“Brittany Beach,” Marion McClanahan (1921–1993), c.1970s hand-pulled color lithograph, 27.75×36 in (image 21.5×30), signed & numbered 99/300.

“Brittany Beach,” Marion McClanahan (1921–1993), c.1970s hand-pulled color lithograph, 27.75×36 in (image 21.5×30), signed & numbered 99/300.

“Brittany Beach” by Marion McClanahan (1921–1993) is a radiant, hand-drawn color lithograph that distills the joy of a summer harbor in Brittany into bold shapes and sunlit color. Sailboats, umbrellas, and moored skiffs float in fields of pink, blue, yellow, and green, expressing McClanahan’s signature blend of poetic atmosphere, modern design, and shimmering light. A limited-edition original lithograph, signed and numbered 99/300, this large, vibrant work comes from the retired Mitch Morse Gallery in New York and is ideal for collectors of coastal art, Paris-school modernism, and mid-20th-century American painters in Europe.

Artwork Description

“Brittany Beach” presents a sweeping panoramic view of a lively seaside harbor, seen from a vantage point high on the sand. The composition is anchored by a large red-and-white sailboat to the left, a tilted beach umbrella at center, and a green boat resting on shore to the right. Beyond, the harbor opens into deep ultramarine water dotted with small, brightly colored boats—blocks of pink, yellow, and white that bob rhythmically across the bay.

The distant shoreline curves inward, framing the water with ochre cliffs and bands of cool green vegetation. Low hills and islands rise on the horizon, while a soft, luminous pink sky stretches above, suggesting late afternoon or the magical end of a long summer day. The entire scene is simplified into flat planes and clean contours, yet the arrangement of shapes and color relationships creates convincing depth and movement.

McClanahan’s palette is characteristically unexpected and “pastel with a sting”: salmon pink against cobalt blue, chartreuse against sandy yellow, aquas and lilacs that feel both playful and sophisticated. The color is laid down in broad, even fields that echo screenprint or pochoir aesthetics, but the drawing retains a hand-wrought spontaneity—subtle wavering lines, small variations in edges, and the artist’s keen sense of rhythm.

This work is a limited edition, hand-pulled, hand-drawn color lithograph, printed on fine paper and pencil-signed “M. McClanahan” at the lower right, with the edition “99/300” at the lower left. The full sheet measures 27.75 × 36 inches, with an image size of approximately 21.5 × 30 inches. The print comes directly from the inventory of the retired Mitch Morse Gallery Inc., New York City, and has never been framed or displayed, leaving the image area in very good, frameable vintage condition.

“Brittany Beach” reflects McClanahan’s long relationship with coastal landscapes—Cape Cod, Brittany, and other shoreline locales that inspired her to transform ordinary scenes into luminous, poetic experiences. The work radiates sunlight, playfulness, and a distinctly personal sense of wonder.

Biography of Marion McClanahan (1921–1993)

Marion McClanahan was an American painter and printmaker whose work bridges American and European modernism, lyrical color, and a deep sensitivity to light. Born in Tulsa, Oklahoma in 1921, she traveled widely with her family throughout the American Southwest, the Great Lakes region, and Europe, absorbing visual impressions that would resurface throughout her career—Michigan shorelines, Kentucky landscapes, Parisian streets, Mediterranean light.

Although she is closely associated with Paris—particularly her studio at 5 rue de Plaisance—McClanahan also spent important periods working and exhibiting on both coasts of the United States. Her subjects are deceptively simple: beach scenes, motels, shacks, harbor views, studio interiors, and casually posed models. But, as critic and painter Knox Martinobserved, she approached “the most insignificant things” with elegance, grace, and sensitivity, giving them “a local habitation and a name.”

Poet Barbara Guest wrote that the objects in McClanahan’s paintings are bathed in an air that is “the fruit of a free imagination” rather than commonplace atmosphere; critic David Shirey described her work in the New York Times as “sparkling with sunlight, warmth and joy.” Writer Tom Prideaux noted that even in her soft, dune-and-sky paintings—seemingly composed of pastel colors—there is always a subtle sting, a small visual surprise or tension that prevents them from becoming merely decorative.

Author William Saroyan, a devoted admirer and collector, praised the “super-powerful fragility” of the light in her paintings and spoke of how her lines and light made him “feel perfectly at home in the bumbling, bungling human race.” His comments underscore the emotional generosity and humanism that underlie McClanahan’s art.

Stylistically, her work is distinguished by:

• A free-flowing yet disciplined line, often outlining simplified, organic forms

• Bold but delicate color relationships, with unexpected juxtapositions of lemon yellow, pale pinks, soft blues, and sea greens

• A sense of ease and spontaneity that belies the underlying structure and careful design of each composition

McClanahan’s career included numerous solo exhibitions, among them:

• University Club, San Francisco (1968)

• Vera Lazul Gallery, Cold Spring Harbor (1968)

• Bolles Gallery, San Francisco (1970)

• Graham Gallery, New York (1972)

• Galerie Chardin, Paris (1973)

• Drian Galleries, London (1975)

• Swearingen-Byck Gallery, Louisville, Kentucky (1975)

• Wood-McCann Gallery, Lexington, Kentucky (1975)

• Gloria Cortella, New York (1978)

• Island Art Center, Sea Island, Georgia (1979)

She also participated in group exhibitions at institutions such as the Provincetown Art Center and “New Directions in Art” in St. Louis, among others.

Her works entered significant private and public collections, including those of:

• Musée de Dieppe, France

• Musée d’Aix-en-Provence, France

• Writers and artists such as William Saroyan, Knox Martin, Irwin Shaw, and Pierre Salinger

• Collectors in Paris, London, Amsterdam, Seattle, Dallas, Washington, DC, and beyond

Marion McClanahan died in 1993, leaving behind a body of paintings and prints that continue to enchant viewers with their sunlight, clarity, and quiet, everyday miracles—qualities vividly present in “Brittany Beach.”

Marion McClanahan (American, 1921–1993), “Brittany Beach,” c.1970s, hand-pulled color lithograph on paper, sheet 27.75×36 in, image 21.5×30 in, signed lower right and numbered 99/300. Vibrant modernist harbor scene with sailboats, umbrellas, and sun-soaked sand; from the retired Mitch Morse Gallery, NYC. Unframed, very good vintage condition.

Certificate of Value & Authentication

Artist: Marion McClanahan (1921–1993)
Title: Brittany Beach
Date: c.1970s
Medium: Hand-drawn, hand-pulled color lithograph on paper
Sheet Dimensions: 27.75 × 36 inches
Image Dimensions: 21.5 × 30 inches
Edition: 99/300
Signature: Hand-signed “M. McClanahan” in pencil at lower right; edition number 99/300 at lower left
Printer/Technique: Traditional multi-color lithography, with flat planes of color and drawn contour lines consistent with the artist’s known graphic work

Condition:
Unmatted, never framed or displayed. Image area in very good, frameable vintage condition with only minor, expected age toning to margins.

Authenticity Statement:
This artwork is an original, limited-edition lithograph by Marion McClanahan. Signature, edition number, paper type, and printing characteristics are consistent with other authenticated McClanahan prints. The piece comes from the inventory of the retired Mitch Morse Gallery Inc. in New York City and is, to the best of our knowledge, a genuine work by the artist.

Provenance Chain (Collector-Formatted)

• Marion McClanahan (1921–1993) – artist; created and signed the lithograph
• Mitch Morse Gallery Inc., New York, NY – acquired directly from the artist or publisher; held in gallery inventory
• Artfind Gallery, Washington, DC – current owner, acquired from retired Mitch Morse Gallery holdings