Paul Manship was first among equals as the most famous of the slew of sculptors that descended on the village of Lanesville in Gloucester, Massachusetts, in the late 19th and early and mid-20th centuries. His studio and summer home perched at he edge of two abandoned granite quar- ries was the center of a vibrant art colony
that included sculptor Walker Hancock, the Hale family of artists, Macedonia-born George Demetrios, children’s book author
and Folly Cove designer Virginia Lee Burton, and Charles Grafly,
sculpture instructor at the Pennsylvania Academy of the Fine
Arts. Manship displayed his Art Deco–styled sculptures cast in
bronze against a dramatic natural backdrop, and art collectors
traveled to Cape Ann to marvel and place orders.
Now, 50 years a;er Manship’s death, his house, barn turned
studio, and 15-plus acres of natural splendor begin a new life as
an artists residence and retreat. “This is the only extant home
and studio of a major early-20th-century artist,” says Rebecca
Reynolds, board president of the Manship Artists Residency +
Studios (MARS). “We have a wonderful opportunity to preserve
the Manship legacy while making his studio space available to
the artists of today.”
Manship, born in 1885, first visited Lanesville in 1915 with
his friend, artist Maxfield Parrish, whose father, Stephen, began
to paint there in the 1880s. By the time Manship arrived, the vil-
lage was crawling with sculptors. Anna Hyatt Huntington — cre-
ator of compelling animals and a monumental Joan of Arc, ver-
sions of which are found in Gloucester, New York City, and else-
where — had been spending summers here since her birth in 1876.
Grafly built a vacation house in the pretty coastal enclave in 1902.
The granite quarries that pockmarked Lanesville had
stopped operation by the Great Depression, and the massive
holes le; filled with water. Walker Hancock, among the famed
Monuments Men who helped recover artwork looted by the Nazis,
had established his studio at the edge of one, and in 1944, Manship one-upped his fellow sculptor, buying 15-plus acres that
included not one but two quarries.
Wartime made building materials scarce. However, Manship received a special permit from the U. S. Department of War
and, with help from his friend architect Eric Gugler (designer of
the Oval O;ce for Franklin Delano Roosevelt), he bought and
moved an early-19th-century house from a nearby village to his
property, where he set it at the edge of the smaller quarry. A year
; ;;;;;;;; ;; Paul Manship ;;;;;;; by John Christen Johansen hangs under
the studio’s great Palladian window. The window was shortened when
Manship’s son, John, also an artist, remodeled the building in the 1970s.
Between the house and the studio stands an arbor ;;;;;; ;;;;;; built from
quarrying equipment. John Manship’s paintings line the walls in a part of the
studio furnished as a sitting room ;;;;;;;.