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MODERNISM celebrates editions and works on paper from a transformative period of time in which artists redefined the boundaries of visual expression. Featuring selections from Cubism, Dada, Surrealism, Orphism, Expressionism, Constructivism, and more, each piece in this session represents not just an aesthetic achievement, but a moment in time when artists pushed fine print and art making boundaries to the edge of possibility.
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\nIf you would like to bid in person, via absentee, or over the telephone, please reach out to bidsnewyork@phillips.com for registration assistance.
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View Conditions of Sale >
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\nDiscover Editions & Works on Paper, taking place in New York 16-17 April. Browse the sale and register to bid now.

\n","auctionDetailsSmall","New York Auction 16 April 2025","extraInfo","

editions@phillips.com
\n+1 212 940 1220

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Juliette Nichols, [Woman and Child at Garden Fence], circa 1915. MODERNISM: Editions & Works on Paper.

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All the way back in 1870, a unique and under-sung voice in American art was born on the banks of the Ohio River, just across from the West Virginia line. At the time, the US was in the midst of Reconstruction, and the Midwestern region was undergoing a wave of modernization that saw the construction of factories and the laying of rail lines, creating and connecting hubs throughout the area. It was against this cultural backdrop that Juliette Nichols was born in Marietta, Ohio, finding herself in France by the early 1900s. Studying in Paris, she learned Japanese woodcut techniques from Edna Boies Hopkins and exhibited her work at the American Women’s Art Association alongside a few other artists who would eventually form the group known as the Provincetown Printers.

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Following our recent offerings of works by the Provincetown Printers, Phillips is continuing the journey with a revelatory discovery of this remarkable artist, about whom not much is known. This season in our MODERNISM: Editions & Works on Paper auction, we present five works by Juliette Nichols that showcase what collectors have come to love about her work.

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American Experimentalism

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Juliette Nichols, [Group of Figures], circa 1915. MODERNISM 1880–1960: Editions & Works on Paper.

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As the winter of 1915–1916 approached, a community of artists decided to remain in the small fishing village of Provincetown, Massachusetts, beyond the summer. With a shared sense of camaraderie and community, they braved the harsh New England winter to focus on their artistic pursuits in woodblock printing. That winter, the white-line woodcut, otherwise known as the “Provincetown Print” was said to be born. This inventive technique allowed the printer to see the entire composition on a singular piece of wood and afforded endless possibilities for texture, color, and shading, using watercolor as ink. Most of this community of primarily female artists quickly took up this technique, and the distinctive aesthetic of the Provincetown art colony became firmly established. This spirit of invention among the predominantly French-trained, American-born artists exemplifies the more inventive side of early modern American creativity and highlights these artists’ complete control of the printing process from beginning to end.

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Juliette Nichols, [Green and Purple Poppy] and [Red and Green Poppy], circa 1916. MODERNISM: Editions & Works on Paper.

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Juliette Nichols had met several artists in this group when they studied together in Paris. While living in Provincetown, she exhibited with the group at the Berlin Photographic Company in New York. Soon after, she returned to Paris and then New York City, where she had an apartment on West 4th Street in Greenwich Village before ultimately moving back to her hometown of Marietta, Ohio.

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Modern Imagery

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Juliette Nichols, [Houses on the Waterfront, Day], 1915. MODERNISM: Editions & Works on Paper.

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Across these works, the artist ushers classic subjects into the modernist conversation. These often expressively carved and vibrantly hued scenes that include bathers, landscapes, and seascapes show us the forward-thinking and innovative approach of the Provincetown Printers as torchbearers of a new visual language in the early 1900s. The works are bold, formally daring, and as referential to Japanese printmaking as they are to early European Modernism. But perhaps what makes them so intriguing to us today is the opportunity they offer to view a distinctive kind of American lifestyle through Nichols’ eyes — a lifestyle she not only depicted but one she also lived.

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These images are exuberant, experimental, radically contemporary to their time, saturated, and rich, but what keeps our eyes lingering is the joy of this bucolic way of life. A slice of Americana, we can imagine spending the days reading, swimming, sailing, and even napping under a tree after a long stint of gardening before the change of seasons brings with it winter ice skating and ballroom fêtes. These works offer a window into American leisure at its very best and call to mind how artists have historically depicted coastal destinations. The Cape is to Nichols and the Provincetown Printers as Arles was to Van Gogh and Gauguin.

