Figurative

Robert L. Benney (1904-2001)

American Family, 1946

Medium: Oil on canvas
Image Size: 24” x 20”
Frame Size: 31.5” x 27.5”
Signature: Signed lower right and verso
Price: $2200

Biography/Statement

Robert L. Benney, a prolific painter and illustrator who belonged to the
vanishing breed of American combat artists, died on May 14 in Boston. He was 97 and had recently moved to Boston from Manhattan. Mr. Benney was widely shown, starting with an exhibition of theater drawings at the Museum of the City of New York in 1933. His portraits of war and peace found permanent homes at the Corcoran Gallery and the Smithsonian Institution in Washington, the Dallas Museum of Fine Art, the de Young Museum in San Francisco, the Franklin D. Roosevelt Library in Hyde Park, N.Y., and the Society of Illustrators in Manhattan.

His stark oils and watercolors were among the works of combat art featured last year on public television in the documentary “They Drew Fire.” The combat art collections of all four armed services in Washington contain examples of Mr. Benney’s work. Thirteen of his creations are in the Navy Art Collection at the Naval Historical Center, which put them online.

Born in Romania, Robert Benney was brought to New York as a toddler and became a steadfast New Yorker. He studied at the Art Students League and, later in life, taught at the Pratt Institute. At the age of 19, he started his own studio, selling illustrations to newspapers and magazines and eventually winning commissions for paintings from large corporations like AT&T, Standard Oil and Chrysler.

For many years, he sketched the stars of stage and screen. When the United States entered World War II, combat artists added another dimension to what the public at home gleaned from grainy newsreels and still photos. Most of the artists were members of the armed forces.

He returned to military themes in 1954 when the Society of Illustrators
volunteered to cover Air Force operations in North Africa. He underwent some fast combat training to join the Marines in Vietnam for two months at Danang in 1968.

Artist Profile Page: Benney, Robert / Categories: Figurative

Other Available Works by this Artist:

Similar Works

Figurative

Seymour Joseph Guy (1824-1910)

Two Children and a Bird, dated 1877

Medium: Oil on canvas
Image Size: 54” x 42”
Frame Size: 70” x 58”
Signature: Signed lower right
Price: $65000

Biography/Statement

Seymour Joseph Guy established a reputation in the United States in the mid-nineteenth century as one of the finest genre painters of children. His primarily cabinet-sized pictures were esteemed by his fellow artists and leading collectors of American art. He was widely respected for his technical ability and knowledge of the science of painting, but with the emergence of a younger generation of European-trained artists in the 1880s, Guy’s meticulous and smoothly polished scenes of childhood began to fall out of fashion. In recent decades his art and talent have been reappraised by museums, scholars, and collectors of early American art, but up to now almost nothing has been published about his life and career.

Guy was born and raised in Greenwich, England, a parliamentary borough of London. He was the son of Jane Delver Wilson and Frederick Bennett Guy (d. 1833), and he had two brothers, Frederick Bennett Guy Jr. (1823-1899) and Charles Henry Guy (1824-1861). Following their mother’s death, probably in the late 1820s, the children were raised by their father, an innkeeper and owner of various commercial properties. Upon Frederick’s death in July 1833, the siblings appear to have been raised under the guardianship of John Locke, the proprietor of the Spanish Galleon, a tavern that still stands on Church Street in Greenwich, or John Hughes, a Church Street cheese merchant.

Growing up, Guy attended a day school in Surrey. He developed an early interest in art, and was fond of painting dogs and horses. At the age of thirteen he expressed a serious desire to become either an artist or a civil engineer. His guardian responded by taking away his pocket money in hopes of motivating him to make a different career choice. Undaunted, Guy took up sign painting and earned enough money to buy the supplies he needed to continue his art education. For a brief period in the later 1830s he studied with a marine painter named Butterworth or Buttersworth—probably Thomas Buttersworth (1768-1842), who was a resident of Greenwich and had a successful career as a painter of ships and coastal scenes.

About 1839 Guy’s guardian convinced him to seek training as an engraver, but the expense of placing him as an apprentice with an engraving firm proved prohibitive. Instead Guy began a seven year apprenticeship in the oil and color trade, which entailed making pigments and preparing binders, as well as combining those ingredients to make paint either by hand-grinding or working a steam driven machine. The experience led Guy to grind and mix pigments for his own work.

