Portland Monthly Magazine September 2015

a s k i n g D a v i D D r i s k e l l a b o u t‌ w e l l , y o u k n o w | b a k e r i e s r i s i n g

Fall Guide

Jonathan Edwards

At Home in Cape E.

night snapshots

&

gallery Bistros

September 2015 Vol. 30 No. 6 $5.95

212 m a i n e pa i n t e r s

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If you haven’t been to DiMillo’s in Portland’s Old Port lately, stop in and taste what you’ve been missing!

Chef Melissa Bouchard, one of Maine’s Chefs of the Year, has delicious new specials every week.

Every table has a view of Portland Harbor and parking is always free!

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In the Old Port • Portland, Maine 772-2216 • www.dimillos.com Full Marina Services: 773-7632

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N.C. Wyeth, Black Spruce Ledge (“Time and Tide”), 1941, egg tempera

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September 2015 | Vol. 30, No. 6

51

Art&Style 109 Weaves of Grass

Basket maker Clara Neptune Keezer takes her life into her hands.

By Bunny McBride

113 Sticking to the Art Maine’s David Driskell navigates the Cosby controversy.

From Staff & Wire Reports 115 Warhol lobsters

from left: newsoftheartworld; Joaquin mallmann

Join the blue lobster cult.

By Colin W. Sargent

141 Fiction

“Toil & Trouble”

by Brian Daly

PerSPectiveS 12 From the editor 14 letters

47 Star Quality Photographer Aaron Priest rules the night sky.

Interview by Becca Carifio

101 A Man in Full

125 l’esprit de l’escalier

144 Flash

“Two Names For Everything.”

By Rhea Côté Robbins

PerSonAlitieS 42 Mirror on Maine

Painter Richard Estes, at home in Northeast Harbor.

By Daniel Kany

127

Who knew Jonathan Edwards is living in Cape Elizabeth?

Interview by Colin W. Sargent

Food&Drink 119 Morning Glory

Portland is bakery heaven.

By Claire Z. Cramer

51

48-PAGe SPeciAl rePort

Maine Painters, A Catalog A compendium across the centuries.

Curated by Honour Mack, Andres Verzosa & Bruce Brown.

126 dining Guide 127 restaurant review

Terlingua lands in East Bayside.

Shelter&deSiGn 129 House of the Month

The historic Hugh McCulloch House in Kennebunk.

132 new england Homes & living MAine liFe 17 Maine classics 19 experience 26 Maine Fall Guide 35 chowder 37 Portland After dark: night Galleries: Fine art pairs well with cocktails and fine dining.

By Claire Z. Cramer

Cover: A fall sunrise in Falmouth Foreside by Joaquin Mallmann.

September 2015 11

Editorial Colin W. Sargent, Editor & Publisher

The Exquisite Corpse Monhegan K. Dana Morning Nelson Paul Black 11x14 11 x 14 oil oil

Featuring original works of fifine ne art, photography and limited-edition prints by regional and local artists.

372 Fore Street Portland, Maine 04101 (207) 874-8084 www.forestreetgallery.com

Example No. 1: The completely black light lays down day and night the powerless suspension to do any good.

– Example No. 2: The anaemic young girl got the waxed mannequins turned red.

— Example No. 3: The made-up shrimp hardly enlightens some double kisses.

— In this spirit, I’d like to invite our readers to add dimension to the extending conversation of ideas we begin in our print stories at Portland Magazine. Across the next four issues, on FaceA visual form of the game: book, we’ll post a story from the current issue and reward the Exquisite Corpse, Art Spiegelman, five best insights (that take us to real places with real times and Fred Stonehouse, Dan Mills; 1999; mixed media on paper, 24" x 10"; adventures that offer specific new material to a story in the private collection, Chicago. chain of replies) with free one-year subscriptions, which may be gifted if you already subscribe. Then, at the end of 2015, we’ll have a drawing among the subscription winners for the grand prize, a framed Jon Legere image of Old Orchard Beach. Why Legere? There’s a guy who added to the conversation. Portland Magazine stories: We light the fuse, you provide the bang.

1 2 p o r t l a n d m o n t h ly m a g a z i n e

ExquisitE CorpsE: Art spiEgElmAn, FrEd stonEhousE, dAn mills

Dinghy at Dusk, Merchant Row

When a Portland Magazine story is printed, its life is just beginning. It lives forever in the present tense and awakens with the touch of a new reader.

Digitally, viewers comment on stories they encounter on our replica editions on www.portlandmonthly.com and portlandmagazine.com, as well as stories we post on Twitter and Facebook. In an evolving process across time, a story is transfigured and, in the best cases, deepened, by its reactions and interpretations.

I think of it as an exquisite corpse.

The term Exquisite Corpse, or cadavre exquis, refers to a literary parlor game invented “around 1924 at the old house at 54 rue de Chateau,” according to André Breton in Le Cadavre Exquis: Son Exaltation, a 1948 catalog for a show of his work at La Dragonne, Galerie Nina Dausset, in Paris. Here, while sampling “tonic local brews,” he and his circle of early Surrealists (among them Marcel Duchamp, Man Ray, and Man Ray’s darkroom magician, Maine’s Berenice Abbott) would begin with a word, then by turns add a new, surprising word to create an astonishing sentence no one could have imagined alone. Real examples of these first “monsters in broad daylight” exist, which Breton recalls as having given “the greatest impression of bewilderment and never-seen”:

Portland Maine’s City Magazine

165 State Street, portland, maine 04101 phone: (207) 775-4339 Fax: (207) 775-2334 e-mail: staff@portlandmonthly.com www.portlandmagazine.com Colin W. Sargent Founding Editor & Publisher editor@portlandmonthly.com Art & Production Nancy Sargent Art Director Jesse Stenbak Associate publisher staff@portlandmonthly.com Meaghan Maurice Design Director meaghan@portlandmonthly.com AdvErtising Anna J. Nelson Advertising Director anna@portlandmonthly.com Karen Duddy Advertising executive karen@portlandmonthly.com EditoriAl Claire Z. Cramer Assistant editor & publisher claire@portlandmonthly.com Colin S. Sargent Special Features & Archives Jason Hjort Webmaster Diane Hudson Flash · reviews Jeanee Dudley experience Accounting Eric S. Taylor controller eric@portlandmonthly.com intErns Becca carifio, Zee Krstic, Molly Parent, delaney stevens suBscriPtions to subscribe please send your address and a check for $41.15 (1 yr.), $58.03 (2 yrs.), or $68.53 (3 yrs.) to Portland Magazine,165 state street Portland, ME 04101 or subscribe online at www.portlandmagazine.com

readers & Advertisers

the opinions given in this magazine are those of Portland Magazine writers. No establishment is ever covered in this magazine because it has advertised, and no payment ever influences our stories and reviews.

