Writings in Maine History
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Portland History Docents, February 23, 2006
Portland History Docents “The Arts in 19th-century Portland” Slide List 1. John Kimball, Sr., architect. Hugh McLellan House, 1801, Portland Museum of Art, Maine. 2. John Kimball, Sr., architect, Stephen McLellan House, circa 1801, now the Cumberland Club, Portland, Maine. 3. Gilbert Stuart (United States, 1755–1828), Major General Henry Dearborn, 1751–1829, 1812, oil on panel. Portland Museum of Art. 4. Maker Unidentified (China), Porcelain Tableware, circa 1800. Portland Museum of Art. 5. Maker Unidentified (probably Herculaneum Pottery, Liverpool, England, circa 1793–1841), Signals at the Portland Observatory, after 1807, transfer-printed earthenware with hand-coloring. Portland Museum of Art. 6. Attributed to Daniel, Benjamin, and William Radford (United States, active 1786–1834), Secretary, circa 1800, mahogany. Portland Museum of Art. 7. Daniel Radford (United States, active 1786–1834), Card Table, circa 1805, mahogany. Portland Museum of Art. 8. Various artists, McLellan family silver. Includes sugar tongs, circa 1805, by Enoch Moulton (Portland, Maine, active 1803–1816) and spoons, circa 1820–40, attributed to Oliver Gerrish (Portland, Maine, 1796-1888). Portland Museum of Art. 9. James Todd (United States, 1794–1884) and Charles Codman (United States, 1800–1842) (attributed), Looking Glass, circa 1823–28, glass, gilded pine, and paint. Portland Museum of Art. 10. a) James Todd (United States, 1794–1884) and Charles Codman (United States, 1800–1842) (attributed), Looking Glass, circa 1823–28, glass, gilded pine, and paint. Old York Historical Society, Maine. b) Charles Codman (United States, 1800–42), View of Twin Mountain, 1821, oil on panel. Private collection. 11. Charles Codman (United States, 1800–42), Wilderness Shore, circa 1830-35, oil on panel. -
Benjamin Paul Akers, St. Elizabeth of Hungary
Conversations: An Online Journal of the Center for the Study of Material and Visual Cultures of Religion (mavcor.yale.edu) Benjamin Paul Akers, St. Elizabeth of Hungary Lauren Lessing Benjamin Paul Akers, St. Elizabeth of Hungary, 1860 In July 1857, a correspondent for the Philadelphia Inquirer visited Benjamin Paul Akers’ studio in Rome. He wrote: “A little statuette of St. Elizabeth of Hungary, at the moment when the bread in her apron was changed to flowers, promises to be very fine; the attitude is graceful and dignified.”1 This clay statuette (which is now lost) served as the basis for at least three large marble versions of St. Elizabeth produced by Akers and his studio assistants between 1859 and 1860, including the sculpture now owned by the Colby College Museum of Art. [Fig.] Akers’ sculpture depicts a thirteenth- century noblewoman who, according to legend, purloined food from her castle’s larder to distribute among the poor. When Elizabeth was intercepted by her husband, who demanded that she reveal what she carried wrapped in her cloak, the stolen loaves were miraculously transformed into roses. Although Akers typically worked in a neoclassical style, St. Elizabeth--with her small head, elongated limbs, elaborate drapery, and sinuously curved posture--is decidedly Gothic. After the sculptor’s untimely death from tuberculosis in 1861, critics praised this figure as one of his finest productions. Akers’ obituary in the New York Herald states: “In [St. Elizabeth], more than any of his completed works, the most peculiar and rarest qualities of the gifted artist are exhibited.”2 Given the fact that Akers was a Protestant working at a time when nativist Conversations: An Online Journal of the Center for the Study of Material and Visual Cultures of Religion (mavcor.yale.edu) and anti-Catholic sentiments ran high in the United States, his choice to depict a miracle performed by an Eastern European saint does indeed seem peculiar, as does the popularity of his sculpture. -
Paul Akers and Elizabeth Akers Allen
Colby Quarterly Volume 7 Issue 5 March Article 3 3-1-1966 The Misted Prism: Paul Akers and Elizabeth Akers Allen Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, series 7, no.5, March 1966, p.195-227 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. et al.: The Misted Prism: Paul Akers and Elizabeth Akers Allen Colby Library Quarterly Series VII March 1966 No.5 THE MISTED PRISM: PAUL AKERS AND ELIZABETH AKERS ALLEN By RICHARD CARY SLIGHTLY more than a hundred years ago, two Maine stars crossed in their courses: the sculptor Paul Akers (1825 1861), whose Pearl Diver and bust of John Milton were me moralized by Bro\vning and Hawthorne; the poet, then Eliza beth Taylor, now kno1wn as Elizabeth Akers Allen (1832 1911 ), and remembered almost exclusively for her verses "Rock Me to Sleep," which begin, "Backward, turn backward, o Time in your flight, / Make me a child again just for to night." Tlleirs was a brief encounter, lasting less than three years, much of which was spent apart. Nevertheless, out of this intensive. conjunction. spurted flames, somewhat lurid, but rendered invisible by the exaggerated reticences of that era. Paul courted Elizab:eth, took her on a trip· to Europle, married her, and then died, leaving her their daughter. Mrs. Akers was widely eommiserated on the premature loss of her popular, talented husband and she said nothing at the time to undermine the public estimate of Paul as an incandescent child of nature, guileless and gracious and good. -