Frederick Bennett Guy had stipulated in his will that his estate be divided among his children when Charles reached the age of twenty-one. This occurred about 1845, and closely coincided with the conclusion of Seymour’s apprenticeship and the death of his guardian, providing him with the freedom and means to pursue an artistic career. An influential friend by the name of Müller asked him if he wanted to study at the Royal Academy in London, but Guy preferred to study on his own at the British Museum. The next day Müller provided him with the necessary permit to set up his easel and copy paintings in the galleries, an opportunity Guy would later recall with great gratitude.

Guy decided to supplement his experience at the museum by joining the studio of the painter Ambrosini Jerôme (1810-1883). For a period of probably four years, he spent four days a week on his own and three days with Jerôme, who worked as a portrait, mythological, historical, and genre painter, and in the mid-1840s served as portrait painter to Princess Victoria of Saxe-Coburg-Saalfeld (1786-1861), the Duchess of Kent and mother of Queen Victoria (r. 1837-1901). Under Jerôme’s tutelage, Guy focused on whatever brought in money—portraiture, designs for naval basins, “effects” for architects, and plans for ships in isometrical perspective. Guy had probably accrued knowledge of naval vessels while studying under Buttersworth, who had served in the Royal Navy.

In 1851 Guy exhibited Cupid in Search of Psyche (whereabouts unknown) at the British Institution. A small related version or sketch for the picture shows Cupid sitting on a shell that is propelled by a sail. The picture foreshadows Guy’s later interest in depicting children, as well as his occasional enthusiasm for mythological and nude subjects. According to the National Cyclopaedia of American Biography, before leaving England, Guy painted “many copies of old masters and painted portraits with much success in London.” In 1852 he married Anna Maria Barber (c. 1832-1907), daughter of William Barber, an engraver. The couple had nine children who undoubtedly served as models for their father.

In 1854 Guy and his family immigrated to New York, settling in Brooklyn. He briefly became a prominent figure in the art life of the city. For several years he had a studio in the Dodworth Building on Montague Street in Brooklyn Heights, which housed the studios of a number of the city’s leading artists. In 1857 he became a founding member of the Sketch Club there, and at that time may have first come into contact with the English-born genre painter John George Brown (1831-1913), with whom he would form a close friendship.

For many years the two were virtually inseparable. Guy and Brown were probably initially drawn together by their English background and training and their shared penchant for minute workmanship and careful finish. During their years together in Brooklyn, Guy and Brown gravitated toward artists and collectors of British heritage. They formed close friendships with the Scottish-born collector and amateur artist John M. Falconer (1820-1903) and the English-born collector and restaurateur John Campion Force (1810-1875). During this period Guy painted several portraits, including one in 1859 of Benjamin G. Edmonds (1821-1895) (New-York Historical Society, New York), Captain of the Thirteenth Regiment of the New York State Militia headquartered in Brooklyn, which he considered to be among his finest.

In 1861 Guy and Brown headed across the East River to the artistic shores of Manhattan. Guy took a studio at the other Dodworth Building on Broadway, and Brown moved into the Tenth Street Studio Building. In 1863 Guy followed Brown into the now legendary three-story brick structure, which opened in 1857 and over the course of the next decade became the bastion of the American artistic establishment.

Among the many prominent artists to reside there during the course of Guy’s forty-seven year occupancy were Sanford Robinson Gifford, Albert Bierstadt, Frederic Edwin Church, and William Merritt Chase.

Guy began to paint genre scenes of children about 1861, taking his cue from Brown, who started to picture children in rustic country settings by 1859. It is likely that the two artists made frequent visits together to Fort Lee, New Jersey, in the early 1860s, and that it was while there that Guy’s art moved in this new direction. Fort Lee, which was quickly and easily reachable by ferry, remained an agrarian outpost of New York City until the 1920s. Brown settled in the town in 1864, and Guy and his family moved there from Brooklyn two years later. In 1873 Guy and his family returned to New York, where he remained for the rest of his life, inhabiting a series of different residences in the vicinity of East 120th Street in Manhattan.