Portland Magazine is published by sargent Publishing, inc. All correspondence should be addressed to 165 state street, Portland, ME 04101. Advertising office: 165 state street, Portland, ME 04101. (207) 775-4339. repeat internet rights are understood to be purchased with all stories and artwork. For questions regarding advertising invoicing and payments, call Eric taylor. newsstand cover date: september 2015, published in August 2015, vol.

30, no. 6, copyright 2015. Portland Magazine is mailed at third-class mail rates in Portland, ME 04101 (issn: 1073-1857). opinions expressed in articles are those of authors and do not represent editorial positions of Portland Magazine. letters to the editor are welcome and will be treated as unconditionally assigned for publication and copyright purposes and as subject to Portland Magazine’s unrestricted right to edit and comment editorially. responsible only for that portion of any advertisement which is printed incorrectly. Advertisers are responsible for copyrights of materials they submit. nothing in this issue may be reprinted in whole or in part without written permission from the publishers. submissions welcome, but we take no responsibility for unsolicited materials. All photography has been enhanced for your enjoyment.

Portland Magazine is published 10 times annually by sargent Publishing, inc., 165 state street, Portland, Maine, 04101, with newsstand cover dates of Winterguide, February/March, April, May, summerguide, July/August, september, october, november, and december. We are proudly printed in the usA by cummings Printing.

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Not using 3M Scotchtint Window Film can leave quite an impression.

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letters editor@portlandmonthly.com

TM h ly Port l A Nd moNt

Who KneW? ne Knights– mance | mai | fest ival buzz boR cRu isin g Rooftop Ro stil lnes s | haR cen t pma : a mag nifi

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Exile on Cranberry Island

J u ly / A u g u s t

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Rhapsody ‘70s nds of the uRban lege

down to the sea in throngs Thanks for the great spread on L’Hermione’s visit to Castine in your magazine–it was terrific [See “Tall Ship Summer,” Summerguide 2015]. Randy Stearns, the Fire Marshall, estimated we had 5,500 visitors from out of town, and that, added with approximately 1,500 from Castine, would put the first day at 7,000 spectators. On the second day, my guess would be around four or five thousand (a bit lower because of weather).

Katie Bergin, Executive Producer L’Hermione’s Visit to Castine i left my heart…

Hi, Portland Magazine! I live in San Francisco, but Portland is my home town.

Theanna Pateropoulos, San Francisco, CA

LIVE MUSIC every friday & saturday 5-7 pm DINING noon - 9:30 pm MARINE ROOM, OCEAN TERRACE AND THE PORCH

imagine a town…run by artists I used to love Erebus! I bought my incense, etc., there in the mid-seventies! Used to park there for concerts as well!

Anne Dyro Simpson, South Portland Very “La Bohème.” Love it!

Kimberly Ann Ouellette, Portland

207-967-3331

thecolonyhotel.com 140 Ocean Ave, Kennebunkport, ME

1 4 p o r t l a n d m o n t h ly m a g a z i n e

Loved that story. I was an eighth grader working in the St. Joseph the Provider thrift shop–we carried clothing, shoes, household goods, furniture, appliances, and mattresses. It was one of the first social-services agencies. [We were] on Exchange next to the candle shop in the late ’60s, then at Portland School of Art in the ’70’s. Crazy times!

Caren-Marie Michel, Westbrook

featuring Join TAVECCHIA for the | appetizers & cash fashion show | Boutique local artisan marketplace My first apartment was in 1977 at 85 Market Street–$35 a month and all the cockroaches you could kill. It was a blast. Tim Sample, Bob Cleveland, Craig Hebert. Just wow.

Anne Hebert, South Portland Great article! Could be a fantastic book!

Brady-Anne Cushing, Bath Your article sucked me in and made me feel like it was 1970 and I was in Portland!

Gloria Howsare Smouse via Facebook The Jake Sawyer anecdotes were great but only brushed the surface of his exploits. The word ‘crazy’ immediately comes to mind.

Frederick A. Writt via Facebook My friend had “Cowboy” as her roommate.

Lori Hammond via Facebook Very cool!

Ryan Wight, Westbrook I remember the Old Port then. Mostly empty…

Rosanne Griffin, Yarmouth

by Friends of fashions Maine Medical Chico's | Tavecchia | Dino's Center | L.L. Bean | Classic Eyewea st 1 Annual benefiting Fall into Fashion Event scholarships & patient services at Maine Medical Center

at the Woodlands Club tickets th from 1-4 p.m. or call 207-232-8017 on Sunday,$40.00 September | email 27 dln122158@gmail.com

We’ll be featuring all of sponsored our fall and along Resort with some other in winter part byfashions Nonantum & O’Donal’s Nursery great Portland area retailers. All proceeds from the event go toward funding scholarships and special patient services at Maine Medical Center.

Sunday, 27, 2015 ~ 1 T I C K E T S : September $40 207-232-8017 Woodlands Club dln122158@gmail.com Woods Road, Falmout

Of Maine Medical Center

fall into

fashion Featuring elegant andFriends casual dresses, sportswear, handbags, with shoes, jewelry and accessories for ladies of all generations.

52 Exchange Street, Portland • (207) 772-1699 • tavecchiaboutique.com featuring fashion show | local artisan marketplace | appetizers & cash bar | raffle fashions by Chico's | Tavecchia | Dino's | L.L. Bean | Classic Eyewear | and more benefiting scholarships & patient services at Maine Medical Center tickets $40.00 | email dln122158@gmail.com or call 207-232-8017 sponsored in part by Nonantum Resort & O’Donal’s Nursery

Sunday, September 27, 2015 ~ 1 - 4:00 PM Woodlands Club Woods Road, Falmouth Forest City riviera This is beautiful. Love it! (See “Portland Riviera,” September 2015.)

John Andrew Russell via Facebook

Corey TempleTon

It looks like Spain!

Robert Dyer, Brooklyn, New York It’s so pretty at night but very different during the day.

Susan Ross, Ormond Beach, Florida Nice work, Corey!

