Women Artists in the Cape Ann Museum Collection
THERESA BERNSTEIN (1890-2002), Self-Portrait, 1916, Oil on canvas, The James Collection, Gift of Janet & William Ellery James to the Cape Ann Museum, 2024 [Accession # 2024.008.001]
THERESA BERNSTEIN (1890-2002), Self-Portrait, 1916, Oil on canvas, The James Collection, Gift of Janet & William Ellery James to the Cape Ann Museum, 2024 [Accession # 2024.008.001]
Join us as we celebrate the achievements of women artists inspired by Cape Ann during Women’s History Month. Discover works by ten female artists who worked in this region and who are represented in the Museum’s permanent collection.
APHIA CARMAN (1921-2015)
Capt. William “Billy” Thomas and his wife, Mary
1979 (done from a 1905 photograph)
Oil on canvas
Gift of Jeffrey Thomas
[Accession # 2761.1]
Capt. William H. Thomas (1858-1925) was a native of Arichat, Cape Breton, Nova Scotia, and one of Gloucester’s most successful skippers engaged in the fresh fishery during the great age of sail. Thomas came to this country and to Gloucester in 1874 and is shown in this portrait with his wife, Mary A. (White) Thomas (1859-1916). The painting was done by artist Aphia Hayward Carman (1921-2015) from a 1905 photograph and shows the couple standing on the deck of the newly launched fishing schooner Thomas S. Gorton, a vessel co-owned by Capt. Thomas and Capt. John Chisholm.
Mary A. White was also originally from Nova Scotia and came to America in 1872. She lived with her aunt and uncle on Main Street in Gloucester. In addition to the Whites, in 1880, 26 fishermen boarded in the house, including a young man named William H. Thomas. Mary and William were married in 1882 and raised their family on nearby Merchant Street.
Capt. Thomas fished out of Gloucester for 35 years; 32 of those years he served as skipper on various schooners working out of the port, including the Thomas S. Gorton. He retired from the sea in 1916. Aphia Carman was a portrait artist who lived and worked in Gloucester’s Rocky Neck neighborhood for 40 years.
SUSANNAH PAINE (1792-1862)
Portrait of Hannah Fuller (Smith) Stanwood (1803-1834)
1834
Oil on wood panel
Susannah Paine was one of the earliest portrait painters on Cape Ann and the first professional woman artist to work in the area. Paine was an itinerant artist who earned her livelihood traveling from community to community doing portraits on a commission basis. She worked on Cape Ann during the 1830s and 1840s.
Born in Rehoboth, Massachusetts, Paine attended a girls’ academy where she learned to read and write and was exposed to art. In 1819 she was married, and two years later gave birth to a son who died in infancy. In 1823, Paine was granted a divorce from her husband. Shortly thereafter, she began traveling around New England painting portraits.
Paine relied on local newspapers to give patrons advance notice of her arrival and to advertise her skills and her fees. By 1834, she had discovered Cape Ann and found work painting portraits of several families in the village of Annisquam. In 1854, Susannah Paine published Roses and Thorns, or Recollections of an Artist, an autobiographical work. In it she recalled her first impressions of Cape Ann: the scenery was delightful; and the people, just to my liking. Everything was free, easy and agreeable…Cape Ann … was a singular place. No one was very poor; they all seemed on an equality…
ENGAGEMENT QUILT, VARIABLE STAR DESIGN
Squares made by friends of Georgianna Ellery (1828-1870)
c. 1850-1852
Cotton
Donor Unknown
[Accession # 2021.006]
Conservation of this quilt was made possible through a gift from Margaret Bernier
In anticipation of her marriage to William Scott Friend in 1853, friends of Georgianna Ellery of Gloucester—all women—made this engagement quilt for her. Each of the 42 squares is inscribed with a message of good luck and affection to Ellery; most squares are signed and dated. The design of the quilt is known as “variable star” and was a popular design during the mid-19th century in America. The fabrics used were roller printed (rather than block printed) and would have been manufactured in this region. Each pieced block is edged with red calico fabric.
Only the scantest of information is known about Georgianna Elley Friend. She was born in Gloucester, the daughter of Capt. George Ellery and Hannah Procter Ellery and had three sons of her own before dying in childbirth in the spring of 1870 at the age of 41. Learning to sew and to quilt was something that women of Georgianna’s generation would have done as a matter of course. Following her death in 1870, William Friend remarried and had a fourth son.
