Realism and Abstraction: Counterpoints in American Drawings, 1900-1940

Hirschl & Adler Galleries, New York, N.Y., Realism and Abstraction: Counterpoints in American Drawings, 1900-1940, November 12–December 30, 1983.
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The Cello Player, 1924–26 (128)
X Cliff, 1926 (141)
Cliffs, Long Nook, 1927 (151)
O'Neil's Wharf, 1913 (21)
Bound Brook House, 1935 (235)
Laboratory Beach, 1935 (237)
Country Club Park, 1937 (246)
Vase, 1937 (258)
Theater at Arles, 1937 (265)
Pine Tops, 1938 (288)
Villa Marie Jeanne, 1938 (293)
Orchard, 1938 (306)
Cows, 1938 (317)
Stone Tower, 1940 (363)
Martha, 1940 (380)
Constant, 19401941 & 1944 (387)
Marconi Ruin, 1941 (421)
Evangeline, 1942 (430)
Martha, 1942 (431)
Shirley, 1945 (478)
Indian Neck Point, 1946 (489)
Window and Oar, 1955 (545)
Inland Lake, 1919 (95)
Pink Rocks, Coast, La Cride, 1938 (270), as "Coast, Le Cride"
Gonzalez Studio, 1950 (522), as "Gonzales Studio"
Sand Cars at the Y, 1927 (811), as "Sand Cars at Troy"
Studio, 46 Pearl Street, Provincetown, 1923–24 (114), as "Studio, 46 Pearl St."
Studio, 46 Pearl Street, 1926 (802), as "Studio, 46 Pearl St."
Wood Interior, Sheldrake, 1926 (145), as "The Glen"
To Caro, 1927 (808), as "to Caro, July 28, 1927"
Wellfleet Beach, Indian Neck, 1940 (358), as "Wellfleet Beach"
Woods, Cove Road, 1945 (476), as "Wellfleet Yard"
Back of Harry Campbell's Shop, c.1914 (41), dated 1924
Marcia, 1935 (240), dated 1933-35