Lewis Simoneau, Portland September 2015 15

MaineClassics Gone Baby

From Top: Gary penninGTon; vrbo; courTesy oF Graves memorial library; lipizzaner press pHoTo;

Gone

remember Old Cove, the magical mid-century “nature-meets-modern” dream house and studio of bohemian painter Stephen Etnier (1903-1984), out on a craggy ledge in Harpswell? (See “Landing Signals,” Winterguide 2014.) Well, maine’s version of Fallingwater is no more. According to The Forecaster, new owners received a renovation permit from the town code enforcement office in Harpswell in December 2014. Neighbors reported in march 2015 that the structure was being demolished, not renovated. the code enforcement office maintains that because the structure was allegedly worth less than the foundation, the demolition still counts as reconstruction. part of the loss: mullions and other touches inspired by piet mondrian.

But you can stay here!

t of Emg the striking talen lin ne an ch y Tr t? e designed great artis modern studio sh der the spell of a ry un tu e en m -c co id to m e e ar th D renting for $1,800 a r (1904-2003) by getaway. Offered r ui M be gh em pt in Se ns a La t ily ne section of in Deer Isle. Wha ven in the Sunshi ha nt on Billings Cove ro nf ea oc w “is a private, week, Ledgehollo ing to the listing.

Deer Isle,” accord

Hapsburg

Family

Values

Spine Tingling You expect to see maine artists in museums and galleries, but it isn’t just N.C. Wyeth who appears on book covers. the dust jackets of KennebunKport the evolution of an American town (Lewis t. Graves Library; $65 for the two-volume set), feature paintings by Abbott Graves and Louis D. Norton. they’re a knockout on any coffee table.

The famed Lipizzan Stallions of Austria are in Buxton for a series of shows to benefit Hearts & Horses Therapeutic Riding Center in Buxton September 4, 5, and 6. The rare, aristocratic breed developed in the 16th century for the nobles of the Hapsburg Empire is known for its strength, endurance, and rigorous training in “Airs Above the Ground,” leaping and prancing. Originally bred for battle, these majestic, pale-gray steeds have since become performers. The Lipizzans were dramatically rescued from Nazi captivity and the advancing Russian Army in Czechoslovakia in 1945 by General George Patton. Visit hlipizzans.com or heartsnhorses.org

September 2015 17

C ur iouSer

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cuRiouSeR ...

The Portland Symphony Orchestra’s new season features favorites from Brahms to the Beach Boys, Beethoven’s First, Eighth and beloved Fifth symphonies, a collaboration with Portland Ballet Company in honor of the 150th Anniversary of Alice in Wonderland, world-class soprano Patricia Racette and so much more!

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Satisfy your curiosity at PortlandSymphony.org

Subscriptions are on sale now! Order your tickets today!

Visit PortlandSymphony.org or call (207) 842-0800

ExpEriEncE

ThEaTEr Belfast Maskers/Cold Comfort Theater, see website for locations. the Effect of Gamma Rays on Man-in-the-Moon Marigolds, Oct. 930-724 coldcomforttheater.com Celebration Barn Theater, 190 Stock Farm rd., South paris. Traveling Light, Sep. 18-20. 743-8452 celebrationbarn.com City Theater in Biddeford, 205 main St. Jekyll & Hyde, Oct. 16 -Nov. 1. 282-0849 citytheater.org Freeport Community Players, 30 Holbrook St., Freeport. Exit the Body, Sep. 17-27; Visiting Millie, September at pettengill Farm.

865-2220 fcponline.org Lakewood Theatre, 75 theater rd., madison.

Dearly Departed, Sept.

3-12; The Ladies Man, Sept. 17-26. 474-7176 lakewoodtheater.org Maine State Ballet Theater, 348 U.S. rte. 1, Falmouth. Peter & the Wolf and Western Roundup, Oct. 9-17. 781-7672 mainestateballet.org Ogunquit Playhouse, 10 main St. Million Dollar Quartet, Aug. 19-Sept.

19; Saturday Night Fever, Sept. 23-Oct. 25. 646-5511 ogunquitplayhouse.org

Bates College Museum of Art, Olin Arts Center, 75 russell St., Lewiston. points of View, through Oct. 17. 786-6158 bates.edu/museum Bowdoin College Museum of Art, 1 bath rd., brunswick. A mind of Winter: photographs by Abelardo morell, through Sept.; michael Auder: Untitled, through Oct. 18; Night Vision: Nocturnes in American Art, 1860-1960, through Oct. 18; Gilbert Stuart: From boston to brunswick, through Jan. 3; earth matters: Land as material and metaphor in the Arts in Africa, Oct. 15-mar. 6. 725-3275 bowdoin.edu/art-museum Colby College Museum of Art, 5600 mayflower Hill Dr., Waterville. Aesthetic Harmonies: Whistler in Context, Sep. 17-Jan. 3; From the Studio: New Work by Faculty Artists, Sep. 17-Oct. 25; Whistler and the World: the Lunder Collection of James mcNeill Whistler, Sep. 24-Jan. 10. 859-5600 colby.edu Farnsworth Art Museum, 16 museum St., rockland. the Wyeths, maine and the Sea, through Jan. 3; 3D: Contemporary Works from the Farnsworth,

n i a s l a S Square! the

Congress Square’s a busy place! Kick up your heels September 18, 5-7 p.m. with the PM Salsa dance group and Primo Cubano. Also check out Swing in the Square September 11 with Portland Swing Project featuring the Hadacol Bouncers from 6-8 p.m.; Dance Party for Everyone September 23, 6-8 p.m.; and Downeast Soul Coalition September 25, 6-8 p.m. congresssquarepark.org

267 Congress St., portland.

Welcoming the Stranger– Jo Israelson, opens Sept. 3. mainejewishmuseum.org Portland Museum of Art, 7 Congress Sq., portland. rose marasco: Index, through Dec.; Director’s Cut: Selections from the maine Art museum trail, through Sep. 20; A magnificent Stillness: American Art from a private Collection, through Nov. 8. 7756148 portlandmuseum.org

Public Theatre, 31 maple St., Lewiston. Wait Until Dark, Oct. 16-25. 782-3200 thepublictheatre.org

From Top: Bree Lacasse; cprey TempLeTon

Cross Insurance Center, bangor. motley Crue, Oct. 18; crossarenaportland.com

Empire, 575 Congress St., portland. the Couch open mic, every Sun; Clash of the titans, every Wed. See website for more listings. 747-5063 portlandempire.com

Theater at Monmouth, 796 main St., monmouth.

Ruddigore, of the Witch’s Curse, Sept. 17-27. 933-9999 theateratmonmouth.org

Art Gallery at UNE, 716 Stevens Ave., portland. A tale of three Cities: period and contemporary photos of paris, New York and portland, through Oct. 25.