The majority of Guy’s genre scenes from 1861 to 1866 feature children playing in a country setting in summertime. A typical example is Open Your Mouth and Shut Your Eyes, which is probably the work exhibited under the title Close Your Eyes at the Artists’ Fund Society in New York in late 1863. Several of Guy’s pictures of the period center on the interaction of a brother and sister, in which the sister is portrayed in the act of garnering her brother’s attention. As is typical of his genre paintings, the surface of the picture is marked by a smooth, glossy, enamel-like surface. Colors are carefully blended and fused, and brushstrokes are invisible. Guy’s early genre scenes typically include a picket fence, which spans the width of the background and creates a physical enclosure, which helps to convey a sense of intimacy, safety, and distance from the regular cares of the world. Also, small objects or pieces of furniture frequently appear in the right foreground of his scenes, which help to lead the viewer into the composition.

About 1866 Guy developed a greater interest in creating interior genre scenes. His first major attempt to combine portraiture and genre painting was his 1866 work The Contest for the Bouquet: The Family of Robert Gordon in Their New York Dining-Room. The Scottish-born Gordon (1829-1918) was a founding member and trustee of the Metropolitan Museum of Art and had previously acquired Guy’s genre scene Love Launched a Ferry Boat (c. 1863, whereabouts unknown). The Contest for the Bouquet features the dining room of the Gordons’ house on West Thirty-third Street. Their extensive art collection, consisting mainly of American landscapes, is tiered on the walls of the elegantly appointed room. The vivid blue draperies and dress of the older daughter and the bright red leggings of the younger son add brilliant touches of color to the otherwise subdued tones.

The setting for the picture provided Guy with a rare opportunity to completely articulate a large interior space, and he masterfully handled the rendering of the room’s perspective. During his lifetime he was highly regarded for his knowledge of perspective, and was sometimes called upon by colleagues seeking help with their compositions. In 1885 a writer for the Brooklyn Daily Eagle remarked that Guy was “deeply versed not only in the mechanism of painting, but in perspective, and has made some valuable observations in the measurement of distant objects and the effect of distance on color and light.” It was also reported that Guy “can analyze a composition, scale its merits and defects and reveal its hidden curves and lines as accurately as the chemist analyzes a drug.”

The primary focus of The Contest for the Bouquet is on the three children standing in the left foreground, two of whom playfully attempt to grab the bouquet from the outstretched hand of their older brother, whose other hand firmly holds onto his school books. Guy’s genre paintings regularly feature books that are either held in a child’s hand or that have been momentarily put aside because of an interruption or distraction. A number of pictures also center on mothers reading to their children. The three children are probably angling to see which one of them will have the honor of presenting the floral bouquet to their mother, who looks on calmly from her chair while holding her youngest daughter. Interestingly, the arrangement of figures brings to mind Jacques Louis David’s Oath of the Horatii of 1784 (Musée du Louvre, Paris). In addition to combining portraiture and genre, Guy appears to be slyly alluding to French neoclassical history painting, an unexpected source for such a playful family scene.

In October 1867 Guy followed up The Contest for the Bouquet with his painting Evening, which was commissioned by John M. Falconer and features a portrait of his mother, Catherine Stewart Falconer, seated in the picture-lined parlor of John’s Brooklyn house. Evening is one of a series of pictures that Guy painted between 1867 and 1873 that feature an interior bathed in the light of an oil lamp, gaslight, or candle.

In 1873 Guy received the most important and controversial commission of his career, a portrait of William Henry Vanderbilt and his family posed in the drawing room of their home at the corner of Fifth Avenue and Fortieth Street in New York. Vanderbilt had become fond of Guy during the course of his frequent visits to the Tenth Street Studio Building, where he acquired genre paintings by Guy, Brown, and other artist tenants. Apparently he presented Guy with the grouping, idea, and motif for the work, which features him and his wife surrounded by their children, who are about to step out for a night at the opera. Vanderbilt may have conceived this combination of portraiture and genre after seeing Guy’s painting of the Gordon family. In the early 1870s Vanderbilt was not well known to the public, having yet to emerge from the large shadow of his father “Commodore” Cornelius Vanderbilt (1794-1877), then considered the wealthiest man in the country.

