Signed in pencil. Annotated 'Edition of 50 – 1935' in the artist’s hand, bottom left margin. Johnson and Miller 81.
A superb, richly-inked impression, on cream laid paper, with full margins (1 to 1 1/2 inches), in excellent condition.
After the 1934 painting of the same title in the collection of Los Angeles County Museum of Art.
Reproduced and exhibited: 'The American Scene on Paper; Prints and Drawings from the Schoen Collection', Georgia Museum of Art, University of Georgia, 2008. Exhibited: 'Urban America, 1930-1970', RISD Museum, December 1, 2006 - February 25, 2007.
Impressions of this work are in the permanent collections of de Young Fine Arts Museums of San Francisco, Los Angeles County Museum of Art, Metropolitan Museum of Art, RISD Museum.
"In the 1920s, the City of New York built an extension to its subway system, connecting downtown Manhattan to Coney Island. The extension made a day trip to the beach possible for large portions of the metropolis's population. At Coney Island, artists quickly found an intoxicating visual metaphor for the mixture of culture, class, and race in the changing urban environment. The social novelties of Coney Island take precedence for the other artists. Overlapping bodies, sometimes vulgar postures, and discordant personal encounters all intimate the loosening of behavioral and class restrictions at the city beach, a destination increasingly regarded as a place for hustlers, loose women, thieves, and sideshow freaks. In these images, people-watching is a seductive pastime for both artist and viewer."
—from 'Urban America, 1930-1970' an exhibition at Rhode Island School of Design Museum, 2006-2007.
To view additional works by this artist visit our website at: http://keithsheridan.com/cadmus.html