Dated Web objects 1920-1959

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West Forty-Second Street, Night

John Taylor Arms

Date: 1922

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1996.2

Text Entries: Arms, Dorothy Noyes, Marie Probstfield, May Bradshaw Hayes. Descriptive Catalogue of the Work of John Taylor Arms, Manuscript, New York Public Library, no. 124. Bassham, Ben L., ed. John Taylor Arms: American Etcher. (exh. cat., Elvehjem Art Center). Madison, Wisconsin: Elvehjem Art Center, 1975. No. 124, p. 61. [reprints the Arms/NYPL catalogue] Fletcher, William Dolan. John Taylor Arms: A Man for All Time; The Artist and his Work. New Haven, Connecticut: Eastern Press, 1982. No. 122, pp. 90–91.

The Gates of the City

John Taylor Arms

Date: 1922

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1996.3

Text Entries: Arms, Dorothy Noyes, Marie Probstfield and May Bradshaw Hayes. Descriptive Catalogue of the Work of John Taylor Arms, manuscript. New York Public Library. No. 128. Bassham, Ben L., ed. John Taylor Arms: American Etcher. (exh. cat., Elvehjem Art Center). Madison, Wisconsin: Elvehjem Art Center, 1975. No. 128, p. 61. [reprints the Arms/NYPL catalogue] Fletcher, William Dolan. John Taylor Arms: A Man for All Time; The Artist and his Work. New Haven, Connecticut: Eastern Press, 1982. No. 126, pp. 92–93. Watrous, James. American Printmaking: A Century of American Printmaking, 1880–1980. Madison, Wisconsin: University of Wisconsin Press, 1984. Text p. 80; fig. 3.43, p. 86. Acton, David. A Spectrum of Innovation, Color in American Printmaking 1890–1960. (exh. cat., Worcester Art Museum). New York and London, England: W. W. Norton & Company with Worcester Art Museum, 1990. No. 21, pp. 88–89. Creation & Craft: Three Centuries of American Prints. (exh. cat., Hirschl & Adler Galleries, Inc.). New York: Hirschl & Adler Galleries, Inc., 1990. No. 93, p. 89. Pelletier, S. William and Patricia Phagan. "John Taylor Arms: His World and Work." Georgia Museum of Art Bulletin 17 (1993): 1–124. Text p. 9; pl. 12, p. 52 (color). The Old Print Shop Portfolio 54:1 (October 1994): cover. Ill. cover. Hults, Linda C. The Print in the Western World: An Introductory History. Madison, Wisconsin: University of Wisconsin Press, 1996. Text p. 740; fig. 12.45, p. 741. Bourguignon, Katherine M., Lauren Kroiz, and Leo G. Mazow. America’s Cool Modernism: O’Keeffe to Hopper. Oxford, United Kingdom: Ashmolean Museum of Art & Archaeology–University of Oxford, 2018. Ill. p. 111, cat. no. 3 (color).

The Railroad

Edward Hopper

Date: 1922

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1996.23

Text Entries: Zigrosser, Carl. "The Etchings of Edward Hopper." In Prints: Thirteen Illustrated Essays on the Art of the Print Selected for the Print Council of America, edited by Carl Zigrosser. New York: Holt, Rinehart and Winston, 1962. No. 24, pp. 155–73. Levin, Gail. Edward Hopper: The Complete Prints. (exh. cat., Whitney Museum of American Art). New York and London, England: W. W. Norton & Company in association with the Whitney Museum of American Art, 1979. Pl. 87 (etching), pl. 88 (drawing for etching). Jacobowitz, Ellen S. and George H. Marcus. American Graphics 1860–1940, Selected from the Collection of the Philadelphia Museum of Art. (exh. cat., Philadelphia Museum of Art). Philadelphia, Pennsylvania: Philadelphia Museum of Art, 1982. No. 55, p. 58. Creation & Craft: Three Centuries of American Prints. (exh. cat., Hirschl & Adler Galleries). New York: Hirschl & Adler Galleries, 1990. No. 87, p. 85. Levin, Gail. Edward Hopper: A Catalog Raisonné. 4 vols. New York: W. W. Norton & Company in association with the Whitney Museum of American Art, 1995. Vol. III: fig. 231.1, p. 156. Bourguignon, Katherine M., Lauren Kroiz, and Leo G. Mazow. America’s Cool Modernism: O’Keeffe to Hopper. Oxford, United Kingdom: Ashmolean Museum of Art & Archaeology–University of Oxford, 2018. Ill. p. 139, cat. no. 40 (color).