221-4499 une.edu/artgallery

Boothbay Opera House, 86 townsend Ave., boothbay Harbor. Laura Kargul and ron Lantz, Sep. 19; April Verch, Oct. 3; Livingston taylor, tom Chapin & the Jammin’ Divas, Oct. 10; Daniel backmen, Oct. 17. See website for more dates. 633-5159 boothbayoperahouse.com

Dogfish Bar & Grille, 128 Free St., portland. Acoustic Open mic, every Wed.; Jazz Happy Hour with travis James Humphrey & guests, every Fri.; Live music Wed.-Sat. every week.

See website for more listings. 772-5483 thedogfishcompany.com

Schoolhouse Arts Center, rte. 114, Sebago Lake Village. The Butler Did It, Sep. 18-Oct. 4; Disney’s The Aristocats KIDS, Nov. 6-8. 642-3743 schoolhousearts.org

GallEriEs

Oct. 8; maddie & tae, Oct. 10; machine Head, Nov. 27. portlandasylum.com

through Sep. 596-6457 farnsworthmuseum.org First Friday Art Walk, downtown portland. Visit local galleries, studios, and museums, Oct. 2; Nov. 6. firstfridayartwalk.com Maine Jewish Museum,

Music Asylum, 121 Center St., portland. rap and Karaoke, every Wed.; retro Night, every thur.; plague, every F.; Saxon, Sep. 13; Ana popovic, Sep. 20; built to Spill, Sep. 28; Granger Smith and earl Dibbles Jr.,

Jonathan’s, 92 bournes Ln., Ogunquit. Suede with Fred boyle and rich Hill, Sep. 18; tom Cochrane, Sep. 26; Dar Williams, Oct. 1; Suzanne Westenhoffer, Oct. 9; George Winston, Oct. 21; tom rush, Oct. 23. 646-4526 jonathansogunquit.com

Merrill Auditorium, 20 myrtle St., portland.

Kotzschmar Organ Season Opening Concert: Ken Cowan, Sep. 26; the Hot Sardines, Oct. 1; peter Yarrow & Noel paul Stookey, Oct. 3; rafal blechacz, Oct. 4; beethoven & berlioz, Oct. 11, 13; Loreena mcKennitt, Oct. 14; 42nd Street, Oct. 17; trick-ortreat Symphony, Oct. 18; tribute to John Denver, Oct. 24, 25; Halloween Silent Film: Nosferatu, with organist tom trenney, Oct. 30; Newsboys, Oct. 31.

842-0800 porttix.com One Longfellow Square, 181 State St., portland. portland Jazz Orchestra, Sep. 17, Oct. 15; Chris Smither, Sep. 18; Charlie musselwhite, Sep. 20; Antje Duvekot, Sep. 22; Greg brown, Sep. 24; Slaid Cleaves, Sep. 25; the Fretless, Sep. 26; Zach Sherwin, Sep. 29; Decompression Chamber Orchestra, Oct. 5; Fred eaglesmith’s traveling Steam Show, Oct. 10; David ramirez with Dylan Leblanc, Oct. 11; Daviv mellett with full band, Oct. 17. 761-1757 onelongfellowsquare.com Port City Music Hall, 504 Congress St., portland. of montreal, Sep. 16; Heartless bastards, Sep. 17; Greensky bluegrass, Sep. 18; Houndmouth, Sep. 21; September 2015 19

ExpEriEncE

turkuaz, Sep. 24; Darlingside, Sep. 25; Jackie green, Sep. 27; maine youth Rock orchestra, oct. 3; ed Kowalczyk, oct. 5; lucero, oct. 10; Kung Fu, oct. 15; Josh Ritter, oct.

20; late night Radio, oct. 21; Sage Francis, oct. 30. 956-6000 portcitymusichall.com

Maine Woolens was founded in 2009. Our flag ship store in Freeport offers finely woven blankets and throws in cotton and wools that are made in our Brunswick, Maine mill. We weave with the best American fibers available including combed cotton, Supima cotton and Merino wools. We feel the quality of our Maine made products are second to none.

State theatre, 609 Congress St., Portland.

Queensryche, Sep. 14; Passion Pit, Sep. 15; aer, Sep. 16; all time low, Sep. 17; eli young Band, Sep. 18; lord huron, Sep. 23; Doomtree, Sep. 25; Warren hayes, oct. 3; the Wood Brothers, oct. 4; Creative Collab tour, oct. 11.

956-6000 statetheatreportland.com Maine Historical Society, 489 congress st., Portland, presents Baskets from the Dawnland: Weaving the past and future together, a new exhibit that explores the history of Wabanaki basket-making. historical baskets from the mhs collection, as well as modern pieces

by Wabanaki artists, will be featured, aug. 14 - Nov. 28.

774-1822. mainehistory.org

Stone Mountain arts Center, 695 Dug Way Rd., Brownfield.

Waltzings for Dreamers: the lonely heartstring Band, Sep. 18, Bold Riley, oct. 8; Ruthie Foster, Sep. 24; tricky Britches, oct. 9; heather Pierson acoustic trio, oct. 11; Song Stage: hosted by Carol noonan with special guests, David Francey, Dietrich Strause, Catie Curtis.

935-7292 stonemountainartscenter.com

TasTy EvEnTs acadia’s oktoberfest & Food Festival, 20 main St., Southwest harbor. Wine and cheese tasting, maine-based brew fest, locally sourced food, and crafts, oct.

10-11. acadiaoktoberfest.com apple pumpkin Festival, livermore Falls.

Food, music, kids’ activities, crafts, Sept. 26.

897-6755. jay-livermore-lf.org/apfest Browne trading Company, 262 Commercial St., Portland. Wine tastings, one or more Sat. every month, 1-5 pm.

775-7560 brownetrading.com

HIGH-V

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damariscotta pumpkinfest and regatta, Pinkham’s Plantation, 431 Biscay Rd. Pumpkinboat regatta and derby, pumpkin catapulting, giant pumpkin art, pumpkin-pie eating, and parade, oct. 3-12. damariscottapumpkinfest.com Flanagan Farm, 668 narragansett trail (Rt. 202), Buxton. Benefit dinners prepared by local chefs to benefit maine Farmland trust. Brian hill of Francine Bistro and Shepherd’s Pie, Sep. 21; masa miyake of miyake and Pai men, oct.

