Estate of the Artist

Kennedy Galleries, New York

Private Collection, New York, 2004


Sheldon Reich, John Marin: a Stylistic Analysis and Catalogue Raisonne, Tucson, Arizona, 1970, Vol.2, p.625, No.30.45, illus.

Klaus Kertess, Marin in Oil, Parrish Art Museum, Southampton, New York, exhibition catalogue, 1987, pp.45-46

As observed by Klaus Kertess, “Marin himself inaugurated the decade with a revival of the vitality of the Weehawken Sequence [some 100 small oil panels dating ca. 1916]. Of the nine oils he painted in 1930, eight comprised a series of small (14” x 18” or 18” x 14”) landscapes moving from fall through winter (Fall  nos. 1 – 5, Winter nos. 6 – 8). Fall of 1930, No.1, No.2 and No.3 are virtual curtains of crackling color that spread over all or almost all of the flat, horizonless surface…. Chronologically and stylistically, these paintings are situated between the frenetic energies of Derain’s and Vlaminck’s Fauvism and the harsh, crusty monumentality of Clyfford Still’s autumnal abstractions of the late forties….The last two Fall paintings encourage the paint to breathe in more representational space.”

John Marin (1870-1953)
No. 4, Fall of 1930, 1930

Oil on canvas
18 x 14 in
Signed & dated (l.r.): Marin '30
Signed & inscribed (verso): No. 4, Fall 1930, John Marin