1919
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Boston Sunday Post. November 16, 1919. Famous Paintings Are Exhibited at Concord. Art Work featured with the Review: “Hawaii and Navaho,” by Robert Henri. This is one of the most striking paintings on exhibition at the Fourth Annual Exhibition of the Concord Art Association. Is the town of Concord, Mass, known throughout the length and breadth of the land as the scene of historic events, to be known also as an art centre? This added distinction is in sight, for the annual art exhibitions held by the Concord Art Association are already being looked upon as the real thing by those who know. And this year’s show is the best yet. The association has included in its exhibit, not only the works of the best Boston artists [for the jury was merciless] but has gone outside to secure good examples of the work of men of national and international repute, such men as John Singer Sargent, Daniel Chester French, Robert Henri, Joseph Pennell, Childe Hassam, Redfield and Brangwyn. This unprovincial attitude may be condemned by some local artists, but certainly the exhibit honors the association and the town, and would be an event in Boston. The exhibition has just been opened in the Concord Town Hall, and will continue through November 29. Under the direction of Miss Elizabeth Wentworth Roberts, secretary of the association, and Miss Gertrude Fiske, the paintings and sculpture have been placed in the larger hall and the black and whites in the smaller, with most harmonious results. |
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From: M. F. B. The Fine Arts. The Concord Show. Boston Evening Transcript, Monday, November 17, 1919. The Concord Show Fourth Annual Exhibition of Concord Art Association Brings Together Works of High Standard and Variety
Art Work Featured with the Review: Mary Cassatt’s New Etching - “Child Seated” One of the Recent Dry Point Plates by American Artist Exhibited in Black-And-White Section of the Concord Art Association’s Show Historical and picturesque Concord has an added feature of interest at present, in the collection of oil paintings, sculpture and black-and-whites which the Concord Art Association has installed in the town hall. This exhibition, which was opened with a successful private view on Saturday evening, is the fourth in the series of exhibitions which the association has held each year since its inception, with the exception only of last year, when war conditions were not favorable for the transporting of works of art. This year, however, the association appears to have gained strength by the rest, and the present high standard of exhibits is maintained, there is no reason why the Concord show should not take a permanent and high place among local art exhibitions. It is the policy of the association to bring to Concord each year a collection of the work of the best artists of all the country and, though, as is natural from its propinquity, many Boston artists are represented, it is by no means an exclusively local show, and there are many important canvases from New York and Philadelphia. It is largely due to the enterprise of Miss Elizabeth Wentworth Roberts the secretary of the association, that the exhibition is of this cosmopolitan character and Concord is very fortunate to have its opportunities along these lines thus increased. The Association has this year, for the first time, included sculpture among its attractions, adding greatly to the interest of the exhibition and general decorative effect of the gallery. Of this, the largest piece is Daniel Chester French’s beautiful fountain figure, “The Spirit of Life,” made for the Spencer Trask Memorial at Saratoga. The rest of the sculpture consists entirely of small statuettes and bronzes. There are without exception of great interest and charm. Especially perhaps Malvina Hoffman’s “Oriental Dance” the [Clipping is torn at this point]: . . . of which is owned by the Luxembourg . . . -and two very amusing and . . . . little bronzes of treetoad and . . . Albert Laessle of Philadelphia . . . pieces are by such well known . . . as Anna Coleman Ladd, Richard . . . Janet Scudder, Anna Vaughan . . . Joseph B. Pollen, Thomas Shields . . . others. [NOTE: not able to determne words where . . . . . is marked here] . . . the paintings, the place of honor . . . is given to a character . . . beautiful canvas by Charles W. . . . called “Mother and Children. . . . to Boston and will be seen . . . interest. A young mother is .. . . in a baby upright and wide . . . lap while an older child . . . with the baby. The color . . . subdued gray-blues, browns . . . the whole picture is full . . . charm and repose of . . . . . . picture is flanked on one . . . Hassam, “In the Shadow . . . figure of a girl in white . . . against a background of . . . on the other side by a . . . by. . .Richard . . . girl seated by the . . . a formal garden . . . solidity of the rocks and earth under the snow; Gertrude Fiske, who exhibits a small luminous canvas, the Artist Elizabeth Wentworth Roberts, whose “Springtime,” a Concord landscape in high key and tender color is very charming; Frederick R. Bosley, whose large canvas, “Repose,” is especially noteworthy for its beauty of light and shade and rich color and Marie Danforth Page, who exhibits a pleasing portrait of Mrs. G. Leopold Seyffert sends his large portrait of Mrs. George M. Keyes of Concord, and there is also another portrait of Mrs. Keyes, a small one by