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Treasures From the Towns

March 15 - April 23, 2005

Having searched public buildings from Bourne to Provincetown for wonderful pieces of fine art, the Cahoon Museum of American will present "Treasures From the Towns" from March 15 through April 23, 2005.

The exhibition will feature some 75 works discovered on the walls of libraries, historical societies, town halls, a courthouse and two senior centers -- all places where people rarely go primarily for an aesthetic experience. Chatham Town Hall, for instance, has a couple of lovely paintings, but how many Chatham residents really notice them when they're preoccupied with paying their property taxes? And how many people from Sandwich or Dennis will ever see them at all? "Treasures From the Towns" will bring these gems together at a venue where visitors from all over the Cape can see them and fully appreciate their artistic value. (right: Dodge McKnight (1860-1950), Garden, watercolor)

A beautiful Charles W. Hawthorne painting of three Provincetown fishermen pulling in a net full of fish is coming to the museum from Orleans District Court. Although quite large, it's the epitome of an artwork hiding in plain sight. Normally, it hangs on the wall adjacent to the rear entrance, where guards are busy checking visitors through security. Safe to say, not too many visitors take time to contemplate the Hawthorne.

On the other hand, thanks to Provincetown's rich heritage as an art colony, the town hall there looks rather like an art museum. Superb paintings by Provincetown artists hang all along the hallways and in meeting rooms and offices. The Cahoon Museum is borrowing 15 works from the town, a healthy representation of the more than 300 pieces in its collection. Reading like a virtual Who's Who of Early Provincetown Artists, the names include Hawthorne, E. Ambrose Webster, Gerrit A. Beneker, Frank Desch, Oliver Chaffee, Blanche Lazzell, Pauline Palmer, Ross Moffett, R.H. Ives Gammell, Karl Knaths and Henry Hensche.

Libraries and historical societies have been particularly good sources for finding "treasures." Sandwich Public Library has two of the best works by Dodge Macknight (a watercolorist who was acquainted with van Gogh) you're likely to see anywhere, including one of his own garden in Sandwich. Brooks Free Library in Harwich has a rather extensive collection of "Rogers Groups," plaster statuettes mass-produced by John Rogers in the late 19th century. The Cahoon Museum is borrowing two of the most popular. Several landscapes from historical societies will offer views of Cape Cod as it appeared long ago. Among them are a scene of Ballston Beach by Arthur V. Diehl and a scene of Nauset Heights by Louisa Winslow Goodwin, an apparently amateur artist with a charming touch.

Portraits will be an especially strong component of the show. They were selected, first, for their artistic quality, but it never hurts for the sitter to have been a fascinating person. Cotuit Library is loaning a gorgeous portrait that local artist Reginald Bolles painted of his wife, Claudia, probably in the early 1930s. Hard to believe this serene lady's first marriage ended in a highly publicized scandal of illicit love and murder. The centerpiece of Chase Library in West Harwich is an impressionist portrait of Salome Chase, the wife of the native son who became wealthy as a founder of Chase & Sanborn coffee company. Other faces with claims to fame will include Daniel Davis, an 18th-century patriot and judge from Barnstable; Captain Ebenezer Harding Linnell, who set speed records in the days of clipper ships and built a neoclassical villa (the Captain Linnell House) in Orleans; Susan Glaspell, the playwright who co-founded the Provincetown Players; and Joseph C. Lincoln, the successful author of Cape Cod novels. (right: R.H. Ives Gammell (1893-1981), William)

Other well-known artists represented in "Treasures From the Towns" include Charles D. Cahoon, Martha Cahoon, Xavier Gonzalez, Jo Nivison Hopper, Peter Hunt, James Lechay, Frank Vining Smith and marine artist William P. Stubbs. But there are also many fascinating works by artists whose names have been forgotten.

An opening reception will be held from 5 to 7 p.m. Friday, March 18. John Miller will provide live music on piano, and refreshments will be served.

The "Treasures From the Towns" exhibition has been generously sponsored by the Cape Cod Five Cents Savings Bank Charitable Foundation.

Wall and label text from the exhibition. The artworks are listed in alphabetical order by artist name.

Back in the summer of 2001, we presented "Tell Me a Story: Chapter 2," an exhibition of narrative artworks by Cape and islands artists. Among the pieces was a Harold Dunbar painting of George Washington bidding farewell to his troops. We'd found it at Chatham Town Hall and wondered how many people noticed it when they came in to pay their property taxes, apply for a variance or delve into septic system regulations. Over time, we also borrowed works from Chatham Historical Society, Centerville Historical Museum, Eldredge Public Library and Bourne Historical Society. We became curious to know what other wonderful things were out there in unexpected places.

 

Thus, the idea for "Treasures From the Towns" was born. First, we sought out artistic gems residing in public buildings where people rarely go primarily for an aesthetic experience. Then we brought these special works together at a venue where visitors from all over the Cape (and beyond) can see them and fully appreciate their artistic value.

 

The greatest number of works - 15 - come from Provincetown, where the town has more than 300 pieces in its collection (not to be confused with the collection of Provincetown Art Association and Museum). Thanks to Provincetown's rich heritage as an art colony, the town hall there looks rather like an art museum. Superb paintings hang all along the hallways and in meeting rooms and offices. We also found some gems at many of the Cape's historical societies and libraries. A few pieces have been borrowed from other town halls, two senior centers and a courthouse. We could have continued our search in public schools, police and fire departments, etc., but ran out of time and space.

 

One thing that's struck us is the substantial size of many of the pieces. We're theorizing that one reason people give artworks to public buildings may be because they can't find adequate space at home. In any case, we're most appreciative of the chance to fill the Cahoon Museum with these treasures.

 

"Treasures From the Towns" has been generously sponsored by Cape Cod Five Cents Savings Bank Charitable Foundation. We're very grateful for its support.

 

 

BARNSTABLE

 

Alice Ayling's Fortuny Gown c. 1920

 

Mariano Fortuny (1871-1949)

Velvet with silk lining

 

COLLECTION OF CENTERVILLE HISTORICAL MUSEUM, GIFT OF ALICE AYLING

 

This is the tea or hostess gown Alice Ayling wore in sitting for her portrait by Reginald Bolles. She may have purchased the dress in Paris while on her honeymoon in 1920. At the turn of the century, fashion designer Mariano Fortuny had created a sensation with pleated gowns based on the column-like chitons worn by maidens in Greek sculptures. Later, he used Renaissance patterns on rich velvet. By the end of World War I, chic Americans were delighted to wear his formerly "bohemian" fashions. Inspired by early Renaissance fashions, this Fortuny gown makes an elegant statement through its rich fabric, softly flowing lines, flared train, full-length accordion pleats, gold cording and long sleeves.

 

 

BREWSTER

 

Joseph C. Lincoln c. 1925

 

Harold M. Brett (1880-1955)

Oil on canvas

 

COLLECTION OF BREWSTER LADIES' LIBRARY ASSOCIATION

Joseph C. Lincoln was born into a seafaring Brewster family in 1870 and grew up on the Cape until his teens. After brief stints in business, art and editing, he became famous for his novels, set on Cape Cod, which he wrote in rapid succession during the first four decades of the 20th century. He had 47 books published in all, starting with the poetry compilation "Cape Cod Ballads" in 1902 and including "Blair's Attic," "Cap'n Dan's Daughter," "Keziah Coffin," "The Portygee" and "Doctor Nye of North Ostable." He also wrote many short stories for magazines, especially during his early career. After he became successful, he maintained a summer home in Chatham. His habit was to write in the morning and go fishing or golfing in the afternoon.

Lincoln had a wonderful ability to capture the flavor of the villages and people of old Cape Cod. For instance, his sea captains and their salty neighbors often speak in the vernacular. Though often rather transparent, his plots are wholesome, touched with humor and inclined to end so all is right with the world. "Perhaps I could write a story with wholly gloomy situations and unhappy misadventures, but I wouldn't like to try it," Lincoln once said. "I would much rather try to make people cheerful and keep myself cheerful at the same time. Life contains both laughter and sorrow; and it seems to me that one is as real as the other."

The artist, Harold Brett, illustrated a number of Lincoln's novels. His portrait of the author shows him relaxing with his pipe, looking self-satisfied in a down-to-earth, approachable sort of way. The model ship points to his heritage, the books on the table to his career as a writer.

 

 

ORLEANS

 

Orleans Strawberry Festival 1996

 

Shirley Aleman (1936- )

Oil on canvas

 

COLLECTION OF ORLEANS HISTORICAL SOCIETY

 

Sponsored by Orleans Historical Society and Orleans Improvement Association, the Strawberry Festival is held annually on the grounds of the historical society. Several artists were invited to paint there on location in 1996. The improvement society later purchased Shirley Aleman's piece for the historical society's collection.

 

The historical society's building, an 1833 Greek Revival church, is included in the painting. So is the artist's dog Poppy, a black cockapoo who's now 19, and a number of figures who resemble ­ Aleman emphasizes the word ­ Orleans residents. "It was charming," she says of the event. "Coming from big cities, it really touched me." Aleman moved from Detroit to Orleans in 1985.

