ''John Sloan (per HFS) 76.217.191 76.217.194 1937 6)t 4 inches 100 proolk Charles White imp: by ]=dertdg, 8tucle,nf atta (2ordempor'ade,

B. Robinson Philip Reisman Peggy Bacon Tile Citric NaxQo Morse quoting Sloan :The potter's art bridges the gulf between Three People Fulton Fish Ma} ket Lithograph 1936 Watercolor drawing two civilizations'" (332). 10 x 12 3/4 10 3/4 x 7 1/2 76.217.180 76.217.31 Enamel 6.217.95 Etching 5 1/2X 7 1/2 76.217.197 Kosbare I)ance Santo Reginald Marsh lite Merry Go Rolutd Joseph Lasker I)omingo 1928 Newstaltd Hair) Wickey Etching Otd Tinters in Park 5 5/8 x 4 3/8 76.217.? Engraving Gouache l0 1/4 x 8 76.217.32 9 3/4x 7 3/4 76.217.98 Drawing Anne Rhone 8 x l0 1/4 76.217.175 John Sloan Jerome Myers Marie Williams Tempera and oil on masonite Ghetto Market James Preston 20 x 16 76.217.181 Etching Porn'ait oj Johit Sloan Boat Dock 7 x 9 1/4 76.217.33 1930 Nude on Red E.M." Watercolor Oil on cardboard Oil on masonite 8 x ll 17 1/2 x 24 76.217.183 Frank K.M. Rehn 19 7/8 x 23 7/8 76.217.182 1935with best wishes Swtset by tile Sea 76.217.176 Jitterbugs, Tile Stage Door Canteen Oil on canvas Francis Stein Village The Wake on the Fen'y 14 x 10 76.217.90 1943 Stream North Carolina Charcoal drawing Etching Watercolor 8 x 9 1/8 76.217.179 Signed''Johtt Sloalt (per HFS 1951) Philip Evergood 5 5/8 x 4 3/8 76.217.190 }949 Subway Serenade 8 3/4 x 12 76.217.186 'To Helen. John Sloan Oil on masonite William C. Mcnulty Happy New Year, S x 7 iltches 1946" 13 x 9 3/4 76.217.91 Gifford Beal WaidorfAstoria Hotel 350 proolk Lady With Parasol Lithograph Angna Enters ET'nestRoth imp. Nudist Neigltbol's 12 3/4 x 9 P} onteitade Oil on board Dry point JS Estate 'To John and Dolly Sloan 1937 'To Dolly from John Sloan 11 3/4 x 9 with kindest regards from Etching 1935with best wishes' 'To my friend Dolly Sloan' Bill the artist 6/1/29" l0 1/2 x 4 7/8 76.217.189 76.217.92 76.217.187 76.217.177 Don Heeman Audubon A humorous plate based on an old painting, Z%e Will Shuster M. Sober GI ottltd Dove. I)eep ilt Hollywood I)an ce Halt Wake (2/'/;ze Aer/7, produced for the Art Students Portrait SketchofGir\ Caltada Joy League after Sloan's five-year layoff from etching. Oil on board Lithograph Oil on masonite Handcolored lithograph 12 1/2 x 9 1/2 76.217.94 9 1/2 by 12 76.217.196 19 7/8 x 23 7/8 76.217.184 9 x 6 and 9 x 6 76.217.27

Page 20 Page21 lo.- <19.ll..tio- b'/doh- 8,t '-- 8 \,'Joel bl ' H.t.« f:am 81o.':

Page 20 Page21 Ni«.t.. th . d nw.nli.h e.nluw lad«is Nirtete,e,ratharid n~«,,e,Elie,th(2.e,nluW ladntg Audubon Currier & Ives Ground Dove, Caitada Jay The Fio\ver Vase N Currier N. Currier Winslow Homer Handcolored lithograph Handcolored lithograph The Bad Matt at tile Haul' of Spriitg Faint Work. Grafting 9 x 6 and 9 x 6 76.217.27 The Progress oJ Intentperance 13 1/2x 9 1/2 76.217.48 1841 copyright Beat t 1870 Lithograph Wood engraving T.Signal Handcolored lithograph 11 1/2 x 13 1/2 76.217.60 11 3/4 x 8 1/2 76.217.81 7 1/2x 9 1/2 76.217.109 Pont desArts; Tlvo Tugboats Little Red Riding Hood Etching Handcolored lithograph Currier & Ives 4 5/8 x 7 1/4 76.217.28 The Lovers' Quarrel Making Hay M.«&.o of 13 1/2 x 9 1/2 76.217.49 A New JerseyFox Hunt 1846 copyright 1876 Wood engraving 10 x 14 76.217.110 Edward Penfield Handcolored lithograph Lithograph Th}.eeMen olt Base Graltdllta's Specs 13 3/4 xd 9 3/4 76.217.61 9 x 12 1/4 76.217.83 Under the Fails, Catskill Mts. Reproduction of multiplate woodcut ]877 copyright 13 1/4 x 9 1/4 76.217.170 Tile Lovers' Reconciliatioit .JohnL. Sullivan Engraving Handcolored lithograph 9 3/4 x 14 1/4 76.217.111 1846 copyright 1883 copyright Arthur B. Davies 14x 9 3/4 76.217.50 N. Currier Handcolored lithograph Handcolored lithograph Amber Garden 1/4 x 76.217.84 Music Stored d 12 3/4 x 9 1/2 76.217.62 l0 7 I)ad's Conning colored aquatint 1835 Dottie 'Original by John Cameron' Wood engraving 13x 5 1/2 9 1/2 x 14 1/2 76.217.112 Lithograph Handcolored lithograph Currier & Ives Winslow Homer 76.217.}78 ]3 x 9 76.217.39 12 1/2 x 9 76.217.51 Steantship-City ofMolttreat March Wiltds The Morning Belt Handcolored lithograph Wood engraving Currier & Ives 8 3/4 x 13 1/2 76.217.63 6 1/4 x lO 76.217.101 Wood engraving William Glackens Tile Katz-Kitts in Winter Little I)airy 14 x lO 76.217.113 Vou Like it, Di'irk it Handcolored lithograph Handcolored lithograph N. Currier April Showers 10 x 13 76.217.41 15 x 76.217.52 Snap tile Whip lithograph 10 Mazeppa Wood engraving l0 1/8 x 7 Plate I 6 1/2x 9 3/4 76.217.102 Wood engraving 14 1/4 x 21 76.217.116 copyright 1904 Mloose and Wolves: A Nan olv New YorkFel'ry Boat Lithograph illustration for Escape 8 1/8 x 12 1/4 76.217.65a Steigltiitg Seasott: Charles de Kook novel Handcolored lithograph Handcolored lithograph The Upset Statioit llottse Ledgers 10 x 13 76.217.42 10 x 13 1/4 76.217.53 Handcolored wood engraving Lithograph "Printer's proof from Estate of Plate 2 9 3/4 x 14 1/2 76.217.103 .John Sloan HF'S)P 10 x 14 1/4 