18; Fabulous Femmes: Krista Kern Desjarlais of Bresca and honeybee melissa Kelly of Primo, ilma lopez of Piccolo, Kim Rogers of hugo’s, Cara Stadler of tao yuan and Bao Bao Dumpling house, oct. 25; andrew taylor and

courtesy of the abbe museum

USICAL! OLTAGE ROCK ‘N ROLL M

Craft Beer Cellar, 111 Commercial St., Portland. Craft beer tastings every Fri. 956-7322 craftbeercellar.com

ExpEriEncE

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The West End Deli & Catering, 545 Congress St., portland. Wine tastings every first Fri., 6-8 pm. 774-6426 thewestenddeli.com

Donâ&#x20AC;&#x2122;t Miss Boothbay Harbor Fest, downtown boothbay.

Community festival with arts and crafts, music, craft beer, food, races and more, Sep. 4-13. boothbayharborfest.com Boothbay Railway Village, rt. 27, boothbay.

Family Harvest days: antique tractors, barrel train rides, livestock and more, Oct. 3-4. railwayvillage.org

Sunday-Friday 5:30pm-9:00pm

Capriccio Festival of Kites, Ogunquit. part of annual Capriccio Arts Festival, mass ascension at noon, Sep. 12. ogunquit.org

Saturday 5:30-9:30pm

Coastal Maine Botanical Gardens, 132 botanical Gardens Drive, boothbay. Fall tea, Sep. 13. 633-4333 mainegardens.org Common Ground Country Fair, Unity.

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Sep. 25-27. mofga.org Cross Insurance arena, 1 Center Street, Portland. monster X tour: Big trucks burning rubber, doing jumps and crushing cars, Sep. 25-26. 775-3458 crossarenaportland.com Cumberland County Fair, 197 Blanchard Rd., Cumberland. exhibit halls, livestock, entertainment and education, Sep. 27 – oct. 3. cumberlandfair.com Eliot Festival days, various locations around town. 5K road race, crafts, food booths, pancake breakfast, parade, and fireworks, Sep. 25-26. eliot5kandfestival.com Farmington Fair, livestock, midway, harness racing, and animal pulling, Sep. 20-26. farmingtonfairmaine.com

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Bar harbor Pelagic trip, Sep. 12; Bats on the Brink, Sep. 17; Bald eagles of merrymeeting Bay trip, Sep. 19. maineaudubon.org oxford County Fair, 68 Pottle Road. livestock shows, horse pulling, pig scramble, petting

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Fryeburg Fair has been “maine’s Blue Ribbon Classic” since 1851. livestock, pig scramble, midway rides, sheepdog trials, a woodsmen’s field day of timber-related competitions, live music, magicians, storytelling, and puppets, oct. 4-11. 935-3268. fryeburgfair.com

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zoo, AtV and lawnmower pulls, traditional farming and crafting demonstrations, live music, and food, Sep. 16-19. oxfordcountyfair.com International Seaplane Fly-In, Greenville.

On the shores of moosehead Lake, enjoy fly-bys by rare aircraft, a craft fair, a steakand-lobster cookout, lake cruise, flying, raffles, and contests, Sep.10-13. 695-2928 seaplanefly-in.org Punkinfiddle Family Festival and National Estuaries Day Celebration, 342 Laudholm Farm rd., Wells. Live music, traditional arts demonstrations, sheepdogs, and horses gather to celebrate the beauty and value of maine’s estuaries, and to foster environmental stewardship, Sept. 26. wellsreserve.org

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Trails End Festival, Downtown millinocket. parade, learn-to-paddle excursions, chili cook-off, and musical performances by emily Guillow and portland’s mallet brothers, Sept. 18-20. trailsendfestival.org Victoria Mansion, 109 Danforth St., portland. the Way We Wear: Fashion and Industry in the 19th Century, an historical fashion exhibit in the Carriage House, through Oct. 31. victoriamansion.org –Compiled by Jeanee Dudley

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Maine Fall Guide

Fall Fun Festivals

Cumberland County Fair, Cumberland Fairgrounds. exhibition halls, midway, livestock, animal pulls, demolition derby, barbecue, and pumpkin and squash weigh-offs, and all the favorite county fair fixins, Sept. 27-oct. 3. cumberlandfair.com Eliot Festival days, various locations around town. 5K road race, crafts, food booths, pancake breakfast, parade, and fireworks, Sept.

25-26. eliot5kandfestival.com Farmington Fair. livestock, midway, harness racing, and animal pulling, Sept. 20-26. farmingtonfairmaine.com Fryeburg Fair has been “maine’s Blue Ribbon Classic” since 1851. livestock, pig scramble, midway rides, sheepdog trials, a woodsmen’s field day of timberrelated competitions, live music, magicians, storytelling, and puppets, oct. 4-11. 935-3268. fryeburgfair.com

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Maine Fall Guide

Oxford County Fair, 68 pottle road. Livestock shows, horse pulling, pig scramble, petting zoo, AtV and lawnmower pulls, traditional farming and crafting demonstrations, live music, and food, Sept. 16-19. oxfordcountyfair.com Skowhegan State Fair, Constitution Ave. the oldest continuously run agricultural fair in the nation features truck pulls, demolition derbies, harness racing, grizzly bear show, pig scramble, midway, agricultural exhibits, laser tag, magic show, and live music, Aug. 13-22. 474-2947 skowheganstatefair.com

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Food Acadia’s Oktoberfest & Food Festival, 20 main St., Southwest Harbor. Wine and cheese tasting, mainebased brewfest, locally sourced food, and crafts, Oct. 10-11. acadiaoktoberfest.com

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Apple Pumpkin Festival, Livermore Falls.

Food, music, kids’ activities, crafts, Sept. 26.

897-6755. jay-livermore-lf.org/apfest Cornish Apple Festival, 17 maple St., Cornish.

5k road race, craft and produce vendors, applepie baking competition, food booths with apple and non-apple offerings, and live entertainment, Sept. 26. cornish-maine.org

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Damariscotta Pumpkinfest and Regatta. pinkham’s plantation, 431 biscay rd. pumpkinboat regatta and derby, pumpkin catapulting, giant pumpkin art, pumpkin-pie eating, and parade, Oct. 3-12. damariscottapumpkinfest.com

File photos ; damariscotta pumpkin Fest

Harvest Fest & Chowder Cookoff, bethel

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Maine’s premier mountain adventure destination . . .

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Maine Fall Guide

Village Common. Annual tradition with crafts, a farmer’s market, chowder, and apple pie, Sept.