 

 

BARNSTABLE

 

Lesser Tern 1836

 

Engraved, printed and colored by Robert Havell Jr. (1793-1878)

After a painting by John James Audubon (1785-1851)

 

COLLECTION OF COTUIT LIBRARY ASSOCIATION, GIFT OF FRANCES SCHWAB HEWICK

 

In 1806, John James Audubon became seized by a passion to study birds and resolved to spend his spare time depicting every American species. By 1820, he was devoting full time to his goal, traveling from Canada to the Gulf of Mexico, working his way along the major rivers and exploring the East and Gulf coasts. While previous bird artists had worked from stuffed specimens, Audubon wanted his subjects to look natural and lifelike. Ironically, to achieve this, he often shot more than a hundred birds a day. Then, using a special technique he'd devised, he wired their freshly killed bodies in animated positions. Primarily, he worked in watercolors, but often mixed his mediums. Vegetation and backgrounds were usually painted by his assistants.

 

Between 1827 and 1838, Audubon's paintings were published as engravings in the four-volume set "Birds of America." It contained 435 hand-colored prints; represented 1,065 individual birds; and sold for the astronomical sum of $1,000. All but the first 10 engravings were done by Robert Havell Jr. in England. Audubon closely supervised the reproductions, but Havell (who later moved to this country and became a Hudson River artist) influenced some compositions and backgrounds.

 

This engraving of the lesser tern ­ No. 64 in the series ­ shows an adult with spring plumage and a young bird in September of the year. According to information the donor provided to the library in 1973, the lesser tern once nested on the sand spits of Cotuit. As high tides and storms washed the spits away, the birds moved to Sampson's Island.

 

 

YARMOUTH

 

Captain Otis White c. 1841-1861

 

Attributed to Giddings H. Ballou (1820-1886)

Oil on canvas

 

COLLECTION OF THE HISTORICAL SOCIETY OF OLD YARMOUTH

 

Captain Otis White's oval portrait is one of the attractions at the Captain Bangs Hallet House in Yarmouthport. Collection manager Audrey Harris provided us with this information about the captain's short life: White was born in Yarmouth in 1826. Going to sea was a natural for him as he had three uncles who captained ships. He himself is known to have commanded the ships Competitor, Renown and Ringleader. He was sailing the Ringleader from Hong Kong to San Francisco in 1862 when the ship wrecked on Formosa (now Taiwan) and mooncussers looted all of its cargo. Apparently already ill, White suffered a further decline in health during the two months he spent on the island overseeing the ship's repairs and preparing insurance manifests for the cargo's owners. Shortly after returning to Yarmouth, he died at age 37.

 

As for the artist, Giddings H. Ballou was the son of Hosea Ballou 2nd, a Universalist minister and the first president of Tufts College. Despite growing up in a learned home and being considered an invalid, young Ballou made the unusual decision to become an itinerant portrait painter. When he arrived in Brewster in 1847, he found the salt air invigorating. He remained there until at least 1853, boarding with a lawyer and his wife and painting many of the area's residents. In 1850, when photography threatened his business, he advertised in two Cape newspapers, offering to paint from either life or tintypes. He probably left the Cape because he ran out of work. Later in life, he lived off and on in Chatham, working winters as a schoolteacher. He finally moved there permanently.

 

 

PROVINCETOWN

 

Net Mender of Provincetown 1917

 

Gerrit A. Beneker (1882-1934)

Oil on canvas

 

COLLECTION OF THE TOWN OF PROVINCETOWN, COURTESY OF THE PROVINCETOWN ART COMMISSION

 

After studying at the Art Institute of Chicago and the Art Students League in New York, Gerrit Beneker came to Provincetown around 1911 to study with Hawthorne. Around 1916, he began responding to his Cape environment with a thoroughgoing impressionist style. A review of his work in Boston that fall noted: "The sunlight that flecks the dunes at the tip of the Cape is getting into his blood; it is making him do outdoor things that have quite a bit of scintillation." But Beneker wasn't as well-known for his impressionist scenes as for his paintings of industrial laborers ­ and for endowing the working man with an air of nobility. He became famous for his World War I Liberty Loan Poster, "Sure, we'll finish the job."

 

In "Net Mender of Provincetown," Beneker's regal treatment of the working man meets his impressionist bent. The man's introspective gaze was quite typical of Beneker; it may well be that he adopted this device from Hawthorne, who was famous for it. This piece might be classified as a portrait, but to some extent Beneker was painting a Provincetown "type." It's safe to say the man didn't commission the painting; he was probably doing Beneker a favor by sitting for him. Nevertheless, we still get a real feeling for the personality and character of this particular individual. We have it on good authority, by the way, that there was likely no town "net mender." Every fisherman mended his own nets as time allowed.

 

 

BARNSTABLE

 

Claudia Elizabeth Bolles c. early 1930s

 

Reginald Fairfax Bolles (1877-1967)

Oil on canvas

 

COLLECTION OF COTUIT LIBRARY ASSOCIATION

 

Claudia Bolles was the wife of the artist, who enjoyed a good deal of success as an illustrator and portrait artist. The couple lived right here in Cotuit and, probably because they were a charming pair, no one delved too deeply into the nebulous rumors surrounding Mrs. Bolles' past. But as they can tell you at Cotuit Library, this fine-looking lady was once at the center of a scandal reported with gusto in such major newspapers as The New York Times and The Washington Post. At age 16, against the will of her parents, she married Peter Hains II, a military officer from a prominent family. They quickly had three boys, with the last one born around 1907. Shortly thereafter, Hains was sent to the Philippines. During his absence, Claudia (or "Libby" as she was known) became romantically involved with William Annis, a good friend working in magazine publishing. He, too, was married, but had a friend who'd loan them his New York apartment for afternoon trysts. Meanwhile, Hain's brother, Thorton, got wind of the affair. He informed Peter, who quickly headed home from the Philippines. On Aug. 15, 1908, the Hains brothers discovered Claudia and her lover as they were about to take off for an afternoon sail from the Bay Side Yacht Club on Long Island. Peter Hains shot William Annis eight times while Thornton Hains held off other yacht club members with a revolver. Annis died a few hours later. Peter Hains was convicted of manslaughter and sentenced to eight to 16 years in Sing Sing. He was pardoned after serving about 2_ years. Accused of child neglect as well as infidelity, Claudia lost custody of her children and never saw them again. When notified of her death in 1969, they were in shock, as they hadn't even known she was still living.

 

 

BARNSTABLE

 

Mrs. Charles Ayling 1922

 

Reginald Fairfax Bolles (1877-1967)

Oil on canvas

 

COLLECTION OF CENTERVILLE HISTORICAL MUSEUM

 

The daughter of a farmer, Alice Gabriel Summers was born in 1893 in South Bend, Ind. In 1920, she became the second wife of Charles Ayling, a wealthy Boston investment banker who was some 18 years her senior and a native of Centerville. By the time she sat for this picture, Charles had retired and the couple were living full time in their 22-room mansion on Bumps River Road in Centerville. Apparently, Alice was musically inclined, as she served on the music committee for Old Home Week in the village. We also know she had quite a large collection of watercolors by Dodge Macknight. (One of her paintings, now owned by Centerville Historical Museum, is on view in this exhibition.) She lived to be 94 and is buried at Beechwood Cemetery in Centerville.

 

We know far more about her husband. Thanks largely to his vision and efforts, Cape Cod Hospital opened its doors on Oct. 4, 1920. Later, Ayling funded a new wing, which was (and remains) named in his honor, and bought a respirator for the hospital ­ one of the first three in the country. He was also a great supporter of Centerville Historical Society; funded the construction of Centerville Public Library; bought the property on which to site the airport in Hyannis; played a key role in bringing electricity to Centerville; and helped establish Centerville Fire District and Beechwood Cemetery.

 

 

CHATHAM

 

Portrait of Captain and Mrs. Joseph Kelley

c. 1930-1933

 

Harold M. Brett (1880-1955)

Oil on canvas

 

COLLECTION OF CHATHAM HISTORICAL SOCIETY

 

Harold Brett studied at the Boston Museum School, at the Art Students League and also with master illustrator Howard Pyle in Wilmington, Del. He illustrated numerous stories for Harper's and other national magazines and also many books, including Joseph C. Lincoln's popular Cape Cod novels. Later in his career, Brett specialized in portraiture, with a particular focus on Cape sea captains. According to Chatham Historical Society curator Ernest A. Rohdenburg III, this double portrait has been much admired for the deep sense of unspoken communication between the Kelleys. The captain holds wire-rimmed glasses, and his left hand rests on his Bible. His wife is, perhaps, sewing. Heads inclined slightly toward each other, they both seem at peace with the world.

 

 

HARWICH

 

Marsh at Sunset

 

Charles D. Cahoon (1861-1951)

Oil on canvas

 

COLLECTION OF BROOKS FREE LIBRARY

 

The son of a sea captain, Charles Cahoon grew up in Harwich. Although he taught himself to paint at an early age, he spent almost 20 years working as a retoucher in a photography studio in Boston before devoting himself full time to painting around 1900. Initially, he divided his time between the city and the Cape. In 1917, he began to live only in Harwich, taking on the mantle of "village artist." A sensitive and prolific painter of landscapes, seascapes and the occasional genre scene, he bears the distinction of being the first native Cape Codder to become a really fine professional artist. This lovely marsh scene is one of about a dozen paintings of his on permanent display in the Charles D. Cahoon Local History Room at Brooks Free Library.

 

In "He Painted Cape Cod: The Life and Works of Charles D. Cahoon," Barbara M'Cready Sykes quotes Alice Davis, who painted with the elderly artist when she was a young woman: "Mr. Cahoon knew the Cape, he had it in his eyes and in his heart. The lovely colours, the quiet and peace of the old Cape Cod were all in his work. He didn't block out areas but painted directly on the board or canvas, getting as much done as possible before the light changed. He would refine and finish a picture at home, slowly and carefully going over skies and big areas until no brush strokes showed. His paint was smooth, thin and delicate, except when he painted rocks when he might underpaint with a palette knife."

