THEY CAME TO AMERICA
(“Immigrant Art” in the USA)
(“Immigrant Art” in the USA)
- de Saint-Mémin: Mrs. Cummings
- Moran: The Rapids
- van Beest: Two Fishermen
- Moran: The Passaic
- van Elten: The Deserted Mill
- Mielatz: Out of Commission
- Yeats: Rye, July 4, 1908
- Botke: Beside a Valley
- Nakamizo: Heron Lifting Off
- Charlot: Woman Lifting Rebozo
- Constant: Still Life with Pears
- Bormann: New York Aquarium
- Castellon: Waiting Women
- Takal: Man with a Cigar
- Lozowick: The White Spider
- Sangster: Niagara Falls
- Lovet-Lorski: Winged Man
- Sterner: The Penitent
- Hamilton: Feeding the Sparrows
- Sandzén: Mountain Lake
- Lucioni: Barn in the Hills
- Binder: Moses
- Eby: Goin’ Home
- Farrer: Sunset, Gowanus Bay
- Geritz: Mae Murray
- Grossman: Rain on the Square
- Sherman: Quadrille Band
- Brockhurst: Una
- Gottlieb: Low Tide
- Hoffbauer: Studies
- Oppenheimer: New York at Night
- Robinson: Horse Auction
- Bluemner: Winfield, Long Island
- Mora: Mother and Child
- Drewes: Rotterdam
- Fiene: Barns
- Marsh, Coney Island Beach
- Moser: Sunrise
- Eichenberg: Seven Deadly Sins
- Hayter, Greeting Card for 1945
- Kuniyoshi: Taxco, Mexico
- Roth: Street in Siena
- Winkler: Chow Seller
- Ruzicka: East River, Evening
- Reinhardt: Intermission
- Kadar: The Nativity
- Weber: Mountain Scene
- Schultheiss: The Flight into Egypt
- Walkowitz: Two Figures
- MacLaughlan: The Great Oak
- Auerbach-Levy: Cabby
- Neufeldt: Rhode Island
- Dolice: Off Asbury Park
- Friedlander: Brooklyn Bridge
- Hankins: Arrangement
Street in Siena
Etching, 1924, 301 x 159 mm., American Etchers 93. A fine impression, with varied plate tone, on laid paper with good margins, signed and dated in pencil; very pale time toning around the old mat opening. Roth was born in Stuttgart, Germany and came to America, with his family, as a child. He had the typical immigrant’s tough time, working during the day, studying art only at night, but he was able to learn etching under James Smillie, probably among the best teachers of the day. Roth’s work, both paintings and prints, was concerned primarily with interesting architecture, both here and in Europe. Quite early in his career he established a base in Florence, etched the local scenery and had the satisfaction of seeing a dozen of his etchings purchased by the Uffizi. There is nothing strikingly original about Roth’s work; he is merely expert. In this image of Siena he captures both the depth and the ornamental flatness of the view, and the subtle touch of leaving plate tone on the arch and foreground and wiping clean the sky and the buildings is an object lesson in meticulous craftsmanship and the gentle art of making a good print even better.