19. 824-2282 bethelharvestfest.com Harvestfest, Short Sands Beach, York. Traditional fall harvest food, kids activities, crafts, and music, Oct. 17. maineoktoberfest.org Harvest on the Harbor, Ocean Gateway, Portland. 8th annual food and wine festival (21+ only). Chef demonstrations, lobster chef competition, Brews & Blues BBQ,spectacular tasting events, Oct. 21-25. harvestontheharbor.com

Convention and visitors bureau

Maine Harvest Festival, Cross Insurance Ctr., Bangor. A delicious celebration of Maine’s small farms and their bounty, Nov. 14-15. maineharvestfestival.com Maine Lakes Brew Fest, Point Sebago Beach. The area’s largest annual sampling event and Oktoberfest features Maine-made beers, micro-brews, and wine; with food, live music, and the Point Sebago Craft Fair, Sept. 26. mainelakesbrewfest.com

The epicurean extravaganza known as Harvest on the Harbor returns to Portland Oct. 21 - 25.

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Chowder

A ta s t y bl e n d of th e fa bu lou s, notewo r thy, a n d a bsu rd.

Sweet -

In honor of its 100th anniversary, Haven’s Candies has created a 418-lb., 7-ft., milkchocolate lobster and named it Shelby after former owner Shelby putnam. See for yourself at Haven’s, 87 County rd., Westbrook, havenscandies.com

from top left: courtesy Havens; nort Heast auctions; goose girl: andreas praefcke; i runfar.com/ bob najar; m att wade pHotograpHy; file

Gallic Charmer A French painting of a Maine-built ship going once, going twice, sold! The watercolor The Brig Lima of Portland, Capt. John Higgins Commander, Entering the Port of Cette (Sète), painted by Aristide Chapurot in 1849, went for $3,400 at Northeast Auctions in Portsmouth at their Annual Summer Auction, August 14-16. The Lima, built in Kennebunk by George and Ivory Lord in 1829, traded on coastal, Caribbean and transatlantic routes. –Becca Carifio

Bubble Trouble

Can common sense vanish into thin air?

A Baxter State Park staff member posted this photo of the contested “corporate event” at the summit of Mt. Katahdin.

So you race up the entire Appalachian Trail–2,180 miles–all the way to the summit of Mt. Katahdin in a record 46 days.

Fine. Just don’t show up wearing corporate-logo’d athletic gear with a few cameramen and pop open a bottle of bubbly to celebrate, the way Scott Jurek did. Baxter State Park director Jensen Bissell was unimpressed by his 47-miles-per-day discipline: “These ‘corporate events’ have no place in the Park and are incongruous with the Park’s mission of resource protection [and] the appreciation of nature,” he huffs on Baxter State Park’s Facebook page. Jurek was handed three citations at the summit for breaking park rules 2.2, hiking with an oversize group; 7, consuming alcohol within the park; and, most spoilsportily, 4.5, “littering” splashes of champagne. Bissell’s post received this reply, among others: “Seriously??!? Get over it.”

Take a

Gander

Goose Girl (1932) is one of three female cast aluminum nudes that was commissioned by the rockefellers to stand in Radio City Music Hall upon its opening. Sculpted by Robert Laurent (1890-1970), the French-born modernist who helped to establish the Ogunquit School of Painting and Sculpture, Goose Girl’s naked, modern aluminum body created a stir when it was first installed.

(So did the rockettes, who debuted the same year.) rockefellers come and go, but Goose Girl endures on the mezzanine.

–Molly Parent September 2015 35

P o rt l a nd a f t e r d ar k

Night Galleries Collecting fine art is not just for Mellens and Guggenheims. In Portland, you might find something you love–and can afford–at your neighborhood bistro.

By Claire Z. Cramer

IllustratIon by ed kIng

T

his show has been really well received,” says front-of-the-house manager Katharine Hall at Local 188 on Congress Street at Longfellow Square. She waves a hand at the restaurant and lounge’s east wall. “Her name is Anna O’Sullivan, and she’s sold quite a few prints already.”

The framed prints are charming two- or three-color portraits of web-footed shore birds–herons, pelicans, ducks–plus the odd hen and rooster, done in a style that recalls old Chinese block prints but with Maine

birds. They’re stunning and graceful, priced quite accessibly between $100 and $300.

French Fry Gulls is $250.

Cafe-art CommerCe Local 188 has always hewn to the motto “Eat, Drink, Art,” and its walls have always served as a gallery for local art. Meg Walsh, a potter who’s worked on and off at Local for half a dozen years, curates the shows, hangs them, provides viewers with titles and prices, and manages the sales details.

“I love the opportunity to give local art-

ists a place to sell their work,” she says, speaking for herself as well. When we sit down and order drinks, we find Walsh’s bud vases on the restaurant’s many tables.

These are available for sale in the retail shop at Portland Museum of Art down the street.

On a subsequent visit, a new exhbit has just been unveiled, that is, released. Chad Creighton’s startlingly expressive owl paintings preside above diners’ heads. “He paints on salvaged pallet wood,” Walsh says. “He sands it just enough to be able to paint it.”

The restaurant’s commitment to art inSeptember 2015 37

Portland after dark

Above, at Local 188: Chad Creighton’s owl portraits are painted on reclaimed wood; below, “Self Portrait in Wine,” by Amelia Fais Harnas at the Blue Spoon.

Building on the Maine Tradition

forms its very atmosphere. It’s a bohemian place, with ceiling fans spinning lazily way, way up among the antique chandeliers and exposed ductwork, seating that includes couches and church pews scattered with colorful pillows, and a soulful soundtrack in the background. Owner Jay

finelinesmaine.com | 207.846.1002

Villani’s welded iron sculptures stand here and there–one serves as a plant stand, and others as stanchions for the rope around the outdoor sidewalk seating. Artist, illus3 8 p o r t l a n d m o n t h ly m a g a z i n e

trator, and sign painter Patrick Corrigan has painted dreamy murals here and there on walls and bar tops.

Local 188 has you at hello when you first walk in, because it always smells utterly delicious in a lively Spanish or Italian way. And as the song says, the gin is cold and the jazz is hot.

The Spoon on The hill t the other end of Congress Street, the Blue Spoon’s rich gray walls are hung with a collection of what at first looks like framed sepia pen-and-ink portraits. Closer inspection reveals these are actually dyed cotton and linen napkins.