 

 

HARWICH

 

Seaview House

 

Charles D. Cahoon (1861-1951)

Oil on canvas

 

COLLECTION OF HARWICH HISTORICAL SOCIETY

 

Located on Salt Water Pond in Harwich Port, Seaview House was an inn owned by Rinaldo Eldridge. (Later, the pond was dredged and became Wychmere Harbor.) It was one of several hotels along the Harwich Port shoreline at the time. A fire destroyed the inn on Dec. 26, 1893. Presumably Cahoon painted this oil before that date, although it's also possible he worked from a postcard.

 

Like nearby Brooks Free Library, Harwich Historical Society owns several Cahoon paintings, which it displays at its Brooks Academy Museum on Parallel Street. Built in 1844 as a private school, Brooks Academy later became the site of the town's high school. Martha Farham (Cahoon) was part of the graduating class of 1922.

 

Because she grew up in Harwich, Martha knew Charles Cahoon even before she met Ralph (who was distantly related to Charles). "One day when I was wearing a sort of net on my hair which was decorated with beads and Mr. Cahoon wanted to paint me or perhaps it was really the net," Martha is quoted as saying in Barbara M'Cready Sykes' biography on Cahoon." "But I was shy, I didn't want to be painted and the net and I missed being immortalized."

 

 

BARNSTABLE

 

Down on the Farm 1960

 

Martha Cahoon (1905-1999)

Oil on masonite

 

COLLECTION OF COTUIT LIBRARY ASSOCIATION

 

"Down on the Farm" normally hangs near the circulation desk at Cotuit Library, just a mile or two down Main Street from the museum, which was, of course, Martha Cahoon's longtime home. Martha herself gave the painting to the library. This scene of early spring shows a city couple bringing their little girl to see a country farm. In some ways, the picture seems to recall Martha's girlhood in Harwich, where her mother maintained quite an extensive vegetable garden. Martha later described how her family raised one pig a year. Although it was destined to become pork, she and her sisters always treated it like a pet. Martha also reminisced that pumping water was a novelty when she first moved to Harwich at age 10. But, she added, it quickly became boring.

 

 

FALMOUTH

 

Deborah Bodfish Woodbury c. 1840

 

Alvin Card (dates unavailable)

Oil on canvas

 

COLLECTION OF FALMOUTH HISTORICAL SOCIETY

 

This portrait of Deborah Bodfish Woodbury usually hangs in the dining room of Falmouth Historical Society's Julia Wood House. Deborah was the daughter of Captain William Bodfish and Mary Crocker. Bodfish became a fully licensed master sea captain before he turned 21. According to information provided by Falmouth Historical Society, he made arrangements to marry Mary while he was away across the Atlantic. In a letter to a friend, he requested that a horse and carriage be waiting for him when his ship came into view off Quisset. The women at home began cleaning and baking and helping Mary prepare for the wedding. Then, on the afternoon on Dec. 1, 1816, Captain Bodfish, dressed in a broadcloth coat and tall beaver hat, was rowed ashore to the carriage and taken to Mary's home. When the minister finally arrived at 10 o'clock that night, the couple were married. Bodfish drove his bride to his home around the village green, gave her a hasty kiss and returned to his ship, which was bound for Germany. Their daughter Deborah, named after Bodfish's first wife (who had died when she was only 23), was born in 1820. This portrait of Deborah was painted when she was about 20, soon after she married a Mr. Woodbury. She had a short life, dying in 1851. Little is known of the artist, Alvin Card, except that he also made telescopes for a living.

 

 

PROVINCETOWN

 

My Room in Vence c. 1922

 

Oliver Newberry Chaffee (1881-1944)

Oil on canvas board

 

COLLECTION OF THE TOWN OF PROVINCETOWN, COURTESY OF THE PROVINCETOWN ART COMMISSION

 

Oliver Chaffee was one of the most artistically adventurous of all the Provincetown artists. He was inspired by Matisse, van Gogh and Cezanne in particular, and by the modernist movements of Post Impressionism, Fauvism and Cubism in general. "My Room in Vence" gives us an inside view on how Chaffee lived during his time abroad in Vence, France, in the early 1920s. The dog curled up on the mat. The bottle of wine on the mantel. The coats and hat hanging from hooks by the door. They are telling details, one and all. But it's especially delightful to notice the mirror that reflects Chaffee himself, standing there painting the interior, with a glimpse of the mountains visible through the window behind him. Soon after, Vence became an artists' colony. Chaffee once described it as "a faraway Provincetown suburb."

 

 

PROVINCETOWN

 

Still Life, Vence, A.M. 1922

 

Oliver Newberry Chaffee (1881-1944)

Oil on linen canvas

 

COLLECTION OF THE TOWN OF PROVINCETOWN, COURTESY OF THE PROVINCETOWN ART COMMISSION

 

 

CHATHAM

 

Chatham Band Concert c. 1950s

 

Grace D. Chapin (born early 1900s-died c. early 1960s)

Oil on canvas

 

COLLECTION OF CHATHAM TOWN HALL

 

Grace Chapin kept a studio on Main Street in Chatham in combination with an antiques shop. Her rather magical painting of a band concert at the gazebo delights many visitors to Chatham Town Hall, where it hangs over the staircase leading to the lower level. The artist's son gave the painting to the town in her memory in 1964. At one point, the picture was reproduced as a postcard and sold at the Mayflower Shop in town, according to Giles Chapin, her nephew.

 

 

CHATHAM

 

Joan of Arc at Domremy

 

Mechanical reproduction by Barbedienne foundry after a marble sculpture by Henri Michel Antoine Chapu (1833-1891)

Bronze

 

COLLECTION OF ELDREDGE PUBLIC LIBRARY

 

This bronze reproduction of a marble sculpture by the 19th-century French sculptor Chapu has been in the collection of Eldredge Public Library since 1921, when a Mrs. Armington left it to the library in her will. It comes from the renowned Barbedienne foundry of Paris. In 1836, Achille Collas, an engineer, invented a machine that could make proportionally larger or smaller duplicates of sculptures. Two years later, he went into business with metalworker Ferdinand Berbedienne, making reproductions of such antique sculptures as the Venus de Milo. Soon, the company was also making reproductions of works by living artists and, by the time Collas died in 1859, employing some 300 artists and foundry workers.

 

Chapu's original sculpture apparently dates from 1870. It depicts Joan of Arc as a peasant girl in her native village of Domremy. The story is well-known, how, when Joan was about 13, she began to hear voices (which she later identified as those of St. Michael, St. Catherine and St. Margaret) giving her the mission of liberating France from English domination. Chapu expressed her beauty of spirit and strength of character through her lovely face and form. Irene Gillies, the director at Eldredge Public Library, says that patrons always want to touch Joan as they walk by her. Adults caress her head or stroke her nose. Children finger her fingers. Notice how the patina gleams brown in these places.

 

 

DENNIS

 

Jacob Sears Centennial, Late Afternoon 1996

 

Shawn Dahlstrom (1949- )

Oil on canvas

 

JACOB SEARS MEMORIAL LIBRARY

 

Shawn Dahlstrom has lived within easy walking distance of Jacob Sears Memorial Library in East Dennis for 31 years. She loves going into the library, where the volunteers make a fuss over helping her. She loves the building and its history. So when Jacob Sears celebrated its centennial in 1996, she commemorated the occasion by doing six paintings of the library at different times of day. Five of them sold. Joy Wingett, also of East Dennis, bought this one for herself, but donated it to the library a couple of years ago with the artist's blessing.

 

 

DENNIS

 

Child and Dog c. late 19th century

 

Leender de Koningh (1810-1887)

Oil on board

 

COLLECTION OF DENNIS HISTORICAL SOCIETY

 

Leender de Koningh worked in Holland as a portrait painter and lithographer. So how did this endearing European painting end up in the Jericho Historical Center, an 1801 sea captain's home in West Dennis? "A good number of Dennis sea captains ran the packet to England and also went to places in France ­ both out of Boston and New York," says Phyllis Horton, the curator for Dennis Historical Society. "A lot of their homes were furnished extensively with things they brought back from Europe." And if the captain's wife went along on the voyage, she adds, she "usually brought back more than he would have."

 

 

PROVINCETOWN

 

Woman Reading 1923

 

Frank H. Desch (1873-1934)

Oil on board

 

COLLECTION OF THE TOWN OF PROVINCETOWN, COURTESY OF THE PROVINCETOWN ART COMMISSION

 

Frank Desch is best-known for his impressionistic paintings of lovely young women. They have rather romantic titles, such as "The Blue Chinese Coat," "The White Slipper," "Rose Negligee" and "The Summer Morning." Desch was in Provincetown by at least 1914 and usually summered there for the remainder of his life. The imprint on his stationery indicates he called his Cape home "Bayberry Dune." When Desch made his Boston debut with a exhibit at Cobb Gallery in 1917, reviewers praised his idyllic paintings of "summer girls" in white and blue dresses, posed against backdrops of flower gardens or the sea. "Mosquitoes, sand fleas and other pests of Provincetown are forgot, hoffentlich," wrote one critic. Another praised him for the natural, unstudied poses of his figures ­ and for how he handled color and light: "The sun which shines on these maidens is quite the real thing, warm, brilliant and sparkling."