Long Bay, Keewatin

Walter J. Phillips

Date: 1922

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1996.54

Text Entries: Le Japonisme en Amérique: oeuvres sur papier, 1880–1930 (Japonisme in America: Works on Paper, 1880–1930), Musée d'Art Américain Giverny, France (organizer). Venues: Musée d'Art Américain Giverny, France, September 15–November 30, 2002.

Billy Sunday

George Bellows

Date: 1923

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1995.13

Text Entries: Bellows, George. "The Big Idea: George Bellows Talks About Patriotism for Beauty." Touchstone 1 (July 1917): 269–75. Text p. 270. Weitenkampf, Frank. "George W. Bellows, Lithographer." Print Connoisseur 4 (1924): 225–44. Bellows, Emma S. and Thomas Beer. George W. Bellows: His Lithographs. New York: Alfred A. Knopf, 1927. Text p. 250 (index); ill. no. 111 (black & white). Francis, Henry Sayles. "The Lithographs of George Wesley Bellows." Print Collector's Quarterly 27 (1940): 139–65. Boorsch, Suzanne. "The Lithographs of George Bellows." Art News (March 1976): 60–62. Mason, Lauris and Joan Ludman. The Lithographs of George Bellows: A Catalog Raisonné. Millwood, New York: KTO Press, 1977. No. 143, pp. 184–85. Myers, Jane and Linda Ayres. George Bellows, The Artist and His Lithographs, 1916–1924. (exh. cat., Amon Carter Museum). Fort Worth, Texas: Amon Carter Museum, 1988. Text p. 53; ill. no. 44, p. 51 (black & white). Mason, Lauris and Joan Ludman. The Lithographs of George Bellows: A Catalogue Raisonné. San Francisco: A. Wofsy Fine Arts, 1992. No. 143, p. 212. Cartwright, Derrick R. The Extraordinary and the Everyday: American Perspectives, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text pp. 20, 22 (checklist); fig. 11, p. 20 (black & white). [specific reference to Terra print] Cartwright, Derrick R. L'Héroïque et le quotidian: les artistes américains, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text pp. 20, 22 (checklist); fig. 11, p. 20 (black & white). [specific reference to Terra print] Ottinger, Didier and Tomàs Llorens. Hopper. (exh. cat. Museo Thyssen–Bornemisza, Madrid, Spain and Réunion des Musées Nationaux–Grand Palais, Paris, France). Paris, France: Réunion des Musées Nationaux–Grand Palais, 2012. (English and French versions). Ill. cat. no. 8, p. 74 (color).

Yachts

Charles Sheeler

Date: 1924

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1996.50

Text Entries: Gordon, M. "A Catalogue of the Prints of Charles Sheeler." Photo/Print Bulletin I (1976). Driscoll, John P. Charles Sheeler, The Works on Paper. (exh. cat., Palmer Museum of Art). University Park, Pennsylvania: The Pennsylvania State University, 1974. No. 25, pp. 56, 74. Jacobowitz, Ellen S. and George H. Marcus. American Graphics, 1860–1940: Selected from the Collection of the Philadelphia Museum of Art. Philadelphia, Pennsylvania: Philadelphia Museum of Art, 1982. No. 69, pp. 72–73. Master Prints of Five Centuries: The Alan and Marianne Schwartz Collection. (exh. cat., The Detroit Institute of Arts). Detroit, Michigan: The Detroit Institute of Arts, 1990. No. 92, p. 111.