Going to the Opera was displayed at the 1874 annual exhibition of the National Academy of Design, where it attracted great crowds because of its representation of members of such a prominent family, but received a generally poor reception from the art critics. Guy escaped blame for what the critics saw as deficiencies in the painting’s setting and subject, which they felt he had been obligated by his patron to represent. Several mentioned that the room was simply too small to gracefully contain such a large group of figures. The critic for the Nation also thought that the room was poorly decorated, and criticized “the complete want of individuality in the furniture, the expressionlessness of every inch of background, the machine made look of the carvings, the iron oppressiveness of the black arched molding, completely at war with the wall decoration, etc.” Another writer criticized the room’s color, noting that the “dull buff brown of the walls, lit up by the yellow light of the gas, too nearly coincides with the gilding on the frames, and not even the mat of black which encircles the picture can break the continuity.” The critic for the New York Evening Express felt impelled to mention Guy’s picture in the context of commenting that family groups “on canvas are abominations at the best, but when the figures are dressed up in spic-and-span new clothes, and introduced much after the manner of a fashion-plate they become doubly offensive.”

In 1876 the artist and journalist Thomas Bangs Thorpe (1815-1878) published an article about Guy and his work in Baldwin’s Monthly. It includes a strong defense of Going to the Opera and was likely fueled by Guy’s own feelings about the attacks and the merits of his canvas, for the two were friends. Thorpe wrote that the critics had generally missed the work’s higher aim as a work of art, and that this had resulted in a great loss of opportunity for American art. Thorpe believed that had the exalted notion of domestic affection that prompted the creation of this picture been properly, considerably treated by the “art critics,” there is no doubt but that the fashion of having portraiture combined with the charms of genre pictures, would have been established…. It would fill our parlors with exquisite works of art, and preserve the exact likeness of face and dress of our handsome, unsurpassed women, as they appear in the era of representation, giving these pictures in time, not only the highest value as works of art, but also a most pleasing historical importance.

Following the exhibition of Going to the Opera, Guy devoted most of his attention for the next decade to creating generally small domestic genre scenes, such as Up for Repairs  and Temptation. He never again created a work on the scale and ambition of the Vanderbilt picture.

During the 1880s he returned to creating portraits on a regular basis and also developed an interest in painting ideal heads, sometimes portraying a woman in a picturesque setting or out being entertained. In his later works he continued to paint slowly and deliberately, to employ a careful glazing technique, and to prefer a smooth lacquered surface. From about 1874 onward there was growing criticism of Guy’s paintings for their polished technique and lack in variety of texture.

The important writer and historian of American art Samuel G. W. Benjamin (1837-1914), for example, felt that his works were overly elaborate in technique and that this robbed them of “freshness and piquancy.” Guy also had his defenders, such as the art writer and curator Sylvester R. Koehler (1837-1900), who in 1886 noted that “Guy values elegance and finish more than the facility which is the charm of much of the work now current, he has frequently, and most unjustly, been assailed of late,—even while the same qualities in [contemporary] French painters were reckoned of value, and his deeper qualities have been overlooked.”

By the time of his death in 1910, Guy was almost completely forgotten as an artist. During the last decade of his life he seems to have served as something of an elder statesman to younger artists interested in increasing their knowledge about the art and craft of painting. The lengthiest eulogy for Guy appeared in the Century Association’s annual publication dealing with club affairs, where it was related that Guy is remembered with deep affection by artists who came to him as to an older man of recognized position. He was most genial, cordial, and ready to place himself and the methods of his art at their disposal, rejoicing in their companionship and keeping himself young through participation in their pursuits. For twenty-two years he was of the rare artistic fellowship of The Century, though of late years, through the infirmities of age, seldom here.

Today it is time to linger again before Guy’s canvases and appreciate their special beauty, charm, and technical virtuosity.

Artist Profile Page: Guy, Seymour Joseph / Categories: Figurative

Other Available Works by this Artist:

Similar Works

Figurative, Illustration

Albert Herter (1871-1950) American

Medium: Oil on Canvas/Board
Image Size: 20” x 14”
Frame Size: 28” x 22”
Signature: Signed lower left
Price: $12500

Biography/Statement

Albert Herter is best remembered in East Hampton, New York for two reasons: as the original owner of the Creeks, the extravagant 60-acre estate on Georgica Pond, later the home of the painter Alfonso Ossorio and the dancer Ted Dragon and now owned by Ronald Perelman; and as the father of Christian Herter, Dwight D. Eisenhower’s second Secretary of State.  Some might say he should be better known as an artist, for before his death in 1950, he was celebrated for his historical murals.

But time has not been kind to the Maxfield Parrish or N.C. Wyeth style that to some extent Albert Herter often emulated, probably because these painters are thought of as mere illustrators rather than true artists.  Time has its benign side as well, for nostalgia seems to envelop everything remotely interesting from the past these days, and Albert Herter is no exception.

