APRIL 25MAY 30, 2025
PATHS TO MODERNISM
Front Cover:
Bror Julius Olsson Nordfeldt, TheArtStudent,the PaintingClass , 1916, color woodcut, 11 7/8” x 11”
Opposite Page: Bror Julius Olsson Nordfeldt, Hero (Provincetown) , c. 1916, color woodcut, 12” x 12”
MODERNISM
MildredMcMillen
ChristmasGreetings , 1918
Woodcut on paper
10 ½” x 12 3/8”
A year and a half ago, Tim and I began working with a major print dealer in New
INTRODUCTION
A year and a half ago, Tim and I began working with a major print dealer in New York representing a private Eastern collector’s estate. It includes an assortment of striking masterworks by the artists active in Provincetown during WWI and a few years beyond. We are now thrilled to be able to present 40 of these remarkable objects.
Many of these works are extremely rare, classic examples of the oeuvre. Impressions of several are held by the world’s leading museums including the Metropolitan Museum, Museum of Fine Arts, Boston, National Gallery and Art Institute of Chicago. And recently, several objects from the show were exhibited in a groundbreaking exhibition held at the Museum of Fine Arts, Boston, entitled Blanche Lazzell and the Color Woodcut. We have also augmented this selection with a few other outstanding examples by these artists and their peers.
I hope you can join us to view these iconic Modernist objects.
James Keny
JAPONISME
Alice Schille
ItalianStreetScene , c. 1920-1925
Watercolor
5 3/8”x 4 ½”
Edna Boies Hopkins Bramble(Blackberry),c. 1907-08
Ethel Mars WomanatPiano , c. 1904-1908
Color woodcut
7” x 7 3/8”
Bror Julius Olsson
TheBranch , 1906
Color woodcut 11 1/8” x 8”
LadyatPiano , 1906
Color woodcut
8” x 10”
Ethel Mars
TwoMice , c. 1903-04
Color woodcut
4 1/8” x 4 ¼”
Bror Julius Olsson Nordfeldt
TheTree(TheTreeSpring,GreyTree) , 1906
Color woodcut
12 1/8” x 9 3/8”
Olsson Nordfeldt
Bror Julius Olsson Nordfeldt
“. . . Hale’s drawings, created primarily in the graphic media of charcoal, as well as chalk and pencil, are among the most beautiful and most subtle of their generation. Hale concentrated, as did the majority of her contemporaries among the Boston School of artists of the time, upon domestic interiors, a subject which also proved the principal domain of many women artists of her time, such as Mary Cassatt. . . . Hale’s drawings resonate with silence; her work speaks in a quiet voice, concentrating more than many of her contemporaries upon the single figure . . .”
William H. Gerdts, PhD
Professor Emeritus of Art History Graduate School of the City University of New York
Expert on American Impressionism and The Boston School
Lilian Westcott
Westcott Hale andNarcissus , 1912
Charcoal on paper
x 22 5/8”
Post
Impressionism
Ethel Mars
Nice,c. 1913
Color woodcut
7 ¾” x 8 3/8”
Ethel Mars
SeatedWomanwithChild,c. 1913
Color woodcut
8 7/8” x 8 7/8”
Impressionism
Ethel Mars
AuJardin , c. 1913
Color woodcut
8 5/8” x 7 5/8”
Ethel Mars
LeSerin , c. 1913
Color woodcut
7 ¾” x 6 7/8”
Ethel Mars
Ethel Mars
LaTerrace , c. 1913 Color woodcut 9 ¼ x 8 ¾ inches
Ethel Mars
Color woodcut
7 ¾” x 9”
Boies Hopkins SaucyDahlia , c.1915
Color woodcut
7 ¼” x 9”
Edna
Edna Boies Hopkins YellowDahlia(YellowSplendor),c. 1915
Edna Boies Hopkins
Hollyhocks , c. 1910-13
Color woodcut
10 7/8” x 7 3/8”
Karl Knaths
GeraniumatNightWindow , 1932
Color woodcut
7 7/8” x 5”
, c. 1916