 

 

TRURO

 

Ballston Beach 1913

 

Arthur V. Diehl (1870-1929)

Oil on canvas

 

COLLECTION OF HIGHLAND HOUSE MUSEUM, TRURO HISTORICAL SOCIETY

 

Although Diehl was perfectly capable of painting sensitively rendered landscapes (such as this view of Truro's Ballston Beach), he achieved more notoriety in his own lifetime for quickly painting dunes, beaches and harbors from memory on the streets of Provincetown, where he carried on lively conversations with prospective customers at the same time. Around 1921, Fox Movietone actually made a short film of Diehl painting and playing to the crowd. According to Highland House Museum curator Susan Kurtzman, none of the cottages in this painting any longer exist.

 

 

ORLEANS

 

The Chatham Twin Lights c. 1915-1923

 

Harold C. Dunbar (1882-1953)

Oil on paper

 

COLLECTION OF THE TOWN OF ORLEANS

 

There were earlier incarnations of the twin lights in Chatham, according to Chatham historian Joe Nickerson, but the ones pictured here were built in 1879. Harold C. Dunbar probably painted the piece between 1915, when he founded his Chatham School of Painting, and 1923, when the northernmost light was moved to Eastham. The other one remains in Chatham and is still working, although the entire top was changed in the early 1970s.

 

Although Dunbar lived in Chatham, he showed portraits, landscapes and still lifes in Boston, New York and other Eastern cities. In addition to teaching at his school, he built and financed the original Monomoy Theatre in Chatham; worked as the editor of the Cape Cod Banner; and wrote a newspaper column "Tattling Cod."

 

 

BREWSTER

 

View of Brewster From Cobb's Pond 1893

 

Lawrence K. Earle (dates unknown)

Oil on canvas

 

COLLECTION OF BREWSTER HISTORICAL SOCIETY MUSEUM

 

Information regarding the artist is slight. But according to research done at Brewster Historical Society, Lawrence Earle painted several Brewster landscapes, including at least two from the estate of Captain Elijah Cobb, located north of what's now Route 6A. The property includes a pond that's about a quarter-mile long. Earle's wife was a friend of the captain's granddaughter, Emily C. Cobb, so the artist would sometimes accompany her on visits to the estate and set up his easel. In this case, he was looking east over Cobb's Pond toward the village and First Parish Church. While Earle's exact dates are unknown, it's believed he was about 50 in 1893, when he painted this canvas.

 

 

ORLEANS

 

Silent Mooring c. 2001

 

Jane Eccles

Pastel on paper

 

COLLECTION OF ORLEANS COUNCIL ON AGING

 

Five years ago, Orleans Senior Center was enlarged by 5,000 square feet. The beautiful new building has artwork everywhere ­ in the lobby, in the dining room, in the sitting rooms, in the halls, even in the restrooms. The collection now totals 40 to 50 pieces, according to executive director Elizabeth J. Smith. New works are added yearly when Orleans Council on Aging holds a juried show at the senior center and awards two or three purchase prizes. (This year's show will open in May and run through the entire summer.) Jane Eccles won the purchase prize for Best in Show with "Silent Mooring" in 2003.

 

 

TRURO

 

Francellina

 

Jerry Farnsworth (1895-1983)

Oil on canvas

 

COLLECTION OF HIGHLAND HOUSE MUSEUM, TRURO HISTORICAL SOCIETY

 

Jerry Farnsworth went to Provincetown to study with Charles Hawthorne and became one of the monitors at his summer school. After several years, Farnsworth and another student, Helen Sawyer, fell in love. They were married in the summer of 1925. In 1933, three years after Hawthorne died, they opened the Farnsworth School of Art at their home in North Truro. In 1941, they opened a winter branch of the school in Sarasota, Fla. Farnsworth enjoyed a distinguished career with national recognition. He was elected to the National Academy of Design in 1935, exhibited annually at the Pennsylvania Academy of the Fine Arts and the Corcoran Gallery from the early 1920s through the early 1950s, and authored books on learning to paint portraits and figures in oils.

 

For this particular painting ­ which is not exactly a portrait ­ Farnsworth probably secured the services of a model who dressed up and posed as a sweetly exotic young woman. The title name, "Francellina," is likely the artist's own invention. The painting has a beautiful decorative quality and incorporates Farnsworth's signature device of putting a bit of recognizable landscape in the background. This time it's Provincetown.

 

 

TRURO

 

Portrait of Susan Glaspell c. 1930

 

Jerry Farnsworth (1895-1983)

Oil on canvas

 

COLLECTION OF HIGHLAND HOUSE MUSEUM, TRURO HISTORICAL SOCIETY

 

Susan Glaspell (1882-1948) was a prominent playwright whose work has a strongly feminist bent, with an emphasis on the roles that women have been expected to play in society. She won a Pulitzer Prize in 1930 for "Alison's House," a play loosely based on the life of Emily Dickinson. In 1915, she co-founded the Provincetown Players with her husband, stage director George Cram Cook, and wrote more than 10 plays for the troupe over the next several years. The company is particularly famous for helping to launch the career of Eugene O'Neill.

 

Glaspll lived and worked in Truro. As was typical, artist Jerry Fransworth alluded to the location with a vignette of the Truro landscape in the background. His overall treatment of the portrait is slightly cubistic. According to Susan Kurtzman, the curator at Highland House Musum, a German professor has written a book analyzing all of Glaspell's plays. Truro Historical Society has given permission for this painting to be reproduced on the cover of the book, which will be published in German and English.

 

 

EASTHAM

 

House on Bridge Road, South Eastham 1860

 

Possibly Captain Samuel Freeman (dates unknown)

Oil on canvas

 

COLLECTION OF EASTHAM PUBLIC LIBRARY

 

This charming painting gives us a wonderful bird's-eye view of the saltworks on an Eastham property in the mid-19th century. The windmills pumped water from the bay to large, shallow raised vats, supported on posts. When a sufficient amount of water had evaporated from that top vat, the somewhat thickened liquid would be drained into a vat at a lower level. The process would be repeated until only pure salt was left. The vats were covered at night and when it rained. It took 350 gallons of seawater to produce one bushel of salt.

 

 

PROVINCETOWN

 

William 1915

 

R.H. Ives Gammell (1893-1981)

Oil on canvas

 

COLLECTION OF THE TOWN OF PROVINCETOWN, COURTESY OF THE PROVINCETOWN ART COMMISSION

 

Gammell studied with impressionists William Paxton, Edmund Tarbell and Philip Hale at the Museum School in Boston, and with Charles Hawthorne summers in Provincetown. He also had academic training in Paris. His 1946 book "Twilight of Painting" advocated "Classic Realism" (at a time when an academic approach to painting was considered very passé) and provided a history of the so-called Boston School of painting. One of the most monumental undertakings of his career was a series of panels inspired by the Francis Thompson poem "The Hound of Heaven." His respect for classical values ­ and his formidable talent ­ is evident even in "William," which he painted when he was only about 22, probably while he was studying with Hawthorne. The subject was likely a Provincetown fisherman's son.

 

 

ORLEANS

 

Carving of a White-Line Woodcut

 

Virginia Goldman (1913-2002)

Wood

 

COLLECTION OF ORLEANS COUNCIL ON AGING; GIFT OF E.STANLEY GOLDMAN

 

The woodblocks used to make white-line woodcuts are often as eye-catching as the prints themselves.

 

The artist's husband, E. Stanley Goldman, has been involved with acquiring art for the new Orleans Senior Center from the beginning. When he first walked in and saw the expanses of bare walls, he said to executive director Elizabeth J. Smith, "This should be a gallery." And she replied, "You're the chairman." Goldman funds the purchase prizes awarded at the senior center's annual juried show. He has also given a number of artworks to the collection.

 

 

WELLFLEET

 

Boats at Pier 1963

 

Xavier Gonzalez (1898-1993)

Watercolor and gouache on paper

 

COLLECTION OF WELLFLEET PUBLIC LIBRARY, GIFT OF JULIA EMERSON WALTHER IN MEMORY OF HER MOTHER, JULIA S. FISHER

 

Xavier Gonzalez was born in Spain and later lived in Latin America. He immigrated to the United States as a young man and became a citizen. His work is represented in the collections of the Metropolitan Museum, the Whitney Museum of American Art, the Museum of Fine Arts in Boston and, of course, Wellfleet Public Library. Gonzalez opened a summer school in Wellfleet in his later years.

 

 

ORLEANS

 

Nauset Heights c. 1860

 

Louisa Winslow Goodwin

Watercolor on paper

 

COLLECTION OF ORLEANS HISTORICAL SOCIETY

 

The watercolor is one of three by Louisa Winslow Goodwin in Orleans Historical Society's collection. It was donated by Harriet Dickson of South Orleans in 1992. The artist was the sister of the great-grandmother of the donor's son. Although apparently an amateur, Goodwin was quite competent and had an eye for details. Part of the charm of the little painting is in seeing what Nauset Heights looked like around 1860. It sure looks odd to see cows on the beach!

 

 

PROVINCETOWN

 

The White Queen, the Red Queen and Alice

 

Dorothy Lake Gregory (1893-1975)

Hand-colored lithograph

 

COLLECTION OF THE TOWN OF PROVINCETOWN, COURTESY OF THE PROVINCETOWN ART COMMISSION

 

Dorothy Lake Gregory came to Provincetown to study with Hawthorne in 1915. In 1920, she married fellow artist Ross Moffett. From the late 1920s and into the early '40s, Gregory illustrated several children's books, including an edition of "Heidi" and a collection of stories by Hans Christian Andersen. For her own pleasure, she also based a number of paintings and lithographs on "Alice in Wonderland."

