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
Coney Island Beach (July 13, 1934)
Etching, 1934, 254 x 253 mm., Sasowsky 153 iv/iv (proof no. 1). Fine proof impression on an irregular sheet of wove paper watermarked France, with good margins, with the pencil notation “#1” and signed in pencil; pin holes at the sheet corners and a neatly repaired short tear at the upper right. This is apparently Sasowsky's proof number 1 of the fourth and final state, before the edition of 14, but there are differences in the plate between this proof and the edition, most particularly in the shading above the distant end of the boardwalk. The impression comes from the collection of the composer Carl Ruggles, who was a friend of the artist, and may have been given to Ruggles by Marsh. Marsh, one of the preeminent American artists of his time, and one of the greatest depicters of life in New York City, was the son of American citizens -- but he was born in Paris in an apartment above the Café du Dome. He came to America at the age of two.