76.217.117 N. Currier Lithograph 76.217.32& 33 Intro!' ted Messenger 8 1/8 x 12 1/4 76.217.65b Art Students in the Louvre I)adel Webster, Secretary ofState The Fishing Party 1880 copyright Wood engraving Handcolored lithograph Wood engraving Plate 3 9 1/2 x 14 76.217.104 EverettShinn 13 3/4 x 9 3/4 76.217.43 Handcolored lithograph 9 3/4 x 14 76.217.118 11 1/4 x 16 1/2 76.217.54 Lithograph The Chef Wiitter: Tile Skatiltg Svelte Fran cis R. Sltuitk 8 1/8 x 12 1/4 76.217.65c Chinese in New York: Sceite in a Pen and ink drawing Wood engraving 11 x 3 1844 copyright 9 3/4 x 14 76.217.105 Baxter Street Clubholise Tile Happy Hollte Plate 4 "Gift to HFS. Joan Edith De Shazo: Handcolored lithograph Lithograph Handcolored lithograph 76.217.193 13 1/4 x 9 1/4 76.217.44 Lithograph New England Factory Life: Newsprint paper 13 x 9 1/4 inches 76.217.56 8 1/8 x 12 1/4 76.217.65d Ben Tinto 14 1/4 x 9 1/4 76.217.287 Life & Age ofMalt Lithograph Handcolorcdlithograph A] ab's Bride Currier & Ives 10 x 14 76.217.106 Noon Recess 9 1/2 x 13 76.217.45 Faith, Hope, Charity Handcolored lithograph Wood engraving 1874 copyright The Sulttntit ofMt. Wasttingtolt 76.217.288 13 x 9 1/4 76.217.57 9 3/4 x 14 1/4 Currier & Ives Handcolored lithograph Wood engraving Wy Little White Kitteits Ptayiltg l0 1/4x 13 1/2 76.217.69 Newsprint paper Thomas Nast I)olttiltoes 9 1/2 x 14 1/4 76.217.107 Straqbrd oit Avott Tile Lore Fishenltan froltt Handcolored lithograph Handcolored lithograph N Currier Massachusetts 9 1/2 x 14 76.217.46 Citestltttttiltg 8 x 12 1/2 76.217.58 I'lte Fox Hwttel' Signed,probably Harper k 1870s /7arperk meek/y1879 Lithograph Etching Currier & l\ es Lithograph 8 1/4 x 12 3/4 76.217.80 12 1/2 x 9 1/2 76.217.108 15 x l0 1/4 76.217.144 Ferns Flog al Gents Handcolored lithograph Lithograph Page 22 14 x ll 76.217.47 14x 9 1/2 76.217.59 Page23 Ni«.t.. th . d nw.nli.h e.nluw lad«is Nirtete,e,ratharid n~«,,e,Elie,th(2.e,nluW ladntg Audubon Currier & Ives Ground Dove, Caitada Jay The Fio\ver Vase N Currier N. Currier Winslow Homer Handcolored lithograph Handcolored lithograph The Bad Matt at tile Haul' of Spriitg Faint Work. Grafting 9 x 6 and 9 x 6 76.217.27 The Progress oJ Intentperance 13 1/2x 9 1/2 76.217.48 1841 copyright Beat t 1870 Lithograph Wood engraving T.Signal Handcolored lithograph 11 1/2 x 13 1/2 76.217.60 11 3/4 x 8 1/2 76.217.81 7 1/2x 9 1/2 76.217.109 Pont desArts; Tlvo Tugboats Little Red Riding Hood Etching Handcolored lithograph Currier & Ives 4 5/8 x 7 1/4 76.217.28 The Lovers' Quarrel Making Hay M.«&.o of 13 1/2 x 9 1/2 76.217.49 A New JerseyFox Hunt 1846 copyright 1876 Wood engraving 10 x 14 76.217.110 Edward Penfield Handcolored lithograph Lithograph Th}.eeMen olt Base Graltdllta's Specs 13 3/4 xd 9 3/4 76.217.61 9 x 12 1/4 76.217.83 Under the Fails, Catskill Mts. Reproduction of multiplate woodcut ]877 copyright 13 1/4 x 9 1/4 76.217.170 Tile Lovers' Reconciliatioit .JohnL. Sullivan Engraving Handcolored lithograph 9 3/4 x 14 1/4 76.217.111 1846 copyright 1883 copyright Arthur B. Davies 14x 9 3/4 76.217.50 N. Currier Handcolored lithograph Handcolored lithograph Amber Garden 1/4 x 76.217.84 Music Stored d 12 3/4 x 9 1/2 76.217.62 l0 7 I)ad's Conning colored aquatint 1835 Dottie 'Original by John Cameron' Wood engraving 13x 5 1/2 9 1/2 x 14 1/2 76.217.112 Lithograph Handcolored lithograph Currier & Ives Winslow Homer 76.217.}78 ]3 x 9 76.217.39 12 1/2 x 9 76.217.51 Steantship-City ofMolttreat March Wiltds The Morning Belt Handcolored lithograph Wood engraving Currier & Ives 8 3/4 x 13 1/2 76.217.63 6 1/4 x lO 76.217.101 Wood engraving William Glackens Tile Katz-Kitts in Winter Little I)airy 14 x lO 76.217.113 Vou Like it, Di'irk it Handcolored lithograph Handcolored lithograph N. Currier April Showers 10 x 13 76.217.41 15 x 76.217.52 Snap tile Whip lithograph 10 Mazeppa Wood engraving l0 1/8 x 7 Plate I 6 1/2x 9 3/4 76.217.102 Wood engraving 14 1/4 x 21 76.217.116 copyright 1904 Mloose and Wolves: A Nan olv New YorkFel'ry Boat Lithograph illustration for Escape 8 1/8 x 12 1/4 76.217.65a Steigltiitg Seasott: Charles de Kook novel Handcolored lithograph Handcolored lithograph The Upset Statioit llottse Ledgers 10 x 13 76.217.42 10 x 13 1/4 76.217.53 Handcolored wood engraving Lithograph "Printer's proof from Estate of Plate 2 9 3/4 x 14 1/2 76.217.103 .John Sloan HF'S)P 10 x 14 1/4 76.217.117 N. Currier Lithograph 76.217.32& 33 Intro!' ted Messenger 8 1/8 x 12 1/4 76.217.65b Art Students in the Louvre I)adel Webster, Secretary ofState The Fishing Party 1880 copyright Wood engraving Handcolored lithograph Wood engraving Plate 3 9 1/2 x 14 76.217.104 EverettShinn 13 3/4 x 9 3/4 76.217.43 Handcolored lithograph 9 3/4 x 14 76.217.118 11 1/4 x 16 1/2 76.217.54 Lithograph The Chef Wiitter: Tile Skatiltg Svelte Fran cis R. Sltuitk 8 1/8 x 12 1/4 76.217.65c Chinese in New York: Sceite in a Pen and ink drawing Wood engraving 11 x 3 1844 copyright 9 3/4 x 14 76.217.105 Baxter Street