, c. 1917-18
Ada Gilmore Chaffee
WalkingtoWellfleet(Gossip)
Color woodcut
9 ¼ x 9 7/8”
Ada Gilmore Chaffee
WalkingDog,Provincetown
Color woodcut
9 7/8” x 9 5/8”
Clamdiggers,Provincetown,c. 1917
Color woodcut
10 3/8” x 9 3/8”
Clamdigger,c. 1916-17
Color woodcut
10 3/8” x 9 3/8”
Maud Squire
Maud Squire
Maud Squire ComingHome,c. 1917 Color woodcut
StudiosintheWharf , c. 1915-16
c. 1917-20
Edna Boies Hopkins
Color woodcut
7 7/8” x 9 “
Edna Boies Hopkins MerryXmasfromCapeCod,
Color woodcut 4 ½” x 3 ½”
Gustave Baumann
SingingWoods(SingingTrees), 1928
Color woodcut
12 7/8” x 12 7/8”
Gustave Baumann
Provincetown
Color woodcut
9 ½”x 11 1/4”
Alice Schille RowofTreesc. 1925
Watercolor
17 ½” x 20 ½”
Alice Schille Zinnias,c.1920
Watercolor
17 ½” x 20 ½”
Alice Schille MediterraneanHilltown , c. 1920-25
Watercolor on paper
20 ½” x 17 ½”
Alice Schille
TheGardenPathc. 1915
Watercolor
10” x 12 “
Jane Peterson
St.Mark’sSquare , c.1920
Gouache on paper
18” x 24”
ItalianMarketScene,c.1920
Jane Peterson
Gouache on paper
17 ½” x 23 ¼”
Top Row from left: Maud Squire, FishermaninGreenCoat , c. 1895-1920, watercolor and pencil on paper, 11 1/8” x 12 1/8”; Maud Squire, WinteratSea,Provincetown,c. 1895-1920, color woodcut, 11 1/8” x 12”; Maud Squire, Loadinginthe Catch,watercolor and pencil, 12” x 11”.
Bottom Row from left: Ethel Mars, SailboatatLowTide , watercolor on paper, 11 7/8” x 12”; Maud Squire, Bathers, c. 1917-19, color woodcut, 9 ½” x 10 ¼”; Maud Squire, PinkHousesatSea,, watercolor and pencil, 11 1/8” x 12 1/8”;
RestingFisherman,c . 1895-20
Maud Squire
Watercolor, ink and graphite on paperd pencil on paperboard
10” x 10 ¼”
Edna Boies Hopkins
MountainWomen(TwoWomeninWhiteonHill) , 1917
Color woodcut
10 1/8” x 9 1/8”
Edna Boies Hopkins
Edna Boies Hopkins
CUBISM
Blanche Lazzell
TheMonongahela , 1919
Color woodcut
11 7/8”x 12”
Max Weber
Portrait,1919-20
Color woodcut
4 ¼” x 1 7/8”
Ada Gilmore Chaffee
ProvincetownChristmas , 1917
Color woodcut
9 7/8” x 9 7/8”
Raymond Jonson WatercolorNo.7
Watercolor and gouache on paper, 27 ¼” x 19 ¼”
DeerIsle,Maine,1921
John Marin
Watercolor on paper
16” x 19”
Alice Schille Juarez,Mexico,c. 1930
Watercolor on paper
18” x 21”
“Schille was clearly one of the earliest American artists to assimilate European modernism and to bring its influence to the United States. She discovered and understood the new movements at a profound level. In her notebooks, she praised Vincent van Gogh for ‘intensifying sunlight’ and Georges Seurat for ‘organizing his picture space architecturally.’ She especially admired Henri Matisse for ‘escaping all that was literary and photographic’ for his ‘return to naked rhythmic expression’ and for his ‘dynamic rhythms fixed in brilliantly harmonious color structure.’
Above all, Schille developed a highly original, personal style that is at once lyrical and powerful, sophisticated in technique and formal design, spare yet richly orchestrated. . .”
William H. Robinson, PhD. Curator of Modern European Art Head of the Department of European and American Painting and Sculpture Cleveland Museum of Art
William Zorach Boat , 1916
Linocut
6 3/8” x 8 ¾”
William Zorach Marine,1916
Linocut
6”x 7 1/2”
William Zorach
Sunrise,1916
Linocut
11 ½” x 8 ½”
William Zorach Sailing, Provincetown , 1915, Color woodcut
10 5/8”x 8 ½”
In Association with Susan Sheehan Gallery