(American, 1908-1948)


Screen Print on Paper

12 x 9½  Inches

Certification of Authenticity, Verso, and Created in 1948


A lyrical and intricately detailed, figurative serigraph by this innovative, mid-century graphic artist. The central simplicity of the iconic composition is belied by its technical complexity. To realize this ambitious work, Cunningham employed as many as one dozen, hand-drawn silkscreen layers, each varying in pigment, hue and opacity. Created during the unprecedented creative ferment that characterized the last year of her life, this work represents a visionary achievement for both the artist and the medium.


Born in Indiana, Marion Osborn moved to California in 1911. She first studied art with the American Impressionist Ruth Heil Emerson before continuing her education at Santa Barbara City College and receiving her Bachelor of Arts from Stanford University. She subsequently furthered her studies at the California School of the Fine Arts and at the Art Students League in New York City, where she met and married the artist Ben Cunningham. Returning to San Francisco, she opened a studio on Montgomery Street, the center of San Francisco’s art colony, where she continued to paint and create graphic works for the remainder of her life. Over the course of a distinguished career, Marion Osborn Cunningham exhibited widely and with success, including at the National Serigraph Society, the Association of San Francisco Women Artists, the San Francisco Art Association, the San Francisco Museum of Art Inaugural (1935); the Golden Gate International Exposition (1939); San Francisco Watercolor Show (1939); and her memorial retrospective at the Bakersfield Art Association (1957). She was a member of numerous professional associations including the National Serigraph Society, the Association of San Francisco Women Artists and the San Francisco Art Association. Marion Osborn Cunningham's works may be found in the permanent public collections of museums nationwide including the National Gallery in Washington, DC; New York's Metropolitan Museum of Art and Museum of Modern Art; the Pennsylvania Academy of Fine Arts; the San Francisco Museum of Art; the St. Louis Museum of Art; the Cleveland Museum and the De Young Museum, among others.


Sheet Dimensions: 12½ x 11 Inches



1935 / San Francisco Museum of Art

November 1936 / San Francisco Art Association / 2nd Annual Exhibition of Water Colors and Gouaches

October 1937 / Art Center / “Pastels by Marion Cunningham”

1939 / GGE

1939 / Bolton & Van Horn Gallery, pastels

1939-1943 / San Francisco Society of Women Artists (Now San Francisco Women Artists)

1939 / San Francisco WC Ann

1939-1944 / San Francisco A.A

October 1940 / San Francisco Museum in the Veterans’ building / One Man Show

1940-1942 / Oakland Art Gallery

1943 / Ney Museum, Dallas

1943-1946 / National Serigraph Society

1944 / MoMA

1944 / NAD

1944 / LOC

1944 / San Diego FA Soc.

1945 / Audubon Artists

1945 / San Francisco Society of Women Artists

1945-1946 / Northwest Printmakers

1945 / CPLH

1946 / Stanford University

July 1948 / San Francisco Museum of Art / Marion Cunningham Memorial Exhibition

May 1950 / Prints Room of the State Library / Memorial Exhibition assembled by her parents

1957 / Bakersfield Art Association


Permanent Collections:

Fine Arts Museums of San Francisco[2]

San Francisco Museum of Modern Art[2]

Bakersfield Museum of Art[2]

Metropolitan Museum of Art (MMA)[2]

St. Louis Art Museum[2]

Cleveland Museum of Art[2]

de Young Museum

State Department Washington, DC

California Palace of the Legion of Honor (CPLH)

Moscow Museum

Oakland Museum of California (compliments of San Francisco Housing Authority)



Artists in California 1786-1940, Third Edition, Edan Milton Hughes: Crocker Art Museum, Sheridan Books 2002, Vol. 1, p. 266; Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 1, p. 796; Vollmer Allgemeines Lexikon der Bildenden Künstler des 20. Jarhhunderts, Hans Vollmer, Deutscher Taschenbuch Verlag 1992, Vol. 1, p. 502; Davenport’s Art Reference Guide, 2009/10 Edition, p. 669; Mallett’s Index of Artists, Supplement, Daniel Trowbridge Mallett, New York, 1948, p. 62; Emerging from the Shadows: A Survey of Women Artists Working in California, 1860-1960, Maurine St. Gaudens, Schiffer Publishing Ltd 2015, Vol. 1, p. 240-243; et al.







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