L. M. Gaugengigl. Alice Worthington Ball has one of her charming decorative landscapes of tall trees and small houses. There is a portrait sketch by Violet Oakley; a charming water scape in a country town by Morgan Colt, one of the New Hope, Pa., group of painters; another winter scene from Duxbury by Charles Bittinger, formerly of New York and Lyme, but sojourning in Boston this year, and interesting canvases by S. Burtis Baker, J. Elliot Enneking, Allen G. Cram, Felicie Waldo Howell, Hilda Belcher, Margaret Fitzhugh Browne, Elizabeth Morse Walsh, Marion Boyd Allen, Jean Nutting Oliver, Marjorie Conant, Beatrice Whitney VanNess and others. Of equal interest with the painting is the collection of etchings and drawings. These are hung in a small adjoining room and include such well-known names as Joseph Pennell, Childe Hassam, Mary Cassatt, Frank Prangwyn, and Elizabeth Shippen Green Elliott. The group of Pennell etchings is almost entirely of New York street scenes--always an endless source of fascinating subjects for the etcher and of course made the most of by Mr. Pennell. They include his “St. Paul’s New York,” “Lower Broadway,” “Park Row,” “New York from Governor’s Island,” and “The Hole in the Ground,” in which he has felt the picturesque qualities of street or subway excavations. In the group of three etchings by Mary Cassatt, the “Child Seated,” reproduced with this column, is particularly charming in feeling for hue, good drawing and child characterization. This has been bought by the Concord Art Association as an addition to its permanent collection, of which is already quite a nucleus and which it is hoped will be added to from time to time. Of the Childe Hassam etchings, the “Dutch Door” and “The Steps” are especially luminous and the latter full of sunlight, a quality rare in an etching. The Frank Prangwyns are four large especially fine and striking examples. They are: “Le Pont Neuf, Paris,” “Church of Il Spirito Santo, Messina,” “Le Pont Marie, Paris,” and “Mosque, Constantinople.” The last named is an especially valuable and desirable print, as the plate has been destroyed and the edition practically exhausted. The group by Elizabeth Shippen Green Elliott consists of five drawings in her strong and decorative manner for Kipling’s “The Knife and the Chalk.” Other delightful things in the interesting little print room are a charming drawing of two little boys, “Henry and George” by Ethel Blanchard Coliver, etchings of “Laughing Child” and “Motherhood”: by Mary A. Ryerson, “The Way of St. Francis, Chartres,” Gabrielle DeV. Clement, and “Brooklyn Bridge” by Sears Gallagher. There are also some very interesting etchings of French and Italian subjects by Ernest D. Roth and a group by John Wright, an Englishiman, of which the “Old Man in the Stove Pipe Hat” shows humor and strength of charactaaerization and “The Ramparts” and “The Edge of the Forest” show fine artistic feeling. The exhibition will remain open daily, Sunday included, from 10 A. M. to 6 P. M. from Nov. 16 to 29, inclusive, and on every Wednesday, Saturday and Sunday afternoon, teas, in charge of Mrs. Moses Bradford, will be served, with Concord Ladies as hostesses. M. F. B. |
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American Art News. New York, December 13, 1919. BOSTON: The fourth annual exhibition of the Concord Art Association drew a more varied entry list than marks most art shows in New England. Painters and workers in black and white of N.Y. and Phila. are well represented on the walls among artists of Boston and vicinity. An outstanding exhibit is Daniel Chester French’s fountain figure, “The Spirit of Life,” executed for the Spencer Trask Memorial at Saratoga. Other sculptors represented include: Malvina Hoffman, Albert Laessle, Anna Vaughn Hyatt, Anna Colman Ladd and Richard Recchia. Among the paintings, Childe Hassam’s “In the Shadow of the Vines,” a landscape by Edward W. Redfield, one of Sargent’s Canadian woodland sketches, Charles Hopkinson’s “Winter Morning” and Elizabeth Wentworth Robert’s “Springtime” are worthy of note. Other painters represented include: Gerritt A. Beneker, Richard E. Miller, Frederick C. Frieseke, Violet Oakley, Leopold Seyffert, Robert Henri, Charles W. Hawthorne. Among the etchings are: Mary Cassatt’s “Child Seated,” bought by the Concord Art Association for its permanent collection; four Parisian studies by Frank Brangwyn, and five drawings by Elizabeth Shippen Green Elliott. |
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The Boston Sunday Globe - November 30, 1919 Many Artists Showed Canvases at Concord CONCORD, MASS, Nov 29 -The fourth annual exhibition of the Concord Art Association closed this afternoon in the Town Hall. Tea was served this afternoon to a large number of visitors. Mrs. Moses B. L. Bradford being in charge assisted by Mrs. Henry Brooks and other prominent women of Concord. The collection of works shown here were by the best artists of the country. It was largely due to the enterprise of Miss Elizabeth Wentworth Roberts, secretary of the association, that so many leading artists exhibited. Among the sculptors who exhibited were
Among the artists who had paintings at the exhibition were
Those who exhibited etchings or drawings were
List of participants discerned from the newsclippings:
List of Participants [from another newsclipping]
The exhibit in black-and-white includes fifty-two exhibitors and 155 drawings and etchings, included:
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