 

 

PROVINCETOWN

 

Girl in White on Beach 1927

 

Charles W. Hawthorne (1872-1930)

Oil on canvas

 

COLLECTION OF THE TOWN OF PROVINCETOWN, COURTESY OF THE PROVINCETOWN ART COMMISSION

 

Hawthorne devised the mudhead as a way to teach his own method of painting. Academically trained painters traditionally worked by drawing forms, then filling them in with tones built up from dark to light to achieve a three-dimensional look. Hawthorne instead stressed the importance of carefully observing and painting "color spots" representing large areas of light and shadow. The forms of objects would then emerge as a happy byproduct of that accuracy. To help his students understand the concept, Hawthorne had them paint models posed with their backs to the sun, so their faces fell into deep shadow. Unable to see the models' features clearly, students were forced to see and paint the color spots. The featureless faces became known as "mudheads."

 

 

ORLEANS

 

Three Fishermen c. 1901

 

Arthur A. Friedenson (1872-1955)

Oil on canvas

 

COLLECTION OF THE COUNTY OF BARNSTABLE

 

This painting, which hangs high up on a brick wall behind the security station at Orleans District Court, has often been mistaken for a Charles Hawthorne. This is understandable, given the subject matter, the darkish tone, the robust brushwork, the size and even the artist's delight in painting fish. Once the painting was taken down, however, we noticed a label on the back attributing the work to an Arthur Fridenson and noting that the piece had won first prize in a 1904 exhibition at the Royal Academy. Further research indicates that the painting was most probably the work of Arthur A. Friedensen, who was a member of Britain's Royal Academy. He was born in Leeds and studied in Paris and Antwerp. He was part of a group who artists who lived and painted in Staithes, a fishing village on the east coast of England. They were known as the Northern Impressionists.

 

 

PROVINCETOWN

 

Still Life

 

Henry Hensche (1901-1992)

Oil on board

 

COLLECTION OF THE TOWN OF PROVINCETOWN, COURTESY OF THE PROVINCETOWN ART COMMISSION

 

Henry Hensche came to Provincetown to study with Hawthorne at the Cape Cod School of Art and was his assistant for three summers before Hawthorne died in 1930. Although another artist took over Hawthorne's school, Hawthorne's mantle ­ his reputation as a teacher with dynamic insights on light and color ­ fell on Hensche. His Cape School of Art remained in operation in Provincetown for an incredible 56 summers. Two things about Hensche are legendary: his cantankerous personality and his gift for helping his students see color. Many of his students were more than willing to put up with one trait to benefit from the other. Any number of them studied with him for years.

 

This still life from Provincetown Town Hall is a superb example of his remarkable sensitivity to light. Although he always revered Hawthorne, Hensche also looked back to Monet's accomplishment of capturing light keys reflecting a wide range of seasons, atmospheric conditions and times of day. Like Monet, he sometimes painted the same motif over and over to study changes in light. Where Monet used haystacks and the façade of Rouen Cathedral, Hensche painted the Chinese elms in his back yard in Provincetown at least 200 times.

 

 

MASHPEE

 

Boat Builders

 

W.A. Hill (dates unknown)

Oil on canvas

 

COLLECTION OF MASHPEE COUNCIL ON AGING, GIFT OF TERRY HERMAN

 

Mashpee Senior Center recently relocated from Great Neck Road North to a wonderful new facility on Frank E. Hicks Drive, a stone's throw from Mashpee's police and fire stations. As with Orleans Senior Center, an effort has been made to brighten the hallways with artwork. Most of the pieces are contemporary, but this colorful scene seems to date back a few decades. It doesn't seem to represent any Cape Cod village in particular, but certainly has a Cape Cod feeling.

 

 

TRURO

 

Truro Town Dump 1975

 

Peter Hooven (1934-1991)

Oil on canvas

 

COLLECTION OF TRURO TOWN HALL, GIFT OF RAYMOND CABRAL

 

Peter Hooven taught at Maryland Institute of Art in Baltimore for a number of years. In 1970, he moved to Truro, where he purchased the studio that had once belonged to artist Caleb Arnold Slade.

 

The Truro dump (or transfer station, as it is now called) has long had a reputation as a wonderful place to find reusable treasures. The man in the painting is Neal Pirnie.

 

 

TRURO

 

South Truro Meeting House c. 1930s

 

Jo(sephine) Nivison Hopper (c. 1883-1968)

Oil on canvas

 

COLLECTION OF TRURO PUBLIC LIBRARY

 

Jo Hopper was the wife of celebrated artist Edward Hopper. After the couple married in 1924, she devoted most of her energies to his career. She catalogued his work and often modeled for the female figures in his paintings. "South Truro Meeting House" shows the influence of her husband's starkly realistic style. A note on the back of this piece indicates the church burned down not long after Jo Hopper painted it.

 

 

ORLEANS

 

Cat Motif

 

Peter Hunt (1896-1967)

Oil on canvas

 

COLLECTION OF SNOW LIBRARY

 

Charming and eccentric, Peter Hunt arrived in Provincetown in the 1920s and began decorating used furniture with "peasant art" of his own design. His recycled pieces were so popular in the 1930s and '40s that he had to hire talented young apprentices to keep up with the demand at his Peasant Village shops. Department stores like Bloomingdale's, Gimbel's and Macy's also clamored for his work. Helena Rubenstein was among his biggest fans. After 1959, Hunt closed his Provincetown shops and opened Peacock Alley in Orleans, renting out some of the space to other artists and artisans. This painting from Snow Library contains many cats and hearts ­ two motifs that Hunt frequently used in decorating his furniture. Also look for the distinctive comma-shape stroke. It was basic to his approach.

 

 

ORLEANS

 

Academy Playhouse 1998/2001

 

Diane Johnson (1935- )

White-line woodcut

 

COLLECTION OF ORLEANS COUNCIL ON AGING

 

 

PROVINCETOWN

 

Woodland Deer 1962

 

Karl Knaths (1891-1971)

Oil on canvas

 

COLLECTION OF THE TOWN OF PROVINCETOWN, COURTESY OF THE PROVINCETOWN ART COMMISSION

 

One of the most theoretically inclined painters of his generation, Knaths developed an abstract style based on color theory and Cubist design principles. He agreed with Kandinsky that there are "definite, measurable correspondences between sound in music and color and space in painting: specifically, between musical intervals and color intervals and spatial proportions." He also worked out intricate charts for color and musical ratios, which he used to determine directional lines and proportions in his paintings. At some point, Knaths discovered Wilhelm Ostwald's color system, which was devised as a way of ordering color and was quite popular among American artists of the time. Knaths not only used this system, he harnessed it to a complex set of mathematical and geometrical relations ­ akin to musical proportions.

 

Knaths, a Wisconsin native, learned of Provincetown from fellow student Ross Moffett at the Chicago Art Institute and first arrived there in 1919. In 1924, he married pianist Helen Weinrich, the sister of modernist artist Agnes Weinrich, and the three of them lived together. He was active in the town for more than five decades.

 

 

PROVINCETOWN

 

Flowers 1925

 

Blanche Lazzell (1878-1956)

Oil on paper

 

COLLECTION OF THE TOWN OF PROVINCETOWN, COURTESY OF THE PROVINCETOWN ART COMMISSION

 

 

PROVINCETOWN

 

The Lumber Wharf 1929

 

Blanche Lazzell (1878-1956)

White-line woodcut

 

COLLECTION OF THE TOWN OF PROVINCETOWN, COURTESY OF THE PROVINCETOWN ART COMMISSION

 

Blanche Lazzell spent nearly every summer and many winters in Provincetown for more than 40 years, beginning in 1915, when she studied with Hawthorne. Lazzell also studied with Hawthorne for a month in summer 1916, then left to study with Oliver Chaffee. Given her own inclinations toward abstract art, she probably found Chaffee's modernist ideas more stimulating than Hawthorne's. That summer she also saw the first exhibition of white-line woodcuts by the Provincetown Print Makers. The group, which included B.J.O. Nordfeldt, Ethel Mars and Ada Gilmore, had developed a method of making color prints in which they used only one block of wood. The technique produced prints with segments of flat color separated by thin white lines. Chaffee, who was married to Gilmore, taught Lazzell how to make the prints, and she became one of the group's most important artists.

 

Lazzell was one of the first American artists to go beyond semi-abstractions to working totally nonobjectively. In 1949, she was the only living artist among the four Provincetown artists recognized as pioneers of the abstract movement at the important Forum '49 exhibition.

 

 

WELLFLEET

 

Still Life, July Fifth 1991

 

James Lechay (1907-2004)

Mixed media on paper

 

COLLECTION OF WELLFLEET PUBLIC LIBRARY, GIFT OF THE ARTIST

 

James Lechay taught at the University of Iowa from 1945 to 1972 and exhibited widely throughout the country, especially in the '40s and '50s. Kraushaar Galleries in New York carried his work from the 1950s on. Upon retirement, he came to live at his summer home in Wellfleet year-round. His semiabstract style is marked by a simplification of lines and shapes and a subtle use of color.

 

 

TRURO

 

Wellfleet Scene 1935

 

Lucy L'Engle (1889-1978)

Lithograph on paper

 

COLLECTION OF HIGHLAND HOUSE MUSEUM, TRURO HISTORICAL SOCIETY

 

Truro artist Lucy L'Engle interpreted nearby Wellfleet in a style that shows just a slight influence of cubism. The trees and figures are essentially cylinders, the architecture cubes. Despite the somewhat geometric approach, there's nothing static about "Wellfleet Scene." The juxtaposition of shapes and lights and darks gives the lithograph a lively feeling of movement. The approach is rather similar to that which her husband, William L'Engle, used in painting "Marya," which is hanging on the opposite wall.

