Ann Nooney

Ann Nooney, (Carnival Workers Resting, NYC)

1936-39

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

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

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

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

Moses Oley drew an industrial scene, but one very much in isolation. The quarry equipment looks both imposing and busy. There appears to be smoke coming fro...

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

Irish Fair Lithograph, 1923 Signed and numbered in pencil by the artist (see photo) Titled "Irish Fair" by the artist in pencil Edition: 84 Housed in an archival frame with acid free...

Emma and Marjorie on a Sofa Lithograph printed on chine paper, 1921 Signed by the artist lower right (see photo) Signed by the printer Bolton Brown lower left (see photo) Edition: 44...

George Bellows Business-Men's Class, Y.M.C.A, 1916 Signed, numbered "No. 41" and titled lower margin Lithograph on wove paper 11 1/2 x 17 1/8 inches Edition of 64 Provenance: Hirschl & Adler Galleries, New York Private Collection, Ohio Literature: Mason, 20. After his arrival from Columbus, Ohio in 1904, Bellows lived at the West Side YMCA. It was there that he met Eugene Speicher, another aspiring young artist who was to become his lifelong friend. Always interested in the anatomy of the human body, Bellows often satirized the various types who, while leading a sedentary life, feel compelled to devote a portion of their daily routine to physical self-improvement. Throughout his brief but illustrious career, George Wesley Bellows created striking scenes that documented ordinary American life in all its beauty and banality. Considered an American Realist, the artist eschewed embellishment, finding inspiration in the gritty boroughs of New York City, the rocky coastline of Maine, and, later, in his friends and family. Bellows garnered early recognition for his arresting portrayals of illegal prizefighting, dramatic works executed in dark tonal palettes that underscore the brutality of the violent sport. Bellows’ elderly Methodist parents hoped their son might pursue the ministry, a calling the extroverted athlete never received. The Columbus native competed on the baseball team at Ohio State University and also served as an illustrator for the college yearbook. In the fall of 1904—just months shy of his expected graduation—Bellows defied his father’s wishes and boarded a train to New York City in hopes of becoming a magazine illustrator like his idols Howard Chandler Christy and Charles Dana Gibson. Before leaving, he reportedly turned down an offer to play professional baseball with the Cincinnati Reds...

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

Glenn O. Coleman, 'Hurdy Gurdy Ballet', lithograph 1928, edition 50. Signed, dated, and numbered '14/50' in pencil. Titled in the bottom left margin, in a...

A very good impression of this etching with strong contrasts. Edition of 85 (from an intended edition of 100). Signed, titled and inscribed "100 proofs" in pencil by Sloan. From "New...