In a new, slim volume of stories, A Dubious Lineage, the Herter family has for the first time published some reminiscences Mr. Herter wrote of his childhood and marriage and about painting, including a family genealogy as well as a beautifully written postface by Patsy Southgate.

An Artistic Family:
While the publication of these stories is not a major literary event, they do have a certain charm, especially for East Hamptoners who have an interest in the town’s cultural history. Albert Herter was the son of Christian Herter, an important interior designer and cabinetmaker whose elaborate work can still be seen in the Morgan Library and the Metropolitan Museum.  Mr. Herter, born in 1871, grew up in a home devoted to the arts.  Although his father was an extremely successful furniture designer, his secret ambition was to become a painter, and 10 years after his son’s birth, he gave up his career in New York, where he was known as “society’s darling as well as its decorator,” to move to Paris to study painting.

As a student in Paris, Mr. Herter met Adele McGinnis, the daughter of a prominent banker, whom he married soon after.  They traveled to Japan for their honeymoon where they spent much of their time painting.  The life they had settled on for themselves, to become artists, was possible because of sizable inheritances from both their families.  The Herters were therefore able to devote their time to their work and soon, Mr. Herter became known as an important artist.

His two most famous works were both murals.  One, dedicated to the memory of his son who was killed during World War I, was painted for the Gare de l’Est in Paris. The second, inspired by his second son, Christian, later the Governor of Massachusetts and Secretary of State, hangs in the House of Representatives in Boston.

Herter also formed a company to design and manufacture tapestries, upholstery and curtains; as a result, Mr. Herter became both an artistic and a financial success. Much of the money he earned and inherited went into building the Creeks, designing its extensive gardens, installing many extravagances like a Venetian gondola on the pond, and generally leading life on a grand scale. The Herters were a sophisticated couple, traveling as widely as one could in the days before jet airplanes.  They lived in California much of the time, but came back most summers to East Hampton.

When Adele Herter died in 1946, Mr. Herter moved to the Algonquin Hotel, but continued to spend his winters in Santa Barbara and summers out east.  The commentary accompanying the stories suggests that his last years were spent with his companion Willy Stevens, who was responsible for saving the texts that have now finally been published.

Source:
Excerpted from a review by Richard Dunn of the book, Herter, A Dubious Lineage, organized by his family:

Artist Profile Page: Herter, Albert / Categories: Figurative, Illustration

Other Available Works by this Artist:

Similar Works

Figurative, Portrait

Carlo Cherubini (1890-1978) European

"Paris, 1930"

Medium: Oil on Canvas
Image Size: 40” x 29”
Frame Size: 50” x 39”
Signature: Signed and dated "Paris, 1930"
Price: SOLD

Biography/Statement

Carlo Cherubini was born in Venice, son of a famous Venetian painter. He took part in 1914 at the International Exhibition of Venice and the decoration of the Lido in Paris by painting many decorative panels around the theme of carnival. In 1930, he received the medal of honor at the Salon of French Artists and the silver medal in 1932. His works belong to several museums in Italy and many private collections.

Artist Profile Page: Cherubini, Carlo / Categories: Figurative, Portrait

Other Available Works by this Artist:

Similar Works

Figurative

William St. John Harper (1851-1910) American

Medium: Oil on Board
Image Size: 24” x 17”
Frame Size: 34” x 27”
Signature: Signed lower left
Price: $7500

Biography/Statement

Painter, etcher, illustrator and teacher, William St John Harper was active for many years in the environs of New York City including East Hampton.

He received his first instruction with John Whittaker at the Brooklyn Academy of Design. From 1872 to 1875, he studied in antique and life classes at the National Academy of Design with Thomas Le Clear and Lemuel Wilmarth, and there won an honorable mention his first year in life drawing.  He also studied in Paris with Leon Bonnat and Mihaly Munkacsy.

In New York City, Harper became one of the organizers of the Art Students League, which he served as a teacher and President in 1881.  At the League, he also took classes including from William Merritt Chase and Walter Shirlaw.

In 1879 he became manager of the Art Department for the New York Daily Graphic newspaper and also did illustrations that appeared in Harper’s Weekly and Scribner’s. As a painter and illustrator, he was especially noted for his images of women and children.  However, he was a sporadic painter, and only occasionally exhibited at the National Academy of Design. In 1892, he won the Thomas B. Clarke Prize from the Academy for an exhibited painting titled Autumn, and shortly after, he was elected an Associate member.