 

 

PROVINCETOWN

 

Marya 1927

 

William L'Engle (1884-1957)

Oil on canvas

 

COLLECTION OF THE TOWN OF PROVINCETOWN, COURTESY OF THE PROVINCETOWN ART COMMISSION

 

This wonderful painting by Truro artist William L'Engle ­ like most of the pieces borrowed from the town of Provincetown ­ usually hangs at Provincetown Town Hall. The subject looks strong and sensuous, but the painting is really something other than just a portrait. The model is really a foil for creating a dazzling interplay of simplified shapes and highlights and shadows. Marya, as she's titled, is a classical figure with a cubistic edge. Her soft hair and the flowered pattern on her green dress help keep her feminine.

 

 

FALMOUTH

 

HMS Nimrod in Falmouth Harbor 1919

 

E.F. Lincoln (1875-1925)

Oil on canvas

 

COLLECTION OF FALMOUTH HISTORICAL SOCIETY, GIFT OF WILLIAM L. ALLISON

 

During the War of 1812, the British man-of-war Nimrod patrolled New England waters in an effort to disrupt American shipping. As the ship sailed off the coast of Falmouth in January 1814, the commander sent an ultimatum that the town surrender its cannons or face bombardment. According to local legend, the gist of the reply was: "If you want our cannon, you can come and get them, and we will give you what's in them first." Marine artist E.F. Lincoln has painted the Nimrod as it retaliates, firing its cannon toward Falmouth. (Among the buildings that still bear the scars is the Nimrod restaurant, where there's a cannonball hole in a wall in the men's room.)

 

In June 1814, the Nimrod attacked and burned 17 Falmouth ships that were hiding in Wareham Harbor. As it sailed back down Buzzards Bay, it ran aground. To lighten the load and regain mobility, the ship's cannons were thrown overboard. When an expedition organized by the Kendall Whaling Museum recovered five of the cannons several years ago, they gave one to Falmouth Historical Society. It's currently stored in a bath of fresh water and sodium carbonate, a necessary step to stabilize the cannon after nearly two centuries in seawater. Folks at Falmouth Historical Society like to joke: "The British never got our cannon, but we got one of theirs."

 

 

BARNSTABLE

 

Autumn Landscape

 

Dodge Macknight (1860-1950)

Watercolor on paper

 

COLLECTION OF CENTERVILLE HISTORICAL MUSEUM

 

Dodge Macknight, who lived in France for 15 years and was acquainted with Vincent van Gogh, was one of the first American artists to use color in a boldly post-Impressionist manner. When he first sent his watercolors home to Boston to be exhibited in the late 1880s, a puckish critic dubbed them "Macknightmares." But by the time the artist settled down in East Sandwich in 1900, his approach had become fairly acceptable to American tastes and his shows became famous for selling out in as little as a half-hour. Autumn foliage provided a great opportunity for him to create pictures vibrating with spots of pure, vivid colors.

 

 

SANDWICH

 

Garden

 

Dodge Macknight (1860-1950)

Watercolor on paper

 

COLLECTION OF SANDWICH PUBLIC LIBRARY

 

Sandwich Public Library owns six Dodge Macknight watercolors, four of them donated by the artist himself. This one pictures his own garden in East Sandwich, which he designed to be as alive with color as his paintings are.

 

Despite his commercial success, Macknight gave up painting around 1930, when his French wife and his war-wounded son, John, died. His garden then became his great pleasure in life. A story in the Boston Herald on Aug. 15, 1948, carries the headline: "Famed Artist Dodge Macknight, Now 87, Finds Happiness in His Cape Cod Garden." Following is an excerpt from that article: Asked now about his palette, his range of color as vibrantly impressionistically expressed through water, oil and pigment, Dodge Macknight replies, "Just prismatic, that's all. Yellow, orange, red, purple and blue, those were my favorites." He looked over the garden toward the low-hung, snug little house which he adopted as a haven from the more constant travels in 1900. "There they are now, those colors and more, too. Isn't it beautiful? What more can an old man ask? Why should I ever want to paint again?"

 

 

SANDWICH

 

A Sleigh Among Pines

 

Dodge Macknight (1860-1950)

Watercolor on paper

 

COLLECTION OF SANDWICH PUBLIC LIBRARY

 

Macknight traveled often in search of colorful scenes, painting in Jamaica, Morocco, the Grand Canyon, the canyons of Utah, the Canadian Rockies and the rugged coast of Newfoundland. In the winter, he sometimes headed north to New Hampshire and Maine to find snow scenes like "A Sleigh Among Pines."

 

 

PROVINCETOWN

 

Shank Painter Pond (Cutting Ice) 1925

 

Ross Moffett (1888-1971)

Oil on canvas board

 

COLLECTION OF THE TOWN OF PROVINCETOWN, COURTESY OF THE PROVINCETOWN ART COMMISSION

 

Ross Moffett grew up on an Iowa farm; attended the Chicago Art Institute for three years; and in summer 1913 arrived in Provincetown, where he remained a keystone of the art community for the remaining 58 years of his life.

 

He was initially influenced by Hawthorne, but by 1916 had found his own distinctive approach to painting. He focused on Provincetown's Portuguese fisherfolk, who, perhaps, reminded him of farming families back in Iowa. His treatment of the figures recalls Pieter Brueghel's 16th-century Flemish peasants ­ sympathetic, yet not without a touch of humor and caricature. His style is marked by well-defined, rolling contours. There's a certain bleakness about the way in which Moffett portrays the environment at the Cape's tip, but his figures generally face their reality with spirit.

 

Inspired by both the flattened shapes of Cezanne and the idealized figures of the Renaissance, Moffett was a moderating influence during the 1920s, when modernists and traditionalists struggled for control of Provincetown Art Association. His book "Art in Narrow Streets" is an invaluable record of the art association's first 33 years. Other achievements include painting murals based on President Eisenhower's life at the Eisenhower Memorial Museum in Abilene, Kansas, and excavating and studying ancient Indian sites in Provincetown. Moffett also was largely responsible for saving 1,400 acres of the Province Lands for inclusion in Cape Cod National Seashore.

 

 

ORLEANS

 

Side Yard, Spring c. 1998

 

Rosalie Nadeau

Pastel on paper

 

COLLECTION OF ORLEANS COUNCIL ON AGING

 

The artist, Rosalie Nadeau, gave this lovely impressionist landscape to Orleans Senior Center. It usually hangs in the center's dining room.

 

 

CHATHAM

 

Carnelian Bogs c. 1987

 

Carol Odell (1943- )

Oil on paper

 

COLLECTION OF ELDREDGE PUBLIC LIBRARY, GIFT OF THE ARTIST

 

Chatham artist Carol Odell based "Carnelian Bogs" on quick sketches she'd made of cranberry bogs. For her, it's an unusually representational work; most of her paintings are totally abstract, without any reference to real objects. Using multiple images from a variety of viewpoints makes it "a little bit like a comic strip," she says, and helps to create a feeling of movement from one section to another. At Eldredge Public Library, the painting hangs over a computer workstation. One imagines that looking up at it must make a pleasant break for patrons whose eyes are tired from looking at a computer screen.

 

 

PROVINCETOWN

 

The Lumber Wharf

 

Pauline Palmer (1867-1938)

Oil on canvas

 

COLLECTION OF THE TOWN OF PROVINCETOWN, COURTESY OF THE PROVINCETOWN ART COMMISSION

 

In her day, Chicago's Pauline Palmer was considered one of the country's most important woman artists. She studied at the Art Institute of Chicago, which later included her work in at least 28 exhibitions, including a one-person show in 1913 and a memorial exhibition in 1939. She received many portrait commissions from Chicago's elite and exhibited widely in the United States and Europe, winning numerous awards and honors. She and her husband, Dr. Albert Palmer, had a summer home in Provincetown, and after his death in 1920, she spent a great deal of time there painting the children of the Portuguese fishermen, the dunes, the sea and activities on the wharves. Palmer apparently included herself in this beautiful painting of the Lumber Wharf, which was where shipbuilders purchased their lumber.

 

 

BOURNE

 

Seal and Polar Bear

 

Charles Sidney Raleigh (1830-1925)

Oil on canvas

 

COLLECTION OF THE TOWN OF BOURNE

 

"Seal and Polar Bear" is usually on display at Bourne Historical Society. Raleigh, who was born in England, began working as a merchant seaman while still a boy. By the 1870s, he'd settled in New Bedford, first working for with a painting contractor, then setting up a studio for painting marine scenes. "Seal and Polar Beal" may be part of a huge panorama he did of scenes from a whaling voyage. The image of a rather malevolent bear preparing to deliver the lethal blow to a terrified seal is disturbing. But the primitive style makes it oddly charming at the same time. In 1881, Raleigh moved to Monument Beach, where he went into business as a decorative house and carriage painter while continuing to do works on canvas.