EMMA FORDYCE MACRAE (1887-1974)
Self-Portrait
1923
Oil on board
Gift of Anne Jennifer Kissel, 2021
[Accession # 2021.069.01]
Emma Fordyce MacRae was born in Vienna and raised in New York City. In 1911, MacRae enrolled in the Art Students League studying with Frank Vincent DuMond and Kenneth Hayes Miller, and later with John Sloan. Her first exhibit was in 1914 at the Anderson Galleries in New York. MacRae was a versatile artist creating still lifes, portraits, landscapes and combinations of the three genres. Her technique was distinctive and involved applying gesso to a sub-straight (paperboard, open weave canvas or Masonite), creating an under-drawing on the surface, applying paint and then scraping it off. Emma MacRae came to Gloucester in the 1910s and was an active member of the Cape Ann art colony for 50 years. She showed at the Gallery-on-the-Moors and the North Shore Arts Association, and she maintained close friendships with numerous artists summering on Cape Ann, particularly those with ties to New York City. From1937 to 1945, MacRae was a member of The Philadelphia Ten. Organized in 1917, the group was made up of women artists who exhibited their works together at a time when shows of artwork done exclusively by women were uncommon.
DORIS ELIZABETH PROUTY (1947-2020)
Lanes Cove
2017
Hand Appliqué, Embroidery, Cotton Cloth
Gift of the Prouty Family, 2022
[Accession #2022.093.001]
Doris Prouty was a resident of Gloucester for nearly 50 years, a self-taught African American quilter, a beloved member of the community, a teacher and a mother. Her quilts explore many traditions of American quilting, from familiar patterning to elaborate appliqué. Together they narrate the stories of her life, her imagination, and her community here on Cape Ann.
Born and raised in Queens, New York, Prouty settled in Gloucester’s Lanesville neighborhood in 1972. In 1978, while her children were still young, she began commuting to Boston University becoming the first person in her family to receive a college degree. She took up quilting with her sister in the 1980s and was a founding member of the Ebony Quilters of Queens.
For Prouty, quilting was a means of creative expression, and a way of building community. She experimented with- and mastered- new techniques and color strategies, creating pieces that ranged from small studies, to bed quilts, to elaborate appliqué scenes. Over time, her work became increasingly complex, and themes emerged, such as imagined scenes of Africa, and images from Gloucester. This hand appliquéd quilt shows Lanes Cove on the north side of Cape Ann. It is a piece that Prouty worked on for a number of years between other projects. Her design and sewing talents are reflected in the careful piecing of the granite blocks that make up the breakwater.
GABRIELLE DE VEAUX CLEMENTS (1858-1948)
The Derrick (Rockport Quarry)
1884
Etching on paper
Gift of Harold and Betty Bell, 1999
[Accession #1999.037.001]
Gabrielle de Veaux Clements was an accomplished and multi-talented artist. She began her career in 1875, studying lithography at the Philadelphia School of Design for Women. Five years later she was awarded a Bachelor of Science from Cornell. During the early 1880s, Clements was a student of Thomas Eakins at the Pennsylvania Academy of the Fine Arts. In 1883, she began studying etching with Stephen Parrish, a well-known Philadelphia artist and teacher who spent several summers in Gloucester. Etching was a medium that Clements would work in for the rest of her life.
It was during the time that she studied with Stephen Parrish that Clements first came to Cape Ann, staying with Parrish’s entourage at the Fairview Inn in East Gloucester. By the early years of the 20th century, she and fellow Philadelphia artist Ellen Day Hale (1855-1940) had established themselves as summer residents of Folly Cove on the back of the Cape. With adjoining studios, the two women found themselves at the center of a vibrant and talented circle of artists, men and women, who gravitated to the outlying neighborhood during the 1910s and 1920s.
In addition to being a printmaker, Clements also produced murals and easel paintings.
MARGARET FITZHUGH BROWNE (1859-1932)
Howard Blackburn, The Lone Voyager
1929
Oil on canvas
Gift of the Master Mariners’ Association, Gloucester
[Accession # 2012.049.001]
Like many women artists of the late 19th and early 20th century, Margaret Fitzhugh Browne began her artistic career producing illustrations for magazine covers. Very quickly, however, she turned to painting and specifically to portraiture.
