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John MarinBrooklyn Bridge No. 6 (Swaying)1913
1913
$45,000
£33,612.85
€38,968.73
CA$62,481.38
A$70,033.58
CHF 36,464.43
MX$855,139.95
NOK 462,965.76
SEK 438,849.90
DKK 290,748.96
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About the Item
John Marin (1870-1953), Brooklyn Bridge No. 6 (Swaying), 1913, Etching.
Z112. Edition c. 12 (Steiglitz); 1924, unknown but small (New Republic). Signed in pencil. Signed and dated 13 and B.B. 6 in the plate, lower left.
Image size 6 7/8 x 8 5/8 inches (175 x 219 mm); sheet size 9 1/4 x 13 inches (235 x 330 mm).
A superb, richly inked impression, with selectively wiped platetone; on warm cream wove paper, with full margins (1 to 1 5/8 inches), in excellent condition. Very scarce.
First published by Alfred Stieglitz in 1913, a small number of later impressions were printed as the work was slated to be included in the New Republic portfolio Six American Etchings. Only a few impressions were pulled before it was replaced by Marin’s Downtown, the El. Carl Zigrosser was unaware that Brooklyn Bridge No. 6 (Swaying) was ever included in the Set when he wrote the Marin catalogue; later, when he learned of it’s initial inclusion, he suggested that perhaps the plate had broken early in the run, and this hypothesis has been repeated through the years. But this is unlikely since the printer, Peter Platt (1859–1934), America’s most distinguished artists’ printer of the period, worked alone, and he was hardly prone to breaking copper plates. A more likely explanation is that Downtown the El was substituted because it is about the same size as the other prints in the set, whereas the Brooklyn Bridge No. 6 print is much larger; a plate of the same size as the others in the series , such as "Downtown," would facilitate the printing of a large edition. Each of the plates was purchased by the New Republic, and the paper’s records for 1924–5, as well as the plates used for the set have been lost or destroyed.
Collections: PMA, MMA (Stieglitz Collection), MoMA (Gift of Abby Aldrich Rockefeller).
- Creator:John Marin (1870-1953, American)
- Creation Year:1913
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU51531493983
John Marin
John Marin was born in Rutherford, New Jersey in 1870. His father was a public accountant; his mother died nine days after his birth. He was taken to his maternal grandparents with whom he lived in Weehawken, New Jersey. His grandparents, with their son and two daughters were the only parents Marin was to know; it has been suggested that his father seems to have ignored him. As a child of seven or eight Marin began to sketch and when he was a teenager he had completed his earliest watercolors. His education in the schools of New Jersey was interspersed with summers of hunting, fishing and sketching; he traveled in the Catskills, and as far away as Wisconsin and Minnesota. But formal training was almost incidental to his development as an artist. He is to America what Paul Cezanne was to France - an innovator who helped to oppose the influence of the narrative painters, the illustrators who were more interested in subject than form, in surface than substance. Marin brought to his work a combination of values which, at the turn of the century, was unique in this country: an aliveness of touch, colors that have both sparkle and solidity, and forms that are vibrant with an energy characteristic of our age. Marin established himself as a practicing architect. In the early 1890s, he worked for four architects and by 1893 had designed six houses in Union Hill, New Jersey. At the age of twenty-eight, he decided to become a professional artist and studied briefly at the Pennsylvania Academy of Fine Arts in Philadelphia and the Art Students League in New York City. As a watercolorist he had no equal. He used this fluid, spontaneous medium to abstract from objects - skyscrapers, boats, mountains and seas - a simplified anatomy of color and form and to define the pulsation of stresses and movements in the relationship of objects. It was a great disappointment, all his life, that his oil paintings did not achieve the popularity that his watercolors did. From 1905 to 1910 he worked in Europe, where he was influenced by Whistler's watercolors. It was Alfred Stieglitz, Marin's lifetime friend and dealer, whose firm faith in his genius made his position in the art world possible. He developed a distinctive style that he used most characteristically in powerful watercolors of the Maine coast. During the 1920s he provided the dominant force in the movement away from naturalistic representation towards an art of expressive semi-abstraction. He married Marie Jane Hughes after he returned to New York. They had one son, who grew up to run his father's considerable affairs. Marin continued to work at the same steady fast pace as long as he lived. Since 1908 he had produced 1700 paintings, an average of forty a year. He had made the frames for them as well. At the age of seventy-nine, he began to taper off from the days when he painted one hundred watercolors in a summer. He died in 1953.

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