“I don’t have formal training with wax resists; [I’m] just winging it, learning what does and doesn’t work,” artist Amelia Fais Harnas says. Wax resist is the fabric-dying method used in batik. Using wine, Harnas achieves a remarkable level of detail dying fabric in stages. “I tend to use old-vine wines,” she says, which lend the brownish brick-red color.

We’ve arrived at the Spoon in time for “Wine Time” happy hour, so we order up $3 glasses of the house Italian white and take a seat under wine-stain portraits of Ernest Hemingway and Joan of Arc. The Blue Spoon, though much smaller and more minimalist in decor, has the same sensual, earthy appeal as Local 188. Chef/owner David Iovino is a master of gourmet peasant food. We sip our icy, mineral wine and devour crostinis topped with hot melted blue cheese and allow ourselves to pretend we’re on the Left Bank. n

From top: Courtesy LoCaL 188; Courtesy oF the artist

A

September 2015 39

Portland Maine

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Contact the City’s Economic Development Staff We’ll help your business grow and prosper in Portland.

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Mirror on

Maine

New York artist Richard Estes turns his exacting style on…us.

by DanIel K any

4 2 p o r t l a n d m o n t h ly m a g a z i n e

Water taxi (1999, 36: x 66”, oil on canvas) by richard estes.

I sn ’t that…

ColleCtion of the Kemper museum of Contemporary art, Kansas City, missouri, Gift of the enid and Crosby Kemper foundation, 2002.13. © riChard estes, Courtesy of marlborouGh Gallery, new yorK. photo: oren flor.

P

ainter Richard Estes has a place already secured in history books as the leading proponent of painterly photorealism–one of the last true “isms” in art and a movement that changed the way we understand realism: While “realism” had been gauged by accuracy and verisimilitude, its standard is now the photograph.

On a visit with Estes at his home and studio in Northeast Harbor, I discover a friend-

ly man with a warm twinkle in his eyes that accompanies his easy smile. He is not particularly forthcoming about his work. This is not because he is shy or secretive–in fact, he’s quite open and direct about his content and techniques–but rather because, like so many accomplished painters, he relies more on his eye and his sensibilities than on explainable theories or preset ideas.

Estes’s home is one of Fred Savage’s architecturally remarkable “cottages.” While

it is beautifully decorated, the house is more defined by its spatial elegance than by the objects within it.

The ostensible subject of our conversation is his Maine paintings, even though his artistic accomplishment was built on his paintings of New York. So we begin there.

I ask Estes why his Paris Street Scene looks more like a unified space, while the buildings in his New York City paintings (like Jone’s Diner) feel individualized and September 2015 43

I sn ’t that…

E

Estes tirelessly scrutinizes quotidien New York City moments, as in this tkts. Line, 38” x 61” ,

Are you still working on that painting of Columbus Circle?

So there are just different kinds of paths and reflections in your Maine paintings?

Yes. In fact, I am still working on all of these.

[He points at the four smaller paintings.]

They are for an upcoming show I have at Marlborough [Gallery in Manhattan]. Two of them are Africa, but one is here–Acadia.

Yes. [He points to an easel supporting a highly finished–but incomplete–painting of hills reflected in a Maine lake.] I want more definition here [indicating a sunlit passage of the far hills on the left side of the image], but I might keep this piece really loose. I’m not sure.

I thought there might be more reference materials around–photos and drawings–but I don’t see any, and your studios don’t seem to be set up for that.

After a certain point, all of my decisions are based on what happens in the paintings.

Even from the start, getting the values right is important for me, and that’s why I often do under-painting in acrylic [before finishing with oil]. I can work out the values and make changes far more quickly because the acrylic dries in minutes. I don’t use source materials for the details. When I make decisions about whether a piece is done, I don’t compare it to anything. It just has to feel right to me.

Do you approach your Maine paintings differently than your New York scenes?

No. I make them the same way.

What about the multiple perspective systems of New York? Your city paintings typically have two or three vanishing points.

Richard Estes relaxes in his studio in Northeast Harbor on a recent Sunday.

4 4 p o r t l a n d m o n t h ly m a g a z i n e

That’s the way the city is. This is why I particularly like to paint Broadway. It cuts across the grid of streets and avenues. That is why the Flatiron building appears so often in my paintings. It was defined by these diagonals and multiple perspectives.

So you wait until you know what your next step is?

Right. My big paintings can take a couple of months. Patience is a big part of my work.

Are there things you paint that rely more on what you have seen in other paintings than photos or direct observation?

Water feels forced if you try to get it exactly like a photo. So I do it freehand. It’s all in the gesture. Sometimes when I paint leaves, for example, I tie a few small brushes together. If you try to paint every leaf, it feels tense or fussy.

Is mark-making more important for you than accuracy?

The gesture and the brushwork have to succeed for one of my paintings to be finished.

My works are not finished until I think it’s a good painting. Some sit for months and some never make it out of my studio.

As I leave, I thank my gracious host for taking time out of his schedule to talk with me on a summer Sunday. He laughs at this.

“Well, I wouldn’t be in the studio today.

Never on a Sunday. I refuse to be a Sunday painter.” n

from Top: © richard EsTEs, courTEsy marlborough gallEry, NEw york; phoTo by daNiEl kaNy

almost incongruently distinct from each other. I expect a discussion about “place” that will encompass his Maine paintings, but Estes turns our talk to a subject about which he is both passionate and deeply knowledgeable: architecture.

“I guess deep down I am a frustrated architect,” he says. “I was accepted to study with Mies van der Rohe, but I returned from a trip abroad too late in the semester to attend IIT. But I wasn’t too late for The School of the Art Institute of Chicago, so I enrolled in art school (1952 to 1956). I trained to be a graphic artist, and after art school I worked as a commercial illustrator for ad agencies and magazines.” stes has two studios in his home.

One is an airy and open rectangular space (which Estes astutely indicates was a later addition) bathed in the light of north-facing windows that reach from the floor to the soaring ceiling. Above the mantel hangs a large square painting of the Brooklyn Bridge Estes made specifically for that space (“that pipe with the hard shadow in the front center,“ he explains, “was the toughest challenge of the painting”) and he is quick to note the historic bridge’s many connections with Maine. The only studio accoutrement in the comfortable room, however, is a freestanding easel on which sits an unfinished painting of Columbus Circle viewed from a subway entrance. Lined up on the floor are four small, horizontal landscapes.

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Pa ssi ons

Photographic artist Aaron Priest captures all the light the rest of us cannot see. in te rvi e w b y b e c c a c arifio

M

eet Aaron Priest–the Leebased photographer known for his stellar high-resolution panoramas and timelapses.