Brown’s work during her early career was strongly influenced by Joseph DeCamp and Edmund Tarbell and is best described as being of the Boston School. Her modeling was careful and well thought out, her compositions were harmonious, and her emphasis was on the beauty of the sitter. By 1915 she had begun exhibiting in galleries in and around Boston and in 1917, her work was included in an exhibition at Vose Gallery entitled The First Annual Exhibition of Women Painters of Boston. In addition to Browne, the exhibit featured works by a number of Boston’s leading women artists including Cecilia Beaux, Elizabeth Wentworth Roberts, Polly Nordell and Gertrude Fiske.
In this portrait, Margaret Fitzhugh Browne captures Gloucester’s famed Lone Voyager, Howard Blackburn. She shows him late in life, sitting on a wharf overlooking the harbor. For many years, this portrait hung in the rooms of the Master Mariner’s Association, a gathering spot for Gloucester’s fishing captains.
SUSAN ERONY
Winter
2009
Burnt paper and acrylic paint on canvas
Gift of the artist with support provided by the
Kanter Kallman Foundation, 2024
[Accession # 2024.030.01]
…Living by the ocean as I do, I am constantly aware of the point where the land meets the sea, how it changes, how life emerges from one onto the other, how fragile and crucial the balance between the two can seem when we discuss issues of climate change. I fear the day will come when we will see, as Cormac McCarthy wrote in his 2006 novel, The Road, “the Ocean, vast and cold and shifting heavily like a slowly heaving vat of slag and then the gray squall line of ash.”
–Artist’s Comments
THERESA BERNSTEIN (1890-2002)
Self-Portrait
1916
Oil on canvas
The James Collection, Gift of Janet & William Ellery James to the Cape Ann Museum, 2024
[Accession # 2024.008.001]
Theresa Bernstein was born in Poland and was brought to this country as a child. She studied at the Pennsylvania Academy of Art, the Philadelphia School of Design for Women, and the Art Students League in New York. She was a founding member of the Philadelphia Ten. Organized in 1917, The Ten was made up of women artists who exhibited their works together at a time when shows of artwork done exclusively by women were uncommon.
Bernstein came to Gloucester for the first time in 1916; after her marriage to fellow artist William Meyerowitz in 1919, the couple began regularly spending summers on Cape Ann and winters in New York. During the early 1920s, summers were spent in Gloucester’s Folly Cove neighborhood in a cottage loaned to them by artist Ellen Day Hale. They then purchased a summer house in East Gloucester. The couple quickly became figureheads of the Cape Ann art scene.
Find out more about Theresa Bernstein in the volume Theresa Bernstein: American Modernist (1890-2002) available instore or online.
ANNA VAUGHN HYATT HUNTINGTON (1876-1973)
Diana of the Chase
1922
Bronze
The James Collection, Gift of Janet & William Ellery James to the Cape Ann Museum, 2022
[Accession # 2022.066]
Anna Vaughn Hyatt Huntington was born in Cambridge, and brought to Gloucester’s Annisquam neighborhood during summers as a child by her parents. While Huntington would study for a short time under sculptors Henry H. Kitson in Boston and Hermon A. MacNeil at the Art Students’ League in New York, she always thought of herself as a self-taught artist, crediting her older sister, Harriet, with sparking her interest in sculpture when she was in her teens.
In 1902, Huntington moved to New York City to pursue her career as a sculptor, a bold move for a woman at that time; she maintained a summer studio on her family’s property in Annisquam. In 1907, she traveled to France to continue her work and by the 1910s, had established herself as one of this country’s leading sculptors. In 1916, having already had her work accepted for the 1910 Salon in Paris, she was awarded associate membership in the National Academy and in 1923, full membership. That same year, Anna married Archer Huntington, a wealthy businessman and philanthropist. With her marriage, she gave up her Annisquam studio, turning her attention to the development of Brookgreen Gardens in Murrells Inset, South Carolina.
Diana of the Chase was modeled and cast in 1922. This sculpture earned Huntington the coveted Saltus Medal at the National Academy of Design and assured her recognition as a full National Academician. Diana of the Chase was preceded in 1915 by the work for which Huntington is best known here on Cape Ann: her Joan of Arc memorial which was presented to the City of Gloucester in 1921 by the French Government and is located in front of the American Legion building on Washington Street