Lot 10
  • 10

John Marin 1872 - 1953

Estimate
150,000 - 250,000 USD
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Description

  • John Marin
  • New York No. 2
  • signed Marin and dated '25, l.r.
  • watercolor on paper
  • sight: 25 ¼ by 20 ¾ in.
  • (64.1 by 52.7 cm)

Provenance

Estate of the artist
Kennedy Galleries, New York, 1990
Acquired from the above, circa 1990s

Exhibited

London, England, The Waddington Galleries, John Marin, Retrospective Exhibition of Watercolors, October 1963, no. 19, illustrated

Literature

Sheldon Reich, John Marin: A Stylistic Analysis and Catalogue Raisonné, Tucson, Arizona, 1970, no. 25.62, p. 554, illustrated

Condition

Very good condition. Unframed: hinged to the mat in two places along top edge, pinholes in upper corners. Sheet size: 27 by 22 in. (68.6 by 55.9 cm)
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

Marin found the spontaneity of watercolor to be the ideal medium for capturing his subjects, be they the skyscrapers of New York, the wooded landscapes of New Jersey or the sailboats of Maine.  He was primarily concerned with the color and pattern of the world around him and used watercolor to express the rhythm of his surroundings.  Sheldon Reich writes about the artist's many views of New York, "Despite variations in form and intent, the manner of Marin's New York pictures is set for the rest of this decade [1920s] and well into the next. ... [They] all deal with geometric division of space that becomes more elaborately geometric with time.  Marin again concerened himself with the speed and tempo of the city as defined by the repetition of motifs, and blurring of forms, and the liberal use of dynamic diagonals ..." (John Marin: A Stylistic Analysis and Catalogue Raisonné, vol. II, 1970, p. 173).