The Crash of '29 took its toll, but didn't discourage construction of the tallest skyscrapers in the world, which drastically changed the Manhattan skyline. This can be seen in the 1936 New York Harbor etching, created only 16 years after Dolice first came to New York.

             Captivated by the splendour of this new celestial architecture, Dolice pictured each of the new towers as seen from various neighborhoods around Manhattan, such as in the Chrysler Building viewed from upper Lexington Avenue, and the Empire State Building looking south from Tudor City. Other buildings, such as those around Madison Square, including the Metropolitan Tower and a skyward view from the park in Gotham show other perspectives he drew upon in picturing this neighborhood.

             In contrast to the horses and carriages of his early years in Europe, New York's public transportation system, such as the complexity of a Herald Square in 1932, was a marvel to him.

             The elevated trains of the city are often seen in his work. After learning in 1951 that the 3rd Avenue El, under the shadow of which he had maintained his home and studio near East 34th Street for over ten years was soon to be demolished, he recorded these scenes for posterity.

              Dolice did etchings of almost all of Manhattan's parks, from Morningside Park at New York's northernmost tip on the Upper West Side to the Lower East Side's Stuyvesant Park illustrate.

              In a single decade the relatively flat Skyline in 1920 , when the 60 story Woolworth Tower reigned supreme as the tallest skyscraper in Manhattan -- had evolved considerably, as can be seen in this 1930 Skyline. This copperplate sketch of New York's Rooftops, done originally as a greeting card, was only one of Dolice's many renderings of the silhouette of the city.