Minneapolis

Louis Lozowick

Date: 1925

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1995.9

Text Entries: Flint, Janet A. Louis Lozowick: Drawings and Lithographs. (exh. cat., National Collection of Fine Arts). Washington, D.C.: Smithsonian Institution, 1975. Cat. no. 26. Flint, Janet A. with foreword by Alfred P. Maurice. The Prints of Louis Lozowick: A Catalogue Raisonné. New York: Hudson Hills Press, 1982. Text p. 54; ill. no. 5, p. 54. Lithographs of Louis Lozowick (1892–1973) . (exh. cat., Hirschl & Adler Galleries, Inc.). New York: Hirschl & Adler Galleries, Inc., 1986. Cat. no. 2. American Modernist Prints: 1900–1945. New York: Susan Sheehan, Inc., 1987. Ill. no. 37. Louis Lozowick: A Centennial Exhibition of Paintings, Drawings and Prints. (exh. cat., Associated American Artists). New York: Associated American Artists, 1992. Text p. 15 (checklist); ill. no. 1, p. 13 (black & white). Cartwright, Derrick R. and Paul J. Karlstrom. American Moderns, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Ill. no. 8, p. 66 (black & white). [specific reference to Terra print] Cartwright, Derrick R. and Paul J. Karlstrom. L'Amérique et les modernes, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Ill. no. 8, p. 66 (black & white). [specific reference to Terra print] Brownlee, Peter John. Manifest Destiny / Manifest Responsibility: Environmentalism and the Art of the American Landscape. (exh. cat., Loyola University Museum of Art, Chicago, Illinois). Chicago, Illinois: Terra Foundation for American Art and Loyola University Museum of Art, 2008. Text p. 36 (checklist). Bourguignon, Katherine M., Lauren Kroiz, and Leo G. Mazow. America’s Cool Modernism: O’Keeffe to Hopper. Oxford, United Kingdom: Ashmolean Museum of Art & Archaeology–University of Oxford, 2018. Ill. pp. 46, 146, cat. no. 49 (color).

New York

Louis Lozowick

Date: 1925

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1995.10

Text Entries: Flint, Janet A. Louis Lozowick: Drawings and Lithographs. (exh. cat., National Collection of Fine Arts). Washington, D.C.: Smithsonian Institution, 1975. Cat. no. 25. The Gloria and Donald B. Marron Collection of American Prints. (exh. cat., Santa Barbara Museum of Art). Santa Barbara, California: Santa Barbara Museum of Art, 1981. Ill. no. 62, p. 98 (black & white). Flint, Janet A. with foreword by Alfred P. Maurice. The Prints of Louis Lozowick: A Catalogue Raisonné. New York: Hudson Hills Press, 1982. Text p. 54; ill. no. 6, p. 55 (black & white). Jacobowitz, Ellen S. and George H. Marcus. American Graphics 1860–1940, Selected from the Collection of the Philadelphia Museum of Art. Philadelphia, Pennsylvania: Philadelphia Museum of Art, 1982. Text p. 79; cat. no. 75, p. 79 (black & white). Master Prints of Five Centuries: The Alan and Marianne Schwartz Collection. (exh. cat., The Detroit Institute of Arts). Detroit, Michigan: Founders Society, The Detroit Institute of Arts, 1990. No. 65, p. 87. Louis Lozowick: A Centennial Exhibition of Paintings, Drawings and Prints. (exh. cat., Associated American Artists). New York: Associated American Artists, 1992. Ill. no. 2, p. 14 (black & white). Bourguignon, Katherine M., Lauren Kroiz, and Leo G. Mazow. America’s Cool Modernism: O’Keeffe to Hopper. Oxford, United Kingdom: Ashmolean Museum of Art & Archaeology–University of Oxford, 2018. Text p. 33, cat. no. 50 (checklist); Ill. pp. 32, 146 (color). Piccoli, Valéria, Fernanda Pitta, and Taylor Poulin. Pelas ruas: vida moderna e experiências urbanas na arte dos Estados Unidos, 1893-1976. (exh. cat., Pinacoteca do Estado de São Paulo and Terra Foundation for American Art). São Paulo, Brazil: Pinacoteca do Estado de São Paulo, 2022. Pl. p. 47 (color).

