John Marin, ‘Lighthouse, Stonington, Maine’, 1921, Hirschl & Adler Modern

Signature: Signed and dated (at lower right): Marin 21

M. H. De Young Memorial Museum, San Francisco, February 15–March 22 1949,
John Marin: Oils, Watercolors, Etchings, no. 9 (as Mark Island Lighthouse, Stonington, Maine), and
traveled to Santa Barbara Museum of Art, Santa Barbara, California, April 1–30, 1949, and Los
Angeles County Museum, May 12–June 12 1949 // Cincinnati Art Museum, 1961 // University of
Michigan, Museum of Art, Ann Arbor, Michigan, Works of Art Selected from Collections of Alumni
of The University of Michigan, Alumni Art Collections, October 1–29, 1967, no. 59

Sheldon Reich, John Marin: A Stylistic Analysis and Catalogue Raisonné, Vol. II
(Tucson: University of Arizona Press, 1970), p. 485, no. 21.27

The artist; to [The Downtown Gallery, New York]; to Harold O. Love, Detroit, Michigan, 1962, and by descent to the present owner

About John Marin

John Marin worked as an architect before embarking on his groundbreaking painting career. After traveling in Europe, Marin returned to America in 1910 and devoted his energies to distinctly American subject matter, particularly images of New York City and the coast of Maine. A prominent figure in Alfred Stieglitz's modernist circle, Marin participated in the 1913 Armory show, and had solo exhibitions at Stieglitz's “291” gallery. Marin worked primarily in watercolor, developing a bold, fluid style; with a distinctive blend of realism and abstraction, his paintings evoked the forces and energy of nature as well as the booming rhythms of rapidly evolving city life. “I see great forces at work; great movements…pushing, pulling, sideways, downwards, upwards, I can hear the sound of their strife and there is great music to be played," he once said. "And so I try to express graphically what a great city is doing.”

American, 1870-1953, Rutherford, New Jersey, based in New York and Cape Split, Maine