Clubholise Tile Happy Hollte Plate 4 "Gift to HFS. Joan Edith De Shazo: Handcolored lithograph Lithograph Handcolored lithograph 76.217.193 13 1/4 x 9 1/4 76.217.44 Lithograph New England Factory Life: Newsprint paper 13 x 9 1/4 inches 76.217.56 8 1/8 x 12 1/4 76.217.65d Ben Tinto 14 1/4 x 9 1/4 76.217.287 Life & Age ofMalt Lithograph Handcolorcdlithograph A] ab's Bride Currier & Ives 10 x 14 76.217.106 Noon Recess 9 1/2 x 13 76.217.45 Faith, Hope, Charity Handcolored lithograph Wood engraving 1874 copyright The Sulttntit ofMt. Wasttingtolt 76.217.288 13 x 9 1/4 76.217.57 9 3/4 x 14 1/4 Currier & Ives Handcolored lithograph Wood engraving Wy Little White Kitteits Ptayiltg l0 1/4x 13 1/2 76.217.69 Newsprint paper Thomas Nast I)olttiltoes 9 1/2 x 14 1/4 76.217.107 Straqbrd oit Avott Tile Lore Fishenltan froltt Handcolored lithograph Handcolored lithograph N Currier Massachusetts 9 1/2 x 14 76.217.46 Citestltttttiltg 8 x 12 1/2 76.217.58 I'lte Fox Hwttel' Signed,probably Harper k 1870s /7arperk meek/y1879 Lithograph Etching Currier & l\ es Lithograph 8 1/4 x 12 3/4 76.217.80 12 1/2 x 9 1/2 76.217.108 15 x l0 1/4 76.217.144 Ferns Flog al Gents Handcolored lithograph Lithograph Page 22 14 x ll 76.217.47 14x 9 1/2 76.217.59 Page23 Nirze,[e,e,nh and qwe,ntie,{ (2,e,rttur/ladnt9 to the, L/coming (9oun{/ Higtodca1 8)ocietV

Thomas Nast Kellogg & Comstock Thomas Worth The Coioi Lille Still Exists in Little Heitry Alt Otd Spot't Revived, Debi' This Case Lithograph Hulttiltg OltLoltg lslaltd A record of the entire John Sloan private collection Harpers meek/y 1/18/1879 11 3/4 x 8 1/2 76.217.241-50? Handcolored etching Etching 14 1/4 x 9 3/4 76.217.160 donated by Helen Farr Sloan to the Lycoming County 15 1/2 x l0 1/4 76.217.145 D. W. Kellogg Co. Historical Society, provides glimpses into John Sloan's The Sure.eoder at Fort I)onelson The A diehl Trofters on the Snow interests as an artist and social activist. The list that follows Harpers Week/y2/16/1862 Lithograph Handcolored etching 76.2]7.241 50? 14 1/4 x 9 3/4 No. Acc. # arranges the works in order of accession in 1976. Some Wood engraving 12 5/8 x 9 3/4 14 1/2 x 9 3/4 76.217.305 time after the donation, Historical Society records indicate, E.B. & E.C. Kellogg Steinlen the collection, including African artifacts, Civil War Old Wolltan# I A Merry Cltristntas Mother's Joy engravings, and Japanesechildren's drawings, was /7arperk meek/y 1/3/1880 Lithograph Etching 6 1/2x 3 3/4 76.217.203 Engraving 11 3/4 x 8 1/2 76.217.241-50'? subdivided into categories: one typed list contains a 15 x 10 76.217.307 handwritten note that there were ''333 items in this SeatedWolllan J. Baillie donation,'' while another handwritten document identified C. Graham Tile Sisters Lithograph 8 1/4x 6 1/2 76.217.204 309. While most of the works were accessionedin 1976, Bringing Roitte Chl istntas 1845copyright Pi' eselt ts some were not accessioned until 1994. hence the Lithograph Mother and Child .fiarperk meek/y1/3/1880 11 7/8 x 8 5/8 76.217.241 54? Lithograph discrepancy in accessionnumbers listed. (The 94 prefix Engraving 11 1/2x 9 1/2 76.217.205 indicates the year of accession.) 14 3/4 x l0 1/4 76.217.308 TolTt ayer,Age 29 Years 1849 copyright George Cruikshank During a culling of the collection in the 1980s,some of Francis H. Brown Lithograph The Black Robbers rite New York Light Gltard's 13 3/8 x 9 1/4 76.217.251-54? the works, including those by European, Japanese,and Etching Quick Step 4 1/2 x 3 7/8 76.217.297 African artists, were deemed inappropriate to the Historical Currier and Ives, published by T. Harper Pinx Society's mission to preserve the history of north central TheMiltiattfre Hewitt & Jacques Ben.jamin West Pennsylvania. Therefore, they were deaccessioned and sold Lithograph Lithograph Heads o.f Men: program cover l0 1/8x 8 76.217.255 Sttldies ofExpl'essioll through the Williamsport auction house of Bob, Chuck, and 12 1/4 x 9 76.217.40 Ink drawing Rich Roan, Inc. J. l\'macdonald 7 x 11 1/4 76.2]7.100 Douglas Adams Lt£mber Raja Under the direction of local artist Roger Shipley and with Fished'iltatt 19th century the bequestsproviding for the preservation of the items in 1 899 c. by Frost and Read Wood engraving the collection. the John Sloan Collection has been matted lithograph 9 3/4 x 13 3/4 76.217.294 7 1/4 x l0 1/2 76.217.172 and framed as necessary for the 1998 exhibition. The Lodge!'s' Caittp at Nigitt Historical Society is committed to ensuring that the Kellogg & Thayer 1885 collection will be valued and protected for the future. The FI'lilt Wood engraving Lithograph 9 3/4 x 13 3/4 76.217.295 8 7/8 x 127/8 76.217.241-50? Oregoll Mexico E Phil'thus Unum Kellogg ]846-1848 rite Fool'at Gift Berlinwork pattern (c. 1848) Lithograph 14 1/4 x 14 1/2 76.217.99 123/4 x 9 1/2 76.217.241-50? 'hand-painteddesign for x-stitch"

Page 24 Page25 Nirze,[e,e,nh and qwe,ntie,{ (2,e,rttur/ladnt9 to the, L/coming (9oun{/ Higtodca1 8)ocietV