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The Quiet New England Inventor

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Juliette Nichols, [Houses and Trees], 1915. MODERNISM: Editions & Works on Paper.

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As we uncover more about the Provincetown Printers and their contribution to American art, we’re reminded of how frequently creators in New England have charted a radical course before their discovery by wider culture. One thinks of the composer Charles Ives working in Connecticut, whose 1908 work The Unanswered Question quietly changed the course of classical music even though it wasn’t performed until 1946. Or think of Emily Dickinson, that most notable Amherst reclusive modernist, whose works also didn’t fully emerge until much later. Looking at these works by Juliette Nichols today, by their experimental nature, their varied impressions of the same composition, their use of collage and hand-coloring, and a palette that rivals that of Matisse and the Fauvists, we can see just how forward-thinking she was. And just as we’ve seen before with defining creative moments from this region of the country, perhaps now is the time that Juliette Nichols gets her due.

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Discover more from MODERNISM: Editions & Works on Paper >

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\n","publishDate","2025-04-07T19:48:04.000000Z","authorCredit","Jesse Limbacher","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/157262610/juliette-nichols-modernism-on-the-shore-provincetown-prints-auction-new-york","displayOrder",1,"auctionEditorialID",2428,"editorialID",4879,"flocklerID",157262610,"https://flockler.com/thumbs/sites/889/miro-lead-aeac30b9-5732-4c24-8442-18ef4a8ae197_s600x0.jpg","History illuminates the present with a selection of our favorite works from Phillips’ upcoming MODERNISM 1880–1960: Editions & Works on Paper auction.","Why Modernism Is More Important Than Ever","

Joan Miró, Le Lézard aux plumes d'or (The Lizard with Golden Feathers), 1971. MODERNISM 1880–1960: Editions & Works on Paper.

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For better or worse, change seems to come faster than ever these days. But take a break from it all to visit an art gallery, and you might find that the core themes surrounding Modern Art — from industrialization to cultural experimentation, new technologies, a focus on the individual, and the rejection of established norms — still define how we navigate the world today. We might give them new terms — last century’s urbanization becomes this century’s gentrification and so on — but the fact remains: it’s easy to argue that modernism never ended, maybe it just got faster.

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With this in mind, art lovers and collectors discover that today, Modern works can be seen with new, rich layers of meaning.

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This unique trial proof woodcut by Ernst Ludwig Kirchner offers a compelling lens through which to discover the hallmarks of German Expressionism. We’re now looking at works from just about a century ago and can feel the increased focus on the personal expressivity of psychological depth, here rendered through figural distortion, bold color, and stylized line.

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When looking at the six works together, we can almost hear the din of the impending swinging ‘60s. Sonia Delaunay’s style, along with her husband Robert’s and the artist František Kupta’s, was first described as “Orphism” by the French poet and art critic Guillaume Apollinaire in 1912, referencing the Greek bard. It grew out of Cubism, but focused on pure abstraction and bright colors, borrowing ideas from both Fauvism and the theoretical musings of Paul Signac. This complete set of six gouache pochoirs is uniquely striking. The details of the thickly brushed gouache paint are a joy to discover across the suite, each inspired and accompanied by a poem by the avant-garde poets Rimbaud, Mallarmé, Cendrars, Delteil, Soupault, and Tzara.

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International Surrealism Club

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Various Artists, Surrealism Between the Two Wars, from The Forerunners of the Avant Garde (Volume II), from International Anthology of Contemporary Engraving, 1966. MODERNISM 1880–1960: Editions & Works on Paper.

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Spanning iconic names such as Marcel Duchamp, René Magritte, and Man Ray, this set of 11 etchings, each mounted and bound as a deluxe collection, does just what it says on the tin. Also including works by Chilean artist Roberto Matta and the German Hans Bellmer, Surrealism Between the Two Wars is a museum in itself. It showcases the significance of each artist individually and together, illuminating how the interchange of ideas across borders was crucial to Surrealism’s artistic revolution.

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Learn More >

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Jean Dubuffet, or how to change the art world in four decades

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Jean Dubuffet, Epiphanor, from Présences fugaces (Epiphanor, from Fleeting Presences), 1973. MODERNISM 1880–1960: Editions & Works on Paper.