The Arts in Nineteenth-Century Portland Jessica Skwire Routhier
The Arts in Nineteenth-century Portland Jessica Skwire Routhier Citation: Jessica Skwire Routhier, “The Arts in Nineteenth-century Portland,” Portland History Docents course lecture, Maine Historical Society, February 13, 2014 I’ve been asked to speak to you today on the topic of the arts in 19th-century Portland, and the years between 1800 and 1900 give us a lot to talk about. During that century, Portland developed, aesthetically speaking, from what was essentially a country cousin to cities like Salem and Boston, to a city with its own rich and distinctive artistic traditions. I’m going to try to touch upon most of the highlights of this period for you, and to do that efficiently I’m going to mostly limit the artifacts that I show you primarily to three of the collections that I know best and have the easiest access to: the Maine Historical Society, the Portland Museum of Art, and the Saco Museum, which believe it or not has a lot of Portland-related things in its collections. But as you look and listen, it’s important to bear in mind that these three collections are far from the whole story of the arts in Portland, and that the slides you’ll be seeing today are not necessarily the single most important works of art in this time and place. Instead we should look at them as a sort of jumping-off point for talking about the kind of artistic expression that was finding a voice in Portland at this time. Probably most of you recognize this as the Hugh McLellan House, which is now part of the Portland Museum of Art. -
Requiem for Harden V. Gordon
Journal of Maritime Law & Commerce, Vol. 51, No. 2, April, 2020 Requiem for Harden v. Gordon Hon. D. Brock Hornby* Every admiralty lawyer for the past 200 years has known that sailors are “emphatically the wards of the admiralty.” The words come from United States Supreme Court Justice Joseph Story’s 1823 opinion in Harden v. Gordon.1 That principle2 has often affected sailors’ rights—for example in the jaundiced view courts take of any release a sailor signs.3 But last year the Supreme Court signaled the principle’s virtual demise, saying that from here on, “the special solicitude to sailors has only a small role to play in contemporary maritime law.”4 Before we bury it—and to give it a respectful burial—I aim to describe the people and activity that produced Harden v. Gordon some 200 years ago. Justice Story wrote the Harden v. Gordon opinion, but the decision came from the First Circuit, not the Supreme Court. The original report’s headnote says that it was the “Fall Circuit,” “Maine, October Term, 1823, at Wiscasset [Maine],” and that the Circuit Court was composed of Justice Story and Judge Ashur -------------------- *Senior United States District Judge, District of Maine. Appointed by President G.H.W. Bush in 1990. This article is adapted from a PowerPoint presentation I gave to the Maritime Law Association Board of Directors on August 3, 2018, in Portland Harbor—the port from which the Brig Enterprize sailed in 1820 with mate Harden. 111 F. Cas. 480, 485, 2 Mason 541, 556, 2000 AMC 893, 903 (C.C.D. -
A Guide to Auto Touring Where Lobsters Are Caught, Cooked and Eaten
aM a iiie A Guide To Auto Touring Where lobsters are caught, cooked and eaten THE LOBSTER POUND RESTAURANT and GIFT SHOP SEAFOOD-STEAKS-HAM-TURKEY NEW FAMILY PICNIC AREA BEACH & PICNIC TABLES TAKEOUTFOODS LOBSTERS CLAMS Lincolnville Beach, Maine Between Camden and Belfast on U.S. No. 1 Tel. 789-5550 Serving Dinner 11:30 AM to 8:00 PM Bus Tours Access for Welcome AMERICAN EXPRESS the Disabled Contents Map of M aine ............................................................................. 2 Tour 1 Southern Coast — Gateway......................................... 7 Tour 2 Greater Portland........................................................... 13 Tour 3 Southern Coast — Portland N o rth ..........................19 Tour 3A Tri-Region T our........................................ 23 Tour 4 Western Lakes — South..............................................24 Tour 5 Western Lakes — Central.......................................... 27 Tour 6 Western Lakes — North..............................................29 Tour 7 Central Lakes — S o u th ..............................................31 Tour 8 Central Lakes — N o rth ..............................................33 Tour 9 Bath Area — Lower Kennebec A r e a ...................... 35 Tour 10 Mid-Coast — Lincoln County....................................37 Tour 11 Mid-Coast — Camden-Rockland A r e a ...................41 Tour 12 East Penobscot B a y .................................................... 45 Tour 13 Mount Desert Island ................................................. 47 -