 

 

HARWICH

 

The Council of War patented 1868

 

John Rogers (1829-1904)

Painted plaster

 

COLLECTION OF BROOKS FREE LIBRARY

 

For more than a generation, Salem native John Rogers reigned as the "people's sculptor" of America. Sometimes referred to as the Norman Rockwell of his time, he designed and mass-produced inexpensive, putty-colored plaster statuettes that often told simple stories about everyday life. These "Rogers Groups" became as essential to the well-appointed Victorian parlor as the chromolithograph, the horsehair sofa, antimacassars and the velvet-covered photograph album. Rogers "published," as he called it, 77 groups between 1859 and 1892, selling some 80,000 statuettes (at an average price of $14) and grossing more than a million dollars.

 

Most of Rogers' early groups related to the Civil War or carried an abolitionist message. Extremely popular with Union veterans, "The Council of War" shows President Lincoln in consultation with Gen. Ulysses S. Grant, on the left, and Secretary of War Edwin Stanton. The idea came from Stanton himself, who wrote to Rogers describing a meeting at the War Department following Grant's first visit to the Army of the Potomac. Grant, he said, presented Lincoln with a map showing his plan for military operations in 1864. Reputedly, Rogers spent time sketching Grant and Stanton in person in preparation for the project, but had to work from photographs in sculpting Lincoln. Nevertheless, Lincoln's son, Tad, is said to have remarked that this was the best likeness of his father he had seen.

 

 

HARWICH

 

Why Don't You Speak for Yourself, John?

patented 1885

 

John Rogers (1829-1904)

Painted plaster

 

COLLECTION OF BROOKS FREE LIBRARY

 

Brooks Free Library lays claim to having the second largest collection of Rogers Groups anywhere, according to director Ginny Hewitt. There are some two dozen of the statuettes placed throughout the building. Pliny Nickerson gave the library the bulk of the collection when it was first built. Since then, other "groups" have been added by gift or purchase.

 

The library has "Coming to the Parson," the most popular group of all, but since it's also represented in the Cahoon Museum's collection, we've borrowed the group that ranks No. 2. "Why don't you speak for yourself, John?" represents a scene from Henry Wadsworth Longfellow's "The Courtship of Miles Standish." In the poem, the Pilgrim Miles Standish asks a younger man, John Alden, to woo Priscilla Mullins on his behalf. And John complies, although he has feelings for Priscilla himself. Since we've heard of Priscilla Alden ­ but not Priscilla Standish ­ we know everything turns out OK for John in the end.

 

 

CHATHAM

 

Main Street in Winter c. 1938-1940

 

Wendell Rogers (1890-1973)

Oil on canvas

 

COLLECTION OF CHATHAM HISTORICAL SOCIETY

 

Many of the buildings in this painting of Chatham's Main Street are still recognizable today.

 

 

BARNSTABLE

 

Osterville Village Day 2003

 

Jayne Shelley-Pierce (1946- )

Acrylic on canvas

 

COLLECTION OF OSTERVILLE FREE LIBRARY

 

Prints of "Osterville Village Day" are available at Osterville Free Library.

 

 

BOURNE

 

Caleb Perry House

 

Frank Vining Smith (1879-1967)

Watercolor on paper

 

COLLECTION OF BOURNE HISTORICAL SOCIETY

 

Located in Monument Beach, the house in this painting was built by Caleb Perry, who was born in 1732. He died in the house in 1783. The house was later called "Burgess Hill" after Captain Seth Burgess, who lived there in the late 1800s. Sometime after she inherited the house in 1920, Lydia Phinney Brownson opened a tearoom and gift shop in an ell. The house gained some notoriety for a time when a postcard of Burgess Hill identified it ­ inadvertently and incorrectly ­ as the "oldest house in Bourne."

 

 

EASTHAM

 

Flower Arrangement

 

Vernon Smith (1894-1969)

Wood carving

 

COLLECTION OF EASTHAM PUBLIC LIBRARY

 

Vernon Smith lived in Orleans and taught art in the public schools there. He was also a founder and president of Cape Cod Art Association. He is known for his abstract figurative paintings and for the hand-carved bas-reliefs panels that, after 1946, accounted for most of his work. His work shows up fairly frequently in public buildings on the Lower Cape. In Orleans alone, there are carvings at Snow Library and Orleans Senior Center and paintings at Orleans Historical Society and Orleans Town Hall.

 

 

BARNSTABLE

 

Thomas H. Lawrence c. 1892

 

William Pierce Stubbs (1842-1909)

Oil on canvas

 

COLLECTION OF CENTERVILLE HISTORICAL MUSEUM

 

William Pierce Stubbs was the son of a Maine sea captain. He taught himself to paint the coastal schooners and clipper ships that sailed into local harbors. In 1882, he moved to Charlestown, opened a studio in Boston and made a considerable reputation for himself as a painter of ship portraits.

 

The Thomas H. Lawrence, a three-masted coastal schooner, was built at the Robert Crosbie & Son Boatyard in East Boston in 1891 for $30,000. It weighed 374 gross tons and was 134 feet long. It was christened on April 8, 1891, by Augusta Kelley, the daughter of Captain Hiram R. Kelley of Centerville, who was the vessel's captain. Considered one of the most beautiful boats in New England, it was named for a Falmouth gentleman who owned shares in the ship. The schooner traveled along the East Coast carrying coal and other cargo for nearly 35 years before languishing in New Bedford. Virtually abandoned, the ship was destroyed by a fire started by stray fireworks on July 4, 1941.

 

It's fairly easy to discover Stubbs' paintings in public places. Others are on view at Hyannis Public Library, Jericho Historical Center in West Dennis, Osterville Historical Society and South Yarmouth Library. Once you've seen one Stubbs ship portrait, it's not hard to recognize others. They're distinguished by their broadside views, by the artist's linear style and by the name of the ship, printed on a flying pennant. Stubbs also frequently included some landmark, such as a lighthouse or island, to help identify the port's location.

 

 

SANDWICH

 

The King's Son Who Feared Nothing 1966

 

Mauro Succi, age 10, Santarcangelo, Italy

Tempera on paper

 

COLLECTION OF SANDWICH PUBLIC LIBRARY

 

Much of the wall space in the children's section at Sandwich Public Library is taken up with a colorful collection of children's paintings of fairy tales from around the world. From September 1967 through September 1969, the pictures were part of the traveling exhibition "Children From Many Lands Illustrate Grimm's Fairy Tales," organized by the American Federation of Arts. It appears the paintings may have been solicited through a competition sponsored by Follett Publishing Co., which published a new edition of "Grimm's Fairy Tales" in 1968.

 

"The King's Son Who Feared Nothing" is one of the lesser known fairy tales by the Brothers Grimm. In the beginning of the story, the King's son encounters a giant who asks him to bring him an apple from the tree of life. The fearless young man undertakes the task despite the fact that the tree stands in a garden surrounded by wild beasts. In order to pick the apple, he must slip his arm through a magic ring that gives him superhuman strength. When he returns to the giant with the apple, the giant wants the ring, too. But the King's son refuses to give it up. The painting, which appears to illustrate the ensuing battle, is full of raw energy. If the King's son isn't afraid, it isn't because the young Italian artist didn't make the giant very, very scary.

 

 

BARNSTABLE

 

Joseph Palmer Bicknell c. 1835-1840

 

Unknown American Artist

Oil on canvas

 

COLLECTION OF OSTERVILLE HISTORICAL SOCIETY AND MUSEUM

 

 

BARNSTABLE

 

Lois Dickermann Bicknell c. 1835-1840

 

Unknown American Artist

Oil on canvas

 

COLLECTION OF OSTERVILLE HISTORICAL SOCIETY AND MUSEUM

 

 

HARWICH

 

Portrait of Salome Chase c. 1890s

 

Artist Unknown

Oil on canvas

 

COLLECTION OF CHASE LIBRARY ASSOCIATION

 

Salome Boyles Chase was the wife of Colonel Caleb Chase, who was born in West Harwich in 1831. At 23, Caleb went off to Boston and became a partner in a tea brokerage firm. Around 1883, he met James Sanborn, who was selling coffee off a wagon in Maine. The two joined forces, roasting coffee in Boston and selling directly to retailers. Soon, Chase & Sanborn was selling tea and coffee throughout New England, with an eye to expanding into the Midwest and beyond. Despite Chase's tremendous success, he continued to summer in West Harwich for the rest of his life. And after he died in 1908, Salome ­ known affectionately to locals as "Aunt Sally" ­ continued the tradition until her death in 1918. Her obituary noted that she was "beloved for her generous impulses and her compassionate spirit." In 1907, the Chases donated the house that became Chase Library in West Harwich. (Located on Route 28, just over the Harwich/Dennis line, the library is celebrating its 100th anniversary this year.)

 

This fine impressionist portrait of Aunt Sally suggests something of her elegant lifestyle. She gave parties for as many as a thousand guests at her home in Brookline. One newspaper story said that "The great brownstone mansion seemed a palatial conservatory of flowers." It also reported that "Mrs. Chase was beautifully costumed in opaline tinted satin brocade trimmed with the richest of lace. Diamonds sparkled at her throat and in her hair." She continues to dazzle West Harwich residents from her portrait at Chase Library.

 

 

YARMOUTH

 

Dalmatia c. 1852

 

Unknown American Artist

Oil on canvas

 

COLLECTION OF THE HISTORICAL SOCIETY OF OLD YARMOUTH

 

This dramatic ship painting usually hangs at the Captain Bangs Hallet House Museum in Yarmouthport. Built around 1840 and home to two 19th-century sea captains, the Greek Revival-style house serves as headquarters for the Historical Society of Old Yarmouth.