With 18 years of professional experience, his work has been featured everywhere from Space.com to CBS News (see Summerguide 2015, page 79). Here, we ask him to take us behind the curtain.

How do you sneak up on the stars?

AAron Priest

Planning, practice, and patience! The more work you put in before shooting, the easier the post-processing is after. Both panoramas and timelapses require shooting a lot of photos before rendering them on the computer later.

How do you know when you’re in the groove?

The night sky feels much more alive to me than the day, although I love shooting both.

From stars and planets to satellites and the

International Space Station, there’s just so much activity in the sky at night that we can’t see during the day. The only time I don’t like is harsh, mid-afternoon light. My favorite subjects are the colors of the sky when the sun is low for sunrises and sunsets, and particularly the Milky Way at night.

It’s usually a year or two after I’m done with an image that I can actually see it for the first time.

It’s usually a year or two after I’m done with an image that I can actually see it for the first time. Those are the ones that become my favorite for a little while. When things really click, I think of Psalm 19, from The Complete Jewish Bible: “The heavens declare the glory of God, the dome of the sky speaks the work of his hands.

Every day it utters speech, every night it reveals knowledge.”

What about the Maine landscape inspires you?

I was born and grew up in Maine. My grandfather, David Priest, was a trapper and a game warden. My parents took my brother and me camping every summer. From the potato fields of Aroostook County to the rocky coastline to Mt. Katahdin and the woods in between, I love what’s wild about Maine. I rarely venture southwest into more populated areas, as light pollution from cities at night obscures the stars and Milky Way. September 2015 47

Pa s s i o ns What do you do after you set up, while the camera is shooting for hours at a time?

I eat, sleep, read. Catch up on social media if I have cell service. Often I shoot with another friend or two, and I enjoy taking shots of them with a second camera.

Let’s get geeky. What kind of gear do you use?

Nikon D700 & D810 DSLRs and a range of lenses from 10.5mm fisheye to 400mm, but my favorite is a Nikon 14-24mm f/2.8 wide angle. I have a Panoneed robotic panning head, eMotimo 3-axis motion control on a Dynamic Perception Stage One slider, Promote Control, Ramper Pro, and DslrDashboard on an Android tablet. I use a Goal Zero Sherpa 100 solar battery for power.

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Have you had shoots that didn’t work out? When you’re shooting heaven, does hell ever intervene?

Quite frequently! [I’m driven crazy by] dew, frost, rain, clouds, fog, headlights, police, hikers, wildlife, dead batteries, full memory cards, equipment malfunctions, you name it!

What are the challenges of long-exposure?

Everything is more complicated in the dark. You have to operate your equipment more by feel than by sight. It’s easy to drop a cable or lens cap and not realize it or find it. Long shutter speeds are a bigger drain on batteries, particularly when temperatures drop at night, and dew/frost is a frequent nemesis. Headlamps and flashlights can easily ruin a shot.

Have you had any encounters with animals

4 8 p o r t l a n d m o n t h ly m a g a z i n e

while shooting?

Oh yes–moose, bear, beaver, deer, partridge.

None of them is especially dangerous but can certainly be startling when unexpected.

Generally, wildlife is more fearful of you and if you are aware of your surroundings, and don’t show aggression or interfere with their young, they leave you alone.

How many photos are we talking about to create your effects?

At night, most of my spherical panoramas with a fisheye are three to five photos, while some of my gigapixel panoramas with HDR and focus stacking are made up of over 2,000 images. Timelapse also varies, depending on how many hours you shoot, your interval between shots, and how many seconds of video footage you need. Images like that range from 100 photos or so for a stacked image of star trails to 4,000 to 5,000 photos for 360° timelapse movies.

What’s your dream project?

I’ve been working on it for the past decade little by little. I’ve nearly achieved it: a 360° timelapse over a 24-hour period. I’ve also dreamed of shooting a spherical panorama from space. Still working on that.

What is the most unscripted moment or accident that made the most beautiful result?

Occasionally catching a stray headlamp, car headlight, or especially a meteor and having it come out great in the frame. Some things, like meteors, don’t offer a retake.

How does light pollution affect your work, and what lengths do you go to go avoid it?

It affects the night sky greatly in populated areas like cities, and occasionally even in the country with a very bright street lamp or commercial building, if it’s not properly directed. We waste a lot of energy lighting up the sky instead of directing it where we really need it, and interrupt the migration and sleeping patterns of wildlife.

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AAron Priest

If your favorite sky photo were a symphony, which one would it be?

That’s easy. I actually titled my self-portrait on the lifeguard chair of Sand Beach in Acadia National Park “Milky Way Symphony,” published in Portland Magazine’s 2015 Summerguide. It was taken with the help of some attendees at a workshop, just for fun. This is a photograph I can hear. n

491 US Route One, Freeport, Maine 1/2 mile south of Exit 20 (Across from Comfort Suite) September 2015 49

Selected Exhibitions June 12 - October 24, 2015 Points of View: Photographs by Jay Gould, Gary Green, David Maisel and Shoshannah White Viewing elements of the Maine landscape from different levels of scale – from great distance to very close-up, the contemporary photographers in this exhibition explore different aspects of the interrelationships between human populations and the natural world.

This exhibition is supported by a grant from the Davis Family Foundation.

June 12, 2015 – March 26, 2016 Maine Collected This exhibition features works by some of the many contemporary artists represented in the permanent collection who live in or are connected to Maine. This exhibition includes work in most media and in a wide variety of themes and styles, many of which have not been on view in the museum previously. Maine Collected, and The Painter of Maine are companion exhibitions of Director’s Cut: The Maine Art Museum Trail at the Portland Museum of Art from May 21 – September 13.

Gary Green, Untitled (Terrain Vague), 2015, black and white photograph

June 12 - October 24, 2015 The Painter of Maine: Photographs of Marsden Hartley Marsden Hartley (1877-1943), a native son of Lewiston Maine, is recognized as one of the most important American modernists. This exhibition focuses on images of artist, from anonymous toned photographs of him as a young man to images taken

by George Platt Lynes the last year of Hartley’s life.

November 6, 2015 – March 26, 2016 The View Out His Window (and in his mind’s eye): Photographs

by Jeffery Becton A photographer and image-maker who lives on Deer Isle, a rocky and forested island off the coast of Maine, Jeffery Becton constructs images about his surroundings, from extraordinary sweeping coastal views to internal life, both house interiors and the introspective space that enlivens one’s imagination.

Funded in part