John Marin by John Marin, 1st Ed

Joan Mitchell-Drawing into painting by Mark Rosenthal. Published by Cheim & Read, New York, 2017. 1st Ed Exhibition Catalog (Oct. 27, 2016-Dec. 23,2016), hardcover with dust jacket. ...

Joan Miro by Carolyn Lanchner. 1st Ed softcover catalog. Published by Museum of Modern Art, New York, NY, 1993. Henri Matisse, 1st Ed softcover catalog. Published in conjunction with...

Marine Antiques by Marian Klamkin. Published by Dodd, Mead & Co., 1975. 1st Ed hardcover with dust jacket. The world of marine antiques for the collect...

Matisse Picasso by Anne Baldassari, Elizabeth Cowling, John Elderfield, Isabelle Monod-Fontaine and Kirk Varnedoe. Published by Tate Gallery Publishing ...

MARINO MARINI 1901-1980 Pistoia, Italy 1901-1980 Viareggio, Italy (Italian) Title: Graphic Work / Opera Grafica, 1972 1. Impressions/ Impressioni, 1959 2. Emotion of the Scene / Mo...

This work by John Marin depicts an image of lower Manhattan which was Marin's more iconic subject matter. The work has a stellar provenance as well. Provenance: Kennedy Galleries Richard York Gallery ACA Galleries...

John Marin (1870-1953), Downtown, The El, etching, 1921, signed in pencil lower left (also signed and dated in the plate). Reference: Zigrosser 134, only state. Published initially by Alfred Stieglitz and then included as part of the Folio of American Etchings by the magazine The New Republic in 1924, in an edition of unknown size but probably above 500. In very good condition, the full sheet, on Van Gelder wove paper, 6 3/4 x 8 3/4, the sheet 11 x 13 3/4 inches. Provenance: Hirschl and Adler Galleries, Inc., New York, New York. A fine bright impression. Initially the New Republic Set, sometimes known as Six American Etchings, contained Marin’s Brooklyn Bridge No. 6 (Swaying) (Zigrosser 112). But after a small number of sets were completed, Downtown the El was substituted for Zigrosser 112 (and so the number of Downtown The Els in the set would have been a bit fewer than the others in the set). Zigrosser, who apparently had not seen a complete set at the time he created the catalogue raisonne, conjectured that the substitution might have been because the original plate was damaged. But since the printer, Peter Platt, was the most renowned artist’s printer of his time, and worked alone, it is unlikely that he would have damaged the plate; a more likely possibility is that he switched to a print that was more comparable in size to the others in the set (The Brooklyn Bridge print...

Art Since 1945 book. Printed in New York by Abrams, 1958. Hardcover, text in English. No dust jacket. Including 60 color plates and 120 gravure pla...