 

The following information was provided by collections manager Audrey Harris: Late in 1841, Captain Laban Howes of Dennis took command of the Dalmatia, a 387-ton ship. After making several short voyages, he sailed from England in 1842, bound for Boston with a cargo of coal, linseed oil and other goods. While en route, his ship was overcome by a heavy gale and rough seas and thrown on her side. Both the mizzenmast and mainmast were lost. The crew worked to shift the cargo, and the ship ­ though eventually righted ­ was leaking badly. It took 15 hours of steady pumping to free the hold of water and oil. The next day, Captain Howes set what sail he could. A fishing sloop spotted the distressed ship and piloted it to safety. The Dalmatia was repaired and continued to sail for several years. Howes retained command until 1845. This painting was made approximately 10 years later. It depicts the dismasted Dalmatia in heavy seas with the fishing sloop in the distance.

 

 

BARNSTABLE

 

Daniel Davis 1766

 

"Thompson"

Oil on canvas

 

COLLECTION OF STURGIS LIBRARY

 

Daniel Davis' portrait usually hangs above a tall bookcase in the Hooper Room ­ which houses an outstanding collection of genealogical reference material ­ at Sturgis Library in Barnstable village. Just west of the library is the house Davis built in 1739 when he got married. His one-time home recently became the new headquarters of Barnstable Historical Society.

 

Born in 1712, Davis became one of Barnstable's most distinguished residents. He served as a town selectman from 1756 to 1760. Later, he became a justice of the peace, beginning with a commission signed by King George III in 1770. A second commission dated 1775 was altered following the signing of the Declaration of Independence in 1776. "George the Third" was crossed out and "The Government of the people of Massachusetts Bay, New England" written in. (Both documents are archived at Sturgis Library.) Davis was appointed Judge of Probate in 1778. At the time of his death in 1799, he held two offices ­ Chief Justice and Judge of Common Pleas. Although initially supportive of the king, he quickly became an ardent patriot on behalf of independence. He served as a delegate to the first three Provincial Congresses and was a member of the council that adopted the state constitution.

 

Somewhere along the line this portrait has been dated 1766. We do wonder a bit about this date since Davis is wearing a judge's wig, and he apparently didn't receive his first judicial appointment until 1770.

 

 

BREWSTER

 

The Bark W.B. Dinsmore c. 1860s-1870s

 

Attributed to Samuel Walters (1811-1882)

Oil on canvas

 

COLLECTION OF BREWSTER LADIES' LIBRARY ASSOCIATION, GIFT OF J. HENRY SEARS

 

The Dinsmore was built in Bath, Maine, in 1864 and sank in 1870. It was captained by Nathan Foster of Brewster.

 

The painting has been attributed to the distinguished British artist Samuel Walters. He lived and worked in the busy seaport of Liverpool. Attracted by his elegant style, numerous English and American sea captains sought him out to paint portraits of their ships. But if the Dinsmore sailed to England, it apparently also made a voyage or two from New York to San Francisco ­ based on a clipper ship advertisement we found on the Internet. "Merchants Express Line of Clipper Ships for San Francisco," it reads across the top. Then, "The splendid A1 clipper ship W.B. DINSMORE, Foster commander, is loading at Pier 13 East River." The advertisement goes on to praise the ship's "strength, speed and good ventilation."

 

This painting hangs in the original front section of Brewster Ladies Library, which is furnished and decorated in a gracious 19th-century style. It makes ­ we would suppose ­ a cozy place for patrons to hide away and read.

 

 

DENNIS

 

Captain William Frederick Howes

 

Unknown American Artist

Oil on masonite

 

COLLECTION OF DENNIS HISTORICAL SOCIETY

 

Born in 1813, William Frederick Howes was from a Dennis family of five boys who all became sea captains. He didn't go to sea until he was 18, but in less than eight years was in command of a ship. In 1853, he took command of the Belle of the West, considered the most beautiful clipper ship ever built at the Shiverick Shipyard in Dennis. Howes sailed the ship from Boston to San Francisco on her maiden voyage and remained its captain for nine years. He then retired after 31 years at sea and died in 1878. This wonderful folk portrait of Howes is normally part of the décor at Jericho Historical Center in West Dennis.

 

 

SANDWICH

 

Launching the Lifeboat 19th century

 

Unknown American Artist

Oil on canvas

 

COLLECTION OF SANDWICH PUBLIC LIBRARY

 

William Brewster, the son-in-law of Boston and Sandwich Glass Co. founder Deming Jarves, gave 12 paintings to Sandwich Public Library, including this one. The unknown artist depicted ­ with considerable skill ­ a lifeboat being launched to go to the aid of a schooner in distress.

 

ORLEANS

 

Captain Ebenezer Harding Linnell c. 1840s

 

Unknown American Artist

Oil on canvas

 

COLLECTION OF SNOW LIBRARY

 

Born in Orleans in 1811, Captain Ebenezer Linnell was a ship master of uncommon skill and intelligence. During the era of clipper ships, he set a speed record that still stands: In 1855, he sailed the Eagle Wing from London to Hong Kong in 83_ days. In 1850, Linnell became enamored of a neoclassic villa that a shipping agent friend had built in Marseilles, France. He returned with the architectural plans and European furnishings and proceeded to build a replica of the villa in Orleans. Today it's a restaurant, known as the Captain Linnell House. Linnell died off the coast of Brazil during a voyage in 1864. He was pinned against the ship's wheel during a tropical storm.

 

 

DENNIS

 

Captain Dean Sears 1847

 

Unknown American Artist

Oil on canvas

 

COLLECTION OF DENNIS HISTORICAL SOCIETY

 

After going to sea for a number of years, Captain Dean Sears became captain of the packet ship David Porter, which made runs carrying passengers, mail and cargo from Sesuit Harbor in East Dennis to Boston twice a week. He was also instrumental in establishing an East Dennis factory that manufactured hats for men and women and employed many local women. The captain holds a long-stemmed clay pipe. If you look carefully, you'll see that the date of the painting is on the pipe.

 

 

DENNIS

 

Rosanna Sears 1847

 

Unknown American Artist

Oil on canvas

 

COLLECTION OF DENNIS HISTORICAL SOCIETY

 

Rosanna Sears was a Sears by birth, not just by marriage, according to Dennis Historical Society curator Phyllis Horton. Two other things Mrs. Sears had in common with her husband were the year of her birth (1801) and the year of her death (1881). The Sears' portraits make their home at the Josiah Dennis Manse in Dennis.

 

 

PROVINCETOWN

 

Summer Garden 1913

 

E. Ambrose Webster (1869-1935)

Oil on canvas

 

COLLECTION OF THE TOWN OF PROVINCETOWN, COURTESY OF THE PROVINCETOWN ART COMMISSION

 

One of the country's first modernists, E. Ambrose Webster founded his Summer School of Painting in Provincetown in 1900. His own paintings often blended the impressionists' broken brushwork and brilliant light with a Fauve propensity for intense and jarring color. Once on Cape Cod, he may have had contact with Dodge Macknight, who favored jewellike hues in his watercolors and occasionally made the 70-mile trip from East Sandwich to Provincetown to paint or exhibit. While these influences were important, Webster wasn't a mere imitator; he was always experimenting and wrote a small book explaining his theories on color. A listing for his class in a 1915 magazine noted, "As usual, Mr. Webster will devote prime attention to the subject of color." Enrollments at his school were small for a decade or so. "At first there were no modernists here but myself," he once said. "I had to fight all alone, and sometimes it was pretty hard."

 

 

CHATHAM

 

The Sailmaker

 

Frederick S. Wight (1902-1986)

Oil on canvas

 

COLLECTION OF CHATHAM HISTORICAL SOCIETY

 

Frederick Wight moved to Chatham while still a boy. Early in his career, he did a series of paintings of Chatham sea captains and mariners. Chatham Historical Society has about eight in its collection. Like "The Sailmaker" ­ which pictures Charles A. Howes at his workstation with a sail and tools ­ they have the quality of genre scenes as much as portraiture. While Wight was painting the sitters, his mother, Alice Stallknecht, interviewed them about their careers. The transcripts were published under the title "Home on the Rolling Deep." From 1953 to 1966, Wight taught art history at UCLA, where he chaired his department for three years; organized landmark shows for such important 20th-century artists as Arthur Dove and John Marin; and wrote books on such artists as Dove, Morris Graves, Hans Hofmann and Modigliani.

 

 

TRURO

 

The Hogsback Wintering House

 

Edward A. Wilson (1886-1970)

Lithograph on paper

 

COLLECTION OF HIGHLAND HOUSE MUSEUM, TRURO HISTORICAL SOCIETY

 

Born in Glasgow, Scotland, Edward Wilson grew up in Holland and immigrated to the United States in 1893. He became a noted illustrator for national magazines and advertising campaigns (including a series for Dewar's scotch whiskey and work for such companies as Cadillac Motors, Dow Chemical and United Airlines). His illustrations, lithographs and woodcuts were published in more than 70 books, many of them classics, including editions of Jules Verne's "Journey to the Center of the Earth" and Edith Wharton's "Ethan Frome." He received the Society of Illustrators Hall of Fame Medal in 1962.

 

In 1947, Wilson moved to Truro, where the moors probably reminded him of native Scotland. He began producing such lithographs of the surrounding countryside as "The Hogsback Wintering House." He was one of the founders of Truro Historical Society and served as its first vice president. He and his daughter, Perry Wilson Anthony, donated many of his lithographs and personal items to the historical society's Highland House Museum. Some of his prints are also in the collections of the Metropolitan Museum of Art, New York Public Library and the Library of Congress

rev. 4/4/05

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