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The founding father of Art Brut, or outsider art, Jean Dubuffet looked beyond the traditional art world for inspiration. His love of Parisian street life, bustling with outcasts, led him to take influence from street art and those on the fringes of society. He pushed the limits of representation and the craft of painting itself, incorporating found materials and chemicals in his practice. This experimentation is also seen in his printmaking, where he explored many techniques throughout his career, in this case a screenprint with Pace Editions. His wide-reaching influence can be seen as far as in works by Jean-Michel Basquiat and Keith Haring to contemporary streetwear. In this sense, he bridged the gap from early Modernism to wherever we are now.

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Learn More >

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Discover More from Editions >

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Recommended

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Browse & Bid: Editions & Works on Paper New York Auction >

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Read: Unexpected Pairings: Editions New York >

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(8.6 x 1.9 cm)","medium","IKB pigment on stamps with selvage, framed.","provenance","Gift of the artist to Naad and Claude Parent\r\nThence by descent to the present owner","mainImagePath","https://dist.phillips.com/auction-assets/NY030625/206611_001.jpg","enhancedLotComponents",[489],"conditionReport","Scattered soft rubbing (likely consistent with the materials used), hinged to a mat board, unable to examine the reverse.\r\n\r\nIn our opinion, this work is in very good condition. \r\n\r\nF: hinged to a mat board. Within a white painted wood frame, floated, under glass.\r\n\r\nAll condition assessments exclude a work’s frame.\r\n\r\nFor more information or images, please contact the department at Editions@Phillips.com",{"_170":72,"_171":172},"additionalImagePaths",{"_490":124,"_491":492,"_493":494,"_16":495,"_496":497},"isActive","componentType","RichText","componentId",21073,"DETAIL-HEADER-DISABLED 59459","componentItems",[498],{"_490":124,"_499":500,"_501":502,"_503":-7},"componentItemId",24857,"htmlCaption","

The striking shade of Yves Klein’s Timbre Bleu, more vibrant than any earthly postage, is I.K.B. itself – International Klein Blue, the legendary pigment Klein invented with the help of a chemist to create the purest form of blue possible. Klein first created these stamps in advance of his dual 1957 gallery shows in Milan and Paris, attaching them to exhibition invitations to be used in the place of official postage. Klein achieved this effect by persuading (and likely bribing) postal workers to authenticate the stamp with a cancellation mark, allowing his facsimiles to travel in the mail – and making unmarked examples such as these exceedingly rareⁱ. By using his artwork as stamps, Klein placed himself in a lineage of famous artists whose artwork has appeared on official government postage and secured at least the appearance of validation from the French government.
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\nKlein’s stamps combine a variety of Klein’s artistic impulses and bear an outsized importance in his oeuvre. Timbre Bleu communicates Klein’s engagement with the monochrome and the color blue, as well as his legendary skill for generating buzz. With the public appeal of Klein’s work was intimately tied with the fervor it generated, much of which Klein whipped up himself. Among the first truly social artists, Klein’s 1957 exhibition opening would also feature the headline-worthy release of 1,001 blue balloons and an audacious one-note soundtrack of Klein’s own creation. The stamps themselves functioned as daring advertising, enticing the public to come and investigate the cutting edge of modern art. As a promotional device, they were effective enough that Klein would continue to use them for future exhibition mailers, including for his scandalous exhibition Le Vide (The Void), which featured an entirely empty gallery, two French Republican Guards serving as bouncers, and the infamous Cointreau and methylene cocktail Klein served at the opening, which dyed the urine of unwitting visitors bright blue.
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\nThese stamps are from the collection of Claude Parent, the famed French architect and longtime collaborator of Klein’s. Together, they drew up atmospheric designs for architecture unbounded by convention or physics, formally embracing one of Klein’s favored concepts: the void. After Klein’s death in 1962, Parent was asked by the artist’s mother and wife to design the artist’s mausoleum – a yet-unbuilt structure in Saint-Paul-de-Vence that perfectly captures the formal experimentation the two brought out of each other.

\n\n

\n ⁱSidra Stich, Yves Klein, 1994, pg. 91

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46

Yves Klein

Timbre Bleu

Further Details

Full-Cataloguing

Yves Klein