REGINALD MARSH (1898-1954)
REGINALD MARSH (1898-1954)
REGINALD MARSH (1898-1954)
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REGINALD MARSH (1898-1954)

Coney Island Beach, No. 3

REGINALD MARSH (1898-1954)
Marsh, R.
Coney Island Beach, No. 3
signed 'Reginald Marsh 1938' (lower right)
tempera on masonite
36 x 30 in. (91.4 x 76.2 cm.)
Painted in 1938.
Frank K.M. Rehn Galleries, New York.
Acquired by the present owner by 2004.
“Marsh Speaks Anew of the ‘Common People’,” The Art Digest, vol. 13, December 1, 1938, p. 11, illustrated.
New York, Frank K.M. Rehn Galleries, Exhibition by Reginald Marsh, November 21-December 10, 1938, no. 6.
New York, New York World’s Fair, American Art Today, 1939, p. 120, no. 330, illustrated.
Tucson, Arizona, The University of Arizona Museum of Art, East Side, West Side, All Around the Town: A Retrospective Exhibition of Paintings, Watercolors and Drawings by Reginald Marsh, March 9-April 6, 1969, pp. 112, 164, no. 119, illustrated.
Roslyn Harbor, New York, Nassau County Museum of Art, FDR and the WPA Era: Art Across America, August 15-October 31, 2004, pp. 49, 56, illustrated (as Coney Island Beach).
Roslyn Harbor, New York, Nassau County Museum of Art, Reginald Marsh and Infamous New York, February 19-May 13, 2006, p. 2, illustrated (as Rockaway Beach).
Roslyn Harbor, New York, Nassau County Museum of Art, New York, New York, July 22-November 5, 2017 (as Coney Island Beach).

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Lot Essay

Few American artists delighted in the character and vitality of New York City as Reginald Marsh did. His work, which almost exclusively features New York, is a vibrant social and historical chronicle of the city throughout the decades of the 1930s, 40s and 50s.

While New York provided countless entertaining subjects to study, Marsh preferred to paint Coney Island. Unlike other New York landmarks that were recorded time and again by other artists from various schools, Coney Island was a yet-undiscovered subject when Marsh began to paint it. "Early in his career [Marsh] fell in love with Coney Island and became the first painter to fully exploit its flamboyant wonders—the crazy humor of Luna Park, the freaks and macabre images, the ceaseless movement of merry-go-rounds and revolving bowls, the breath-taking flight of swinging chairs, the babel of signs, and the surging holiday crowds—a wealth of fantastic imagery that gave him subjects all his life." (L. Goodrich, Reginald Marsh, New York, 1955, p. 9)

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