Maine lushness
"Boothbay Harbor Botanical Gardens" (oil on panel), by Louis Guarnaccia, at Bayview Gallery, Brunswick, Maine.
Right after the winter flood
“Spring Flood” (graphite, ink, gouache and acrylic on paper), by Emily Leonard Trenholm, in her Jan. 1-30 show at Bromfield Gallery, Boston, entitled “Painting in the Woods’’ The show is inspired by the the abandoned feldspar quarry behind her home, in Brunswick, Maine.
Perched on crystallized, white feldspar is an upright aquamarine crystal.
William Morgan: Looking lithographically at proud 19th Century Maine
As part of its celebration of the 200th anniversary of Maine statehood, the Bowdoin College Museum of Art last winter held an exhibition of lithographs of 19th-Century town views in the Pine Tree State. Since then, the college and Brandeis University Press have published a handsome oversize book, Maine's Lithographic Landscapes: Town and City Views, 1830-1870.
What it says above:
“View of Portland, Me./Taken from Cape Elizabeth before the great conflagration of July 4th 1866
“Tinted lithograph from a photograph taken by Edward F. Smith and published by B.B. Russell & Co., Boston. 1866. ‘‘
The author is Maine State Historian Earle G. Shettleworth Jr., who was the state's historic-preservation officer for nearly five decades. The modest and scholarly Shettleworth may well know more about the state's architecture and other art than anyone else. Devoting his life to documenting everything Maine, he has written and lectured prodigiously on every aspect of Maine's built environment, and also written studies of female fly fisherman, photographers, painters, and parks.
“Augusta, Me., 1854.
Drawn by Franklin B. Ladd. Tinted lithograph by F. Heppenheimer, New York.’’
In a bit of Maine understatement, the co-director of the Bowdoin Museum, Frank H. Goodyear Jr., writes, "In Nineteenth Century America, the printed city view enjoyed wide popularity." As Shettleworth notes, the prints helped "forge the young state's identity” and served as "expressions of pride of place’’. During the period under review many towns and cities across America were memorialized in printed images drawn by artists famous and unknown.
Still, Maine was still a small state in the back of beyond. (its population was under 300,000 at the time it separated from Massachusetts, in 1820.) Thus, what the book’s creators call the "first comprehensive record of urban prints during the first fifty years of statehood" is somewhat limited: There are a total of 26 views of 11 places. Those are augmented by a score or more images of the often somber Bowdoin campus, including a painting, old photos, and two Wedgwood plates. Groundbreaking as the book is, viewing the exhibition itself would probably be more satisfying.
That said, Maine's Lithographic Landscapes is a handsome production. The Bowdoin Museum has a history of elegant catalogs, and this co-operative venture with Brandeis demonstrates that press's growing role as a publisher of New England studies. I am not sure that anyone looks at colophons (publisher’s emblems) anymore, so it is worth noting that the book was designed by the eminent book designer, Sara Eisenman.
Earle G. Shettleworth, Jr., Maine's Lithographic Landscapes, Brandeis University Press, 2020, 144 pages, $50.
William Morgan is a Providence-based architectural historian, photographer and essayist. His latest book is Snowbound: Dwelling in Winter.
Old and grumpy
Autumn in Stratton, Maine
“I grew up on a dirt road in Maine, and pretty much everybody on that road was related to me, and they were old. And so grumpy.’’
— Elizabeth Strout (born 1959), Brunswick, Maine -and New York City-based novelist and short-story writer
Harriet Beecher Stowe House, in Brunswick, where, in 1850-1852, Stowe wrote Uncle Tom's Cabin