Harper also became a teacher at Cooper Union and Newark Technical School in New Jersey.

Memberships included the Artists’ Aid Society and New York Etching Club. He exhibited at the National Academy of Design and New York Etching Club and was a prize-winner at the Pan-American Expo, Buffalo, 1901.  Harper conducted a summer art school in East Hampton in 1898.

Sources:
John Davis, “William St. John Harper”, Paintings and Sculpture in the Collections of the National Academy of Design, Volume One (David Dearinger, Editor) Oxford Gallery

Artist Profile Page: Harper, William St. John / Categories: Figurative

Other Available Works by this Artist:

Similar Works

Figurative, Portrait

Desire Francois Laugee (1823-1896) European

Medium: Oil on Wood Panel
Image Size: 13” x 19”
Signature: Signed and dated 1881 right center
Price: SOLD

Biography/Statement

Désiré-François Laugée was a versatile artist who exhibited at the Paris Salon annually for a fifty-year period (1845-95). Born at Maromme near Rouen, he began his artistic training at Saint-Quentin with Louis-Nicolas Lemasle (1788-1870), a student of Jacques-Louis David (1748-1825). He then studied at the École des Beaux-Arts in Paris under the well-known teacher François Edouard Picot (1786-1868), another student of David. In his paintings of historical and religious subjects Laugée achieves emotional intensity though the powerful rendering of his figures, and the figures in his portraits and genre pictures have the same solidity and presence. Several of Laugée’s Salon entries were purchased by the French government, including Saint Louis Washing the Feet of the Poor (Ministry of State) and The Death of Zurbaran (Ministry of the Interior). Works in museum collections include Peasant Women of Picardy (Museum of Fine Arts, Bordeaux) and A Picardy Woman Spinning Wool (Museum of Fine Arts, Amiens).

Artist Profile Page: Laugee, Desire Francois / Categories: Figurative, Portrait

Other Available Works by this Artist:

Similar Works

Figurative

D. Jerome Elwell (1847-1912) American

Venice

Medium: Oil On Canvas
Image Size: 40” x 26”
Signature: Signed "Venice" lower left and dated 1880
Price: SOLD

Biography/Statement

D. Jerome Elwell was born in Massachusetts, June 12, 1847. He was the son of George and Elizabeth Pulcifer Elwell. He died at age 65 in Naples, Italy in 1912. He did watercolors, pastels and drawings. Some of the Belgium work which was early was dark. The pastels which were on brown paper came later and were done in Venice under the influence of Whistler.

Artist Profile Page: Elwell, D. Jerome / Categories: Figurative

Other Available Works by this Artist:

Similar Works

Ash Can School, Figurative, Regionalist (Urban)

Reginald Marsh (1898-1954) American

Medium: Oil on Board
Image Size: 4” x 3”
Frame Size: 8” x 7”
Signature: Initialed lower left
Price: SOLD

Biography/Statement

An urban realist painter of New York City genre, Reginald Marsh devoted his career to depicting people going about their everyday business including Bowery bums, vulgar party goers, and persons elbowing their way in crowded subways.  He was also a printmaker, completing about 236 etchings*, lithographs*, and engravings*, and devoted much time, especially in the 1930s, to printmaking*. Many of his paintings were done in watercolor and egg tempera*.

He was born in Paris to American-born artist parents, Fred Dana and Alice Randall Marsh.  His family settled in Nutley, New Jersey in 1900 and later in New Rochelle, New York.  After graduating from Yale University, he worked as a free-lance illustrator in New York City for the Daily News and The New Yorker and studied at the Art Students League*.

He was much influenced by urban realists John Sloan, George Luks and Kenneth Hayes Miller.  He went briefly to Europe and then returned to New York to pursue his sympathetic depiction of low-life subjects.  In the 1930s, he did murals for the W.P. A., and in 1943, he was elected a full Academician to the National Academy of Design.   Reginald Marsh died in Dorset, Vermont in 1954.

Source:
Michael David Zellman, 300 Years of American Art

Artist Profile Page: Marsh, Reginald / Categories: Ash Can School, Figurative, Regionalist (Urban)

Other Available Works by this Artist:

Similar Works