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
New York at Night
Lithograph, 1951, 264 x 190 mm., Pabst L-28. Very fine impression in black and brownish grey with touches of pale yellow hand coloring by the artist, on white wove paper with large margins, signed and numbered in pencil. This was the artist’s last print. Oppenheimer, who from 1911 used the name MOPP, was born in Vienna, studied there and in Prague and for some time worked in the circle of Schiele and Kokoschka. He was exceptionally well known in German-speaking Europe for both his paintings and his prints, specializing somewhat in musical subjects, portraits and portraits of musical subjects – including those of Busoni, Szigeti, the Rose Quartet and Gustav Mahler conducting the Vienna Philharmonic with virtually every member of the orchestra identifiably delineated. He left Austria just before the Anschluss (his work had been declared “degenerate” by the Nazis and his paintings removed from German museums) and settled in New York City. Although this print is numbered in pencil from an edition of 250, that is almost certainly an optimistic fiction. Pabst notes an edition of 35 and the print is almost never seen on the market.