Brooklyn Bridge

Arnold Rönnebeck

Date: 1925

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1996.55

Text Entries: Master Prints of Five Centuries: the Alan and Marianne Schwartz Collection. (exh. cat., The Detroit Institute of Arts). Detroit, Michigan: The Detroit Institute of Arts, 1990. No. 88, p. 107 [illustrates variant Brooklyn Bridge]. Williams, Reba White. "Appendix 6: Arnold Rönnebeck (1885–1947)," in The Weyhe Gallery Between the Wars, 1919–1940. New York: PhD dissertation submitted to City University of New York, 1996, pp. 480–510. [Note: Williams's checklist of Rönnebeck prints, the most complete to date, is on pp. 498–500; Brooklyn Bridge is no. 1 of the "New York Subjects" cited on p. 498 (Marilyn Symmes Survey, 2003).] Griffith, Bronwyn and Lee A. Vedder. Paris-New York, aller-retour (New York-Paris Round Trip. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2002. Text p. 44 (French), 94 (English), 107 (checklist); fig. 18, p. 40 (color). [specific reference to Terra print] Gillespie, Sarah Kate, Kimberly Orcutt, Janice Simon, and Meredith Ward. Icon of Modernism: Representing the Brooklyn Bridge, 1883–1950. (exh. cat., Georgia Museum of Art, University of Georgia). Athens, Georgia: Georgia Museum of Art, University of Georgia, 2016. Text p. 21; p. 122, cat. no. 30; ill. p. 122, cat. no. 30 (color). Bourguignon, Katherine M., Lauren Kroiz, and Leo G. Mazow. America’s Cool Modernism: O’Keeffe to Hopper. Oxford, United Kingdom: Ashmolean Museum of Art & Archaeology–University of Oxford, 2018. Ill. pp. 152, detail p. 180, cat. no. 57 (color).

Mirabel

Walt Kuhn

Date: 1925

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1996.56

Text Entries: Cartwright, Derrick R. and Paul J. Karlstrom. American Moderns, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 61 (checklist). [specific reference to Terra print] Cartwright, Derrick R. and Paul J. Karlstrom. L'Amérique et les modernes, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text p. 61 (checklist). [specific reference to Terra print]

Easter Eve, Washington Square

John Sloan

Date: 1926

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1995.19

Text Entries: Paying no regard to the inclement weather, three young attractive women gaily stroll through Washington Square in New York. Sporting short skirts, side-buttoned coats and cloches, the fashionable trio might very well be shop girls-at the time, a "modern" yet socially sanctioned job for young, single women-on their way home from work. Believing that art should be a response to life, John Sloan sought his subject matter from the events and personalities around him. Certainly, with its vivacious young female subjects set against the triumphal arch of the Washington monument-a sly reference to the founding fathers-Easter Eve, Washington Square is a social comment on the "freedom" or liberty of the new, modern woman. Kenneth Hayes Miller also looked to the local neighborhoods around his Fourteenth Street studio for subjects and made the "matronly" female consumer his hallmark. Based on their classical predecessors, Miller's women are rendered with soft curves and clothes that accentuate their voluptuous forms, a marked contrast to the thin female silhouette considered in vogue at the time. In Leaving the Shop, Miller offers a generalized portrait of the modern female shopper; she stands as an active participant in her urban environment and moreover as a contributor to the nation's economy-a belief often reflected in the social rhetoric of the day. Sturdy and strident, these formidable women can be "read" as the mature outcome of Sloan's youthful group.

Villa Carlos Minorque

Pierre Daura

Date: 1927

Credit Line: Terra Foundation for American Art, Gift of Martha R. Daura

Object number: 2000.22

Text Entries: Guitart, I Argell and Joan and Teresa Maciá et al. Pere Daura 1896–1976, Retorn a Catalunya, Pintures, Dibuixos i Gravats. (exh. cat., Museu Nacional d'Art de Catalunya). Barcelona, Spain: Museu Nacional d'Art de Catalunya, 1999. No. 190, p. 96 (final state of print).