2020 Lecture
Jessica Skwire Routhier, “The Arts in Nineteenth-century Portland,” Portland History Docents course lecture, Maine Historical Society, March 5, 2020 We are here to talk about the arts in Portland in the 1800s—a time of huge change for this city in all kinds of ways. These were the years not only when Portland became a leading center for shipping and trade on the New England coast, but also when it became a cultural center with its own distinct artistic traditions. This is when the concept of what we now think of as “Maine art” evolved, and that evolution happens in really interesting and complex ways. One lecture is not enough, of course, to tell the whole story, so this lecture is going to be about hitting some of the big ideas and showing you some of the highlights of the arts in 19th-century Portland. So the place is Portland, Maine, and the year is 1800. What’s happening in this beautiful town that is seated by the sea, as Henry Wadsworth Longfellow would later remember it? (slide) By this time in your Portland History Docents program, I am sure you know that by the turn of the 19th century Portland had established itself as an important shipping port, playing a major role early on in the mast trade, and then participating in the triangle trade, in which raw American resources like lumber, cotton, and tobacco were traded for European goods like porcelain and silver, products of the West Indies like sugar and molasses, and yes, human cargo in the form of slaves from Africa’s west coast. -
Quakers in Early Falmouth and Portland, Maine : 1740 - 1850
Portland Public Library Portland Public Library Digital Commons Books and Documents Local History Collections 2018 Quakers in Early Falmouth and Portland, Maine : 1740 - 1850. Wayne Cobb Follow this and additional works at: https://digitalcommons.portlandlibrary.com/books_documents Part of the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Cobb, Wayne, "Quakers in Early Falmouth and Portland, Maine : 1740 - 1850." (2018). Books and Documents. 5. https://digitalcommons.portlandlibrary.com/books_documents/5 This Book is brought to you for free and open access by the Local History Collections at Portland Public Library Digital Commons. It has been accepted for inclusion in Books and Documents by an authorized administrator of Portland Public Library Digital Commons. For more information, please contact [email protected]. Quakers in Early Falmouth and Portland, Maine 1740-1850 James Winslow and the Origins of the Portland Society of Friends Second printing: May 2019 Wayne Cobb ([email protected]) Download this book at: https://digitalcommons.portlandlibrary.com/books_documents/5/ TABLE OF CONTENTS Introduction……………………………………………………………………………………….……. 1 James Winslow: The Massachusetts Beginnings………………………………………………………. 2 James Winslow to Maine and Blackstrap…………………………………………………….………… 5 The Beginnings of Maine Quakerism………………………………………………..…….……..……. 9 The Old Burying Ground……………………………………………………………..……….……… 11 Local Quakerism, 1771-1850………………………………………………………………...……….. 13 James Winslow’s Legacy……………………………………………………………………...………. -
Paul Akers of Maine
Colby Quarterly Volume 4 Issue 11 August Article 6 August 1957 Paul Akers of Maine William B. Miller Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, series 4, no.11, August 1957, p.201-204 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Miller: Paul Akers of Maine Colby Library Quarterly 201 tive statements are considerably less enthusiastic than Housman's expressions of disapproval: Page 105: "Quite" Page 251: "True" Page 420: "Yes indeed" 167: "Good" " 295: "Right" " 495: "So it is" PAUL AKERS OF MAINE* By WILLIAM B. MILLER NE hundred years ago Benjamin Paul Akers pre O sented to the world the marble bust of John Milton which is now in the Reference Room of the Colby College Library. Unsigned and uninscribed, the bust shows the English poet nude, looking straight forward. The face is framed by locks of hair depicted in the manner worn by the poet. The bust is conceived in terms of a strict sYln metry. The expression on the face is serious but not stern, calm and still, without aloofness on the one hand and without a hint of animation on the other. In terms of the ideals of one hundred years ago, we confront the classic image of a classic poet. Paul Akers was active during the first Hourishing period of American sculpture. During this period the Neo-Clas sic style ran its course.