Page 24 Page25 Artist Title Medium Artist Title Medium F. Rehn Sunset by the Seal oil J.C.English Compulsory Educatio n pen & ink P EvergoodSubway Suicides oil T. Worth Deer Hunting on Long lsland+ wood engraving P EvergoodOt£rNudist Neighbors$ oil H. Aiken The HotlKds Are Uncoupted handcolored 1. MoskowitzNavcgoGeneral Store lithograph (1822) lithograph (London) r'tQtrta 'orzchort M. Soyer Portrait Sketchof Girth oil --tay OK MacDti#" printer's proof P. Reisman Fulton Fish Markets tempera Dalov lpcar Harteqtlinade oil C. E. Porter (Geraniums) ex-slave n.a Rowlandson The ConsequenceofNot Shifting handcoloredetching W Domond Planting Haiti (!952) tempera the Leg of qe .John Slog (2ollectiort J. Lasker CiW News-statld+ watercolor C7c/e Marc/z (1896) lithograph OWC) Z?er/f/zWork Paffern (cl 848)* watercolor (sheet music) Artist Title Medium Artist Title Medium B West Heads ofMetl+ sketch WElbs English Fishing Scette handcolored W Homer A/arc;z nds aquatint Hogarth Sotlttlwark Fair engraving CurricrHves lithograph wood engraving W Homer April Showers wood engraving Cycling in Bois de Bottlogne lithograph Hogarth The .fear/o/ k Progress(7 plates) engraving Currier/Ives The Flower Vases lithograph W Homer The Upsets (1897) (UaniQFair) Hogarth A ChorusofSittgers engraving Currier/Ives Little Red Riding Hoods lithograph wood engraving W Homer Art Studentsin the Lottvre+ J. Leech Fox and Hounds handcolored Hogarth The Computty ofUndertakers engraving Currier/Ives Gtandttta's Specs+ lithograph wood engraving W Homer Mnfer+ wood engraving French Wrestlers (}875) etching (Paris) Hogarth Characters and Caricu fares engraving Currier/Ives Dottie% lithograph W Homer Bell Time% E.Penfield Three Men on Base (1902)* lithograph Hogarth Battle ofthe Pictures engraving Cunier/Ives Little Daisy+ lithograph wood engraving W Homer handcolored Hogarth A Standoran)ts engraving Cunier/Ives New YorkFerry Boats lithograph TateSummit ofMt. Washingtotl+ wood engraving Mendoza and Humphries (179Q) W Homer engraving Hogarth Crowns, Metres, Maces, etc. engraving Cunier/Ives Imported Messengers lithograph Cheste u tun g+ wood engraving W Homer wood engraving Hogarth The Bench engraving Currier/Ives Xol!/zgCompanions lithograph Grugff«g* D.Adams /qs/zingr/903) * lithograph W Homer Making Hays wood engraving signed printer's Hogarth TheFive OrdersofPeriwigs engraving Cunier/Ives The Happy Homed lithograph W Homer Under the Fatls+ Hogarth T%e/macs (plate I) engraving N. Currier The Arab's Brides lithograph wood engraving proof W Homer Horse Race 1886 Hogarth WilliamHogarth engraving Currier/Ives Stt'atjord Upon 4vott lithograph Dad's Conting+ wood engraving pencil drawing W Homer Hogarth At Mrs. Hogarth's engraving Cunier/IvesFlora! Gems% lithograph The Mol'Fling Bella wood engraving (German?) W Homer Last Day ofHawest handcolorcd T.Cook Strofling Players engraving N. Currier The Expectant }Vife+ lithograph wood engraving Pedesh'ianHobby Horse(1819)+ W Homer Hogarth Pit Ticket engraving Cunier/IvesThe Lover's Qt€arret+ lithograph The Nooning+ wood engraving (London) w: Homer Otd Timers in Park% Picasso Btlti$ght lithograph Currier/Ives The Lover's Reconciliation$ lithograph Snap the Whips wood engraving H. Wickey drawing W Homer J. Preston BoatDocks watercolor Renoir Seated Nude etching Currier/Ives Steamship$'otnInman River" lithograph Station House Lodgers+ wood engraving W Homer Durer CircumcisionofJesus n.a. Cunier/IvesLandscape Cards n.a. The Fishing ParQ$ wood engraving W Mcnulty IVatdorfAstoriaHotels etching A. Davies .amber Garde/z# VanDyck Petrus Breuget n.a. Currier/Ives A/azeppa,Plate l+ lithograph Judge lithograph (2) etching/aquatint n.a J. Preston sketch Rembrandt Death of the Virgitt n.a. Currier/Ives il/azq)pa, Plate 2# lithograph Blackville Croquet m//age* Daumier n.a. W Shuster watercolor Pirandcsi yaltaBarbaric n.a. Currier/Ives A/azq)pa, Plate 3# lithograph French Prints (2) Navajo% n.a. A. Rhode John Sloane Rowlandson Dr. SyntaJt with a Blue Stocking n.a. Currier/Ives A/azeppa,Plate 4# lithograph Pzzckprints & covers (5) tempera Beatty Currier/Ives Eliza n.a. F. Remington Har?erk (1888) n.a. M.Williams Portrait ofJohn Stoatl+ oil n.a A.Rhode Nude on Redo oil Cruikshank The Battle ofthe Nile Currier/Ives Isabella n.a upper [?] Puck (4) n.a. W Shuster Dance Halle oil :spy" ltlustrationfrom VaniQ Fair Currier/Ives JesusAscendeth Into Heaven n.a. Tregear The Card Party The Porta.ait n.a. W Shuster Kosbare Danced n.a Gavarni The I)anseras, Coqttardeat{ Currier/IvesFaith, Hope, Charity+ lithograph Tregear Manet Portrait Currier/IvesCustom House. New York n.a legg 1812 Prints, London (3) n.a E. Goetz Promenade. Central Parka watercolor S.W Forks Audubon Grouttd Dove, Cattada Jcty+ Gimbrede Sumllter Ftowers+ engraving 1802 Print. London n.a F. Stein Stream, North Carotina$ watercolor T.Worth n.a G.Beal Lada With a Parasol% Signal Pont d€sAyts8 Currier/IvesThe Old Oakell Btlcket n.a. TheJudge etching Villon Untitled Currier/IvesA Mountain Rathble n.a Gericault Unknown n.a. A. Enters leon linoleum cut Vlaminck Paris Scene Currier/IvesLook at Mamma n.a. T.Nast Fifteenth A tttendmen t Harper's 1869 A. Enters Promenade+ etching T.Nast B. Robinson three Peopte+ Currier/IvesLook at Papa n.a. SoftSoap Harper's 1878 A. Rhode Jilterbugs. Stage Door Cmlteen* lithograph The METH Go RotlKd+ Currier/IvesThe New Fashioned Gift n.a. T. Nast Is this equal protectiott '' " Harper's 1876 H. Farr Naxqo Danced lithograph Ghetto Markets Currier/IvesGod Bless auldKeep Them n.a. T.Nast The Lotte Fisherman+ Harper's 1879 H. Farr .4ng/za f/zfers 8 lithograph T.Nast E.Shinn NatureMort & Boltteilte Currier/IvesbaseofFlowers n.a. Mr. Solid SoLtth4 Harper's 1879 The Chef': pen & ink sketch Prisoners, Ktipstein 98 Currier/IvesThe Hundred LeafRose n.a. T.Nast Colored Rule Harper's 1874 H. Farr Depressioll Line Up+ ink and wash T.Nast H. Farr Maid oflst'ael N. Currier The Fox HuKter+ lithograph Ha/f/ (2-page) Harper's 1874 Sixth AxeKtte Elena ted$ gouache Appius Ctattditts Punished by Cunier/Ives The Bad Man at the Hour lithograph T.Nast The Modern Santson+ Harper's 1868 D. Freeman Deep in Hollywood% lithograph the People ofDeath T.Nast Untitled Puck 1868 P Bacon The Clinics etching Untitled# 7ho to Go T.Nast Clvi/ Mar (2-page) Harper's 1863 Goya EI Cottde Patatino etching MwicAd (}835)* A New Jersey Fox Hunt (]876)" A Negro Regiment {nAction Goya Cartloads to the CemeteY'y etching New York Light (}uurd's John L. Suttivan+ The First Cotton Gin Goya Bu t!$gh t n.a. Quick Steps Robert Macabre,Notary TheXmericatl West Goya ThevAre Scalded--It's Hall etching/aquatint Katz-KI is in IArinter+ The Dentist U.S.Dragoons OIJicer Goya Ensayos etching Moose altd Wotves8 The Delttist Trail [sic] ofJohn Brown Steinlen OZd Woman+ etching Z)ante/ Meds/er The Universal Expositloll(1859) Stag'--LaDotlble Chaise(1830) Steinlen Seated Womall$ lithograph Governor Shttnk+ YouHave Lost YourSuit. It's Treeing the Fox (1820) Steinlen Mother & Chitd+ lithograph Life alldAgeofMan+ True, But Yot!Have Had the after Aiken Steinlen TheFarewell lithograph My Little WhiteKittens Like Pleasure oJ Hearittg Me A4rT%oman Savers (1 860) signed Fo Play Dominoes% Argue" (1848) w/remarque Artist Title Medium Artist Title Medium F. Rehn Sunset by the Seal oil J.C.English Compulsory Educatio n pen & ink P EvergoodSubway Suicides oil T. Worth Deer Hunting on Long lsland+ wood engraving P EvergoodOt£rNudist Neighbors$ oil H. Aiken The HotlKds Are Uncoupted handcolored 1. MoskowitzNavcgoGeneral Store lithograph (1822) lithograph (London) r'tQtrta 'orzchort M. Soyer Portrait Sketchof Girth oil --tay OK MacDti#" printer's proof P. Reisman Fulton Fish Markets tempera Dalov lpcar Harteqtlinade oil C. E. Porter (Geraniums) ex-slave n.a Rowlandson The ConsequenceofNot Shifting handcoloredetching W Domond Planting Haiti (!952) tempera the Leg of qe .John Slog (2ollectiort J. Lasker CiW News-statld+ watercolor C7c/e Marc/z (1896) lithograph OWC) Z?er/f/zWork Paffern (cl 848)* watercolor (sheet music) Artist Title Medium Artist Title Medium B West Heads ofMetl+ sketch WElbs English Fishing Scette handcolored W Homer A/arc;z nds aquatint Hogarth Sotlttlwark Fair engraving CurricrHves lithograph wood engraving W Homer April Showers wood engraving Cycling in Bois de Bottlogne lithograph Hogarth The .fear/o/ k Progress(7 plates) engraving Currier/Ives The Flower Vases lithograph W Homer The Upsets (1897) (UaniQFair) Hogarth A ChorusofSittgers engraving Currier/Ives Little Red Riding Hoods lithograph wood engraving W Homer Art Studentsin the Lottvre+ J. Leech Fox and Hounds handcolored Hogarth The Computty ofUndertakers engraving Currier/Ives Gtandttta's Specs+ lithograph wood engraving W Homer Mnfer+ wood engraving French Wrestlers (}875) etching (Paris) Hogarth Characters and Caricu fares engraving Currier/Ives Dottie% lithograph W Homer Bell Time% E.Penfield Three Men on Base (1902)* lithograph Hogarth Battle ofthe Pictures engraving Cunier/Ives Little Daisy+ lithograph wood engraving W Homer handcolored Hogarth A Standoran)ts engraving Cunier/Ives New YorkFerry Boats lithograph TateSummit ofMt. Washingtotl+ wood engraving Mendoza and Humphries (179Q) W Homer engraving Hogarth Crowns, Metres, Maces, etc. engraving Cunier/Ives Imported Messengers lithograph Cheste u tun g+ wood engraving W Homer wood engraving Hogarth The Bench engraving Currier/Ives Xol!/zgCompanions lithograph Grugff«g* D.Adams /qs/zingr/903) * lithograph W Homer Making Hays wood engraving signed printer's Hogarth TheFive OrdersofPeriwigs engraving Cunier/Ives The Happy Homed lithograph W Homer Under the Fatls+ Hogarth T%e/macs (plate I) engraving N. Currier The Arab's Brides lithograph wood engraving proof W Homer Horse Race 1886 Hogarth WilliamHogarth engraving Currier/Ives Stt'atjord Upon 4vott lithograph Dad's Conting+ wood engraving pencil drawing W Homer Hogarth At Mrs. Hogarth's engraving Cunier/IvesFlora! Gems% lithograph The Mol'Fling Bella wood engraving (German?) W Homer Last Day ofHawest handcolorcd T.Cook Strofling Players engraving N. Currier The Expectant }Vife+ lithograph wood engraving Pedesh'ianHobby Horse(1819)+ W Homer Hogarth Pit Ticket engraving Cunier/IvesThe Lover's Qt€arret+ lithograph The Nooning+ wood engraving (London) w: Homer Otd Timers in Park% Picasso Btlti$ght lithograph Currier/Ives The Lover's Reconciliation$ lithograph Snap the Whips wood engraving H. Wickey drawing W Homer J. Preston BoatDocks watercolor Renoir Seated Nude etching Currier/Ives Steamship$'otnInman River" lithograph Station House Lodgers+ wood engraving W Homer Durer CircumcisionofJesus n.a. Cunier/IvesLandscape Cards n.a. The Fishing ParQ$ wood engraving W Mcnulty IVatdorfAstoriaHotels etching A. Davies .amber Garde/z# VanDyck Petrus Breuget n.a. Currier/Ives A/azeppa,Plate l+ lithograph Judge lithograph (2) etching/aquatint n.a J. Preston sketch Rembrandt Death of the Virgitt n.a. Currier/Ives il/azq)pa, Plate 2# lithograph Blackville Croquet m//age* Daumier n.a. W Shuster watercolor Pirandcsi yaltaBarbaric n.a. Currier/Ives A/azq)pa, Plate 3# lithograph French Prints (2) Navajo% n.a. A. Rhode John Sloane Rowlandson Dr. SyntaJt with a Blue Stocking n.a. Currier/Ives A/azeppa,Plate 4# lithograph Pzzckprints & covers (5) tempera Beatty Currier/Ives Eliza n.a. F. Remington Har?erk (1888) n.a. M.Williams Portrait ofJohn Stoatl+ oil n.a A.Rhode Nude on Redo oil Cruikshank The Battle ofthe Nile Currier/Ives Isabella n.a upper [?] Puck (4) n.a. W Shuster Dance Halle oil :spy" ltlustrationfrom VaniQ Fair Currier/Ives JesusAscendeth Into Heaven n.a. Tregear The Card Party The Porta.ait n.a. W Shuster Kosbare Danced n.a Gavarni The I)anseras, Coqttardeat{ Currier/IvesFaith, Hope, Charity+ lithograph Tregear Manet Portrait Currier/IvesCustom House. New York n.a legg 1812 Prints, London (3) n.a E. Goetz Promenade. Central Parka watercolor S.W Forks Audubon Grouttd Dove, Cattada Jcty+ Gimbrede Sumllter Ftowers+ engraving 1802 Print. London n.a F. Stein Stream, North Carotina$ watercolor T.Worth n.a G.Beal Lada With a Parasol% Signal Pont d€sAyts8 Currier/IvesThe Old Oakell Btlcket n.a. TheJudge etching Villon Untitled Currier/IvesA Mountain Rathble n.a Gericault Unknown n.a. A. Enters leon linoleum cut Vlaminck Paris Scene Currier/IvesLook at Mamma n.a. T.Nast Fifteenth A tttendmen t Harper's 1869 A. Enters Promenade+ etching T.Nast B. Robinson three Peopte+ Currier/IvesLook at Papa n.a. SoftSoap Harper's 1878 A. Rhode Jilterbugs. Stage Door Cmlteen* lithograph The METH Go RotlKd+ Currier/IvesThe New Fashioned Gift n.a. T. Nast Is this equal protectiott '' " Harper's 1876 H. Farr Naxqo Danced lithograph Ghetto Markets Currier/IvesGod Bless auldKeep Them n.a. T.Nast The Lotte Fisherman+ Harper's 1879 H. Farr .4ng/za f/zfers 8 lithograph T.Nast E.Shinn NatureMort & Boltteilte Currier/IvesbaseofFlowers n.a. Mr. Solid SoLtth4 Harper's 1879 The Chef': pen & ink sketch Prisoners, Ktipstein 98 Currier/IvesThe Hundred LeafRose n.a. T.Nast Colored Rule Harper's 1874 H. Farr Depressioll Line Up+ ink and wash T.Nast H. Farr Maid oflst'ael N. Currier The Fox HuKter+ lithograph Ha/f/ (2-page) Harper's 1874 Sixth AxeKtte Elena ted$ gouache Appius Ctattditts Punished by Cunier/Ives The Bad Man at the Hour lithograph T.Nast The Modern Santson+ Harper's 1868 D. Freeman Deep in Hollywood% lithograph the People ofDeath T.Nast Untitled Puck 1868 P Bacon The Clinics etching Untitled# 7ho to Go T.Nast Clvi/ Mar (2-page) Harper's 1863 Goya EI Cottde Patatino etching MwicAd (}835)* A New Jersey Fox Hunt (]876)" A Negro Regiment {nAction Goya Cartloads to the CemeteY'y etching New York Light (}uurd's John L. Suttivan+ The First Cotton Gin Goya Bu t!$gh t n.a. Quick Steps Robert Macabre,Notary TheXmericatl West Goya ThevAre Scalded--It's Hall etching/aquatint Katz-KI is in IArinter+ The Dentist U.S.Dragoons OIJicer Goya Ensayos etching Moose altd Wotves8 The Delttist Trail [sic] ofJohn Brown Steinlen OZd Woman+ etching Z)ante/ Meds/er The Universal Expositloll(1859) Stag'--LaDotlble Chaise(1830) Steinlen Seated Womall$ lithograph Governor Shttnk+ YouHave Lost YourSuit. It's Treeing the Fox (1820) Steinlen Mother & Chitd+ lithograph Life alldAgeofMan+ True, But Yot!Have Had the after Aiken Steinlen TheFarewell lithograph My Little WhiteKittens Like Pleasure oJ Hearittg Me A4rT%oman Savers (1 860) signed Fo Play Dominoes% Argue" (1848) w/remarque Artist Title Medium Steinberg Table n.a. 'n. Joh- 81..« Etch@s W.Homer The Chinese {K New York$ engraving WIHomcr The Noon Recess+ engraving The Little Bride (\9Q6b'k 16 217.309 Yoruba Dance Mask "Blue Betty ' 77.1 Baule Horned Mask Mong moma (1913)+ 94 Cast Bronze Head, wicker base .BoysS/edd/ng (1920)+ 94 Cloth, figures with fish and birds G/r//m X/mo/za (]913)+ 9477.3 of the .John 81oart collection Cloth figures of men and lions .Refwrnrum zo// (191s)+ 9477.4 Macdonald Lumber Raft ': wood engraving .arch Const/refers (1917)# 94 Macdonald Loggers' Catltp at Nights wood engraving Artist Title Medium Artist Title l\Tedium Abraham Lincoln photograph XXyth .Anniversary: Steinlen Les GetitesNoises original two-color Groups of unframed American &. English prints, disposition of Cruikshank The Black Robbers+ etching Dolly and J.S. Aug. S, 1926 poster many unknow'n, most handcolored 'lWo Matt photograph (1926)* 9477.6 Steinlen Gf/ B/as, March 20, 1897-1900 cover Kellogg & Julia Ward Howe photograph cover See/ng.New Hark (1917)+ 94 llJ Steinlen Gi/ B/as, January 2, 1897-1900 Thayer The fruit 8 lithograph A brahatlt Lincoln auld Son photograph TbeS/zow Case 1913+ 9477.8 Steinlen Uollall and Crowd lithograph Kellogg The /'/ora/ G€## lithograph C. Vernier Lelbndatettr lithograph Kellogg & Black Childrell engraving Rendezvous, or Ettters 1927a Comstock f/f//e .f7enw8 lithograph Prints by Japanese Children aged 8-14 lithograph Kellogg Zhe,4d/elr# lithograph or AngnaEnters 1926+ 94 A. Ogawa Srzow print Takagashira Trtlntpet Lessoit print K. Sekiguchi Horses print Kellogg Mo//lark .Jl9y* lithograph He }Vasa Little Boy, Patience n.a H{2rper's , Surrender effort Donetson + wood engraving t. P\\uCkh Elephant and Frieltds punt Kellogg 5 prints 77.10 J. Baillie The .Sfsfers8 2/16/1862 (1925)+ 94 print lithograph T. Kogure Concert Ha rper 's , A Merry Christmas+ engraving The Wakeon tile Ferry K. Suzuki /is/z print J. Baillie Z0/77 //yec 4ge 29 hears lithograph n.a 1/3/1880 77.11 T. Tachibani raff/es punt J. Baillie 2 prints (1945)* 94 T. H. Pinx The A/f/?ia/zzre8 lithograph Ha rper 's , Brillging Hon2e Christntas engraving 77.12 M. Tuskihara Sc/e/?ceC/ass print Prese11ts+ ,4 7%irsrloi",4rf(1939)* 94 W A. Rogers8 lithograph 1/3/1880 C. Maruyaln C/zf/dre/z print 77.13 6 English Almanac Sheets n.a C. Graham Sa/emma/zs#fp(1930)+ 94 T. Koizumi Harbor print I French/Englsihcaricature Artist's Portfolio brown leather Fifth Avenue Critics or A. Togashira Zita zperLasso/I print (c. 1800) n.a. Une Rue & New York ]'. Mayairi Boy ma/hng Dogs print I Album Sheet,New Jersey N. Saito Pagoda print (c. 1870)n.a. unknown (1913)* 9477 14 H. Sawada Workers print 18th c.engraving offort Rag/'fakers (]913)+ 9477 15 Mori New heczrk fesfiva "(Jan.) print. /VlghrWf/zhou's (1910y: 9477 16 Mor\ The First Day of the Horse (Teb.\ print Nineteenth Century Engravings 77 17 Mori Gfr/k Hesffva/(March) print Hadn Fair, Safe ade: M. Z)aponf(1902)+ 94 print TheAtnerican Eagle Scorching Mori C/left /i/assam 7 /1/e (April) 5/ 4/ 1861 the Snake ofSecessio I .Wildewi/h Clfgarerre(1931)+ 9477 18 print Mori Boy k Fest/va/ (May) Harper's, The Flight ofAbraham ThePier re .Buyer(1911)+ 9477 19 Mori l?al/z (June) print 3/9/1861 print .NudeRead;ng (]928)+ 9477 20 Mori Fesriva/ (#'//ze Slurs (July) Ha rper 's, Sheetsand Their MaJaufacture Mori Bon Fesffva/ (Aug.) print 11/30/1861 .Nude By Z?oakcase (1931)*P 94 77 21 print Mori C/ZWsrz/?r/ze/? r/n .fQsf/va/ (Sept.) Ha rper 's, The North and South Krazlshaar's(1926)+ 9477 22 Mori Mczrke/zng Gzanf Audis/zes (Oct.) print 2/9/1861 The/mdfa/z Z)erowr(1927)'; 94 77 23 Mori OPe/I A#arkef Eesfiva/ (Nov. ) print Ha rper 's, The Sheridan Receptioll Mori Z,as/ Day ofMarker/ng (Dec.) print lO/19/1867 The Green Hour: Angna Ha rper 's, War Relics E lars (1930)+ 9477.24 African Sculpture and Textiles 7/6/1867 He was a little boy, Patience Yoruba Epa Mask Ha rper 's, Journal o.fCivitization Senoufu Ointment Pot 6/19/1880 (first state)1925+ 94 Peul Blanket Ha rper 's, The Americall Collllnolt School Growing Up in Greenwich Lo Society Masks (2) 12/14/1872 I,'l//age(1916)+ 94 Abomey Tapestry The So/afar /zzOlin C/v// War (Baltimore) 77.27 BagaBird Statuette The So/deer in Olrr Civl/ War (Philadelphia) Z)ed/za/pz(I'asf/e(1888)+ 94 Large Korhogo Cloth Z%eSo/afar /n Olin Clef/ mar(New York) Do/4P,.2936 (1936)# 9477.28 BauleAncestor Figure Zhe So/deer//z OIK C/v// War (Vienna, VA) .Bo/!/ire (1920y; 9477.29 Baule Gob Moon Mask The So/deeri/z Diff Cfvf/ War (Cooper Institute NY) 77.30 Coli Moon Mask The Soldier in Otfr Civi! War (Momoe, VA.) TheB/ac# Po/ (1937)+ 94 Korubla Firespitter Mask Zhe So/afar //z Olrr C/vf/ mar(Fort Walker) Mam, Mime,C/z//d (1905) Bank Cloth The Soldier in Otlr Civic War (New York) The Wo/zzenk /'age (1905) Adinkra Blanket (Dahomey) The War in Virginia Dahomev Kita Blanket BarracksErected in Parkjbr Troops,N. Y. Shine, WashingtoltSquare (L9'Z3) DahomevAdinlaa Blanket The Oath ofFidetity to the Flag Snowstornt itt tue Village

Page28 %Currently in the Collection. +Curreyttly in the CollectioYt Artist Title Medium Steinberg Table n.a. 'n. Joh- 81..« Etch@s W.Homer The Chinese {K New York$ engraving WIHomcr The Noon Recess+ engraving The Little Bride (\9Q6b'k 16 217.309 Yoruba Dance Mask "Blue Betty ' 77.1 Baule Horned Mask Mong moma (1913)+ 94 Cast Bronze Head, wicker base .BoysS/edd/ng (1920)+ 94 Cloth, figures with fish and birds G/r//m X/mo/za (]913)+ 9477.3 of the .John 81oart collection Cloth figures of men and lions .Refwrnrum zo// (191s)+ 9477.4 Macdonald Lumber Raft ': wood engraving .arch Const/refers (1917)# 94 Macdonald Loggers' Catltp at Nights wood engraving Artist Title Medium Artist Title l\Tedium Abraham Lincoln photograph XXyth .Anniversary: Steinlen Les GetitesNoises original two-color Groups of unframed American &. English prints, disposition of Cruikshank The Black Robbers+ etching Dolly and J.S. Aug. S, 1926 poster many unknow'n, most handcolored 'lWo Matt photograph (1926)* 9477.6 Steinlen Gf/ B/as, March 20, 1897-1900 cover Kellogg & Julia Ward Howe photograph cover See/ng.New Hark (1917)+ 94 llJ Steinlen Gi/ B/as, January 2, 1897-1900 Thayer The fruit 8 lithograph A brahatlt Lincoln auld Son photograph TbeS/zow Case 1913+ 9477.8 Steinlen Uollall and Crowd lithograph Kellogg The /'/ora/ G€## lithograph C. Vernier Lelbndatettr lithograph Kellogg & Black Childrell engraving Rendezvous, or Ettters 1927a Comstock f/f//e .f7enw8 lithograph Prints by Japanese Children aged 8-14 lithograph Kellogg Zhe,4d/elr# lithograph or AngnaEnters 1926+ 94 A. Ogawa Srzow print Takagashira Trtlntpet Lessoit print K. Sekiguchi Horses print Kellogg Mo//lark .Jl9y* lithograph He }Vasa Little Boy, Patience n.a H{2rper's , Surrender effort Donetson + wood engraving t. P\\uCkh Elephant and Frieltds punt Kellogg 5 prints 77.10 J. Baillie The .Sfsfers8 2/16/1862 (1925)+ 94 print lithograph T. Kogure Concert Ha rper 's , A Merry Christmas+ engraving The Wakeon tile Ferry K. Suzuki /is/z print J. Baillie Z0/77 //yec 4ge 29 hears lithograph n.a 1/3/1880 77.11 T. Tachibani raff/es punt J. Baillie 2 prints (1945)* 94 T. H. Pinx The A/f/?ia/zzre8 lithograph Ha rper 's , Brillging Hon2e Christntas engraving 77.12 M. Tuskihara Sc/e/?ceC/ass print Prese11ts+ ,4 7%irsrloi",4rf(1939)* 94 W A. Rogers8 lithograph 1/3/1880 C. Maruyaln C/zf/dre/z print 77.13 6 English Almanac Sheets n.a C. Graham Sa/emma/zs#fp(1930)+ 94 T. Koizumi Harbor print I French/Englsihcaricature Artist's Portfolio brown leather Fifth Avenue Critics or A. Togashira Zita zperLasso/I print (c. 1800) n.a. Une Rue & New York ]'. Mayairi Boy ma/hng Dogs print I Album Sheet,New Jersey N. Saito Pagoda print (c. 1870)n.a. unknown (1913)* 9477 14 H. Sawada Workers print 18th c.engraving offort Rag/'fakers (]913)+ 9477 15 Mori New heczrk fesfiva "(Jan.) print. /VlghrWf/zhou's (1910y: 9477 16 Mor\ The First Day of the Horse (Teb.\ print Nineteenth Century Engravings 77 17 Mori Gfr/k Hesffva/(March) print Hadn Fair, Safe ade: M. Z)aponf(1902)+ 94 print TheAtnerican Eagle Scorching Mori C/left /i/assam 7 /1/e (April) 5/ 4/ 1861 the Snake ofSecessio I .Wildewi/h Clfgarerre(1931)+ 9477 18 print Mori Boy k Fest/va/ (May) Harper's, The Flight ofAbraham ThePier re .Buyer(1911)+ 9477 19 Mori l?al/z (June) print 3/9/1861 print .NudeRead;ng (]928)+ 9477 20 Mori Fesriva/ (#'//ze Slurs (July) Ha rper 's, Sheetsand Their MaJaufacture Mori Bon Fesffva/ (Aug.) print 11/30/1861 .Nude By Z?oakcase (1931)*P 94 77 21 print Mori C/ZWsrz/?r/ze/? r/n .fQsf/va/ (Sept.) Ha rper 's, The North and South Krazlshaar's(1926)+ 9477 22 Mori Mczrke/zng Gzanf Audis/zes (Oct.) print 2/9/1861 The/mdfa/z Z)erowr(1927)'; 94 77 23 Mori OPe/I A#arkef Eesfiva/ (Nov. ) print Ha rper 's, The Sheridan Receptioll Mori Z,as/ Day ofMarker/ng (Dec.) print lO/19/1867 The Green Hour: Angna Ha rper 's, War Relics E lars (1930)+ 9477.24 African Sculpture and Textiles 7/6/1867 He was a little boy, Patience Yoruba Epa Mask Ha rper 's, Journal o.fCivitization Senoufu Ointment Pot 6/19/1880 (first state)1925+ 94 Peul Blanket Ha rper 's, The Americall Collllnolt School Growing Up in Greenwich Lo Society Masks (2) 12/14/1872 I,'l//age(1916)+ 94 Abomey Tapestry The So/afar /zzOlin C/v// War (Baltimore) 77.27 BagaBird Statuette The So/deer in Olrr Civl/ War (Philadelphia) Z)ed/za/pz(I'asf/e(1888)+ 94 Large Korhogo Cloth Z%eSo/afar /n Olin Clef/ mar(New York) Do/4P,.2936 (1936)# 9477.28 BauleAncestor Figure Zhe So/deer//z OIK C/v// War (Vienna, VA) .Bo/!/ire (1920y; 9477.29 Baule Gob Moon Mask The So/deeri/z Diff Cfvf/ War (Cooper Institute NY) 77.30 Coli Moon Mask The Soldier in Otfr Civi! War (Momoe, VA.) TheB/ac# Po/ (1937)+ 94 Korubla Firespitter Mask Zhe So/afar //z Olrr C/vf/ mar(Fort Walker) Mam, Mime,C/z//d (1905) Bank Cloth The Soldier in Otlr Civic War (New York) The Wo/zzenk /'age (1905) Adinkra Blanket (Dahomey) The War in Virginia Dahomev Kita Blanket BarracksErected in Parkjbr Troops,N. Y. Shine, WashingtoltSquare (L9'Z3) DahomevAdinlaa Blanket The Oath ofFidetity to the Flag Snowstornt itt tue Village

Page28 %Currently in the Collection. +Curreyttly in the CollectioYt The

of the

:6baH,%aaxor&zz. 2''Z'% H ;'=.$

VOLUME XXXVlll l;ALL NUMBER ONE 1998

YCOIN(LINGCOUNT'v'f'7':?7 L HISTORICAL SOCIETY -l..®.5;ZZ) MUSEUM - ARCHIVES - LI BRARY ©bll.'ho ': 858west Fourth Street + williamsport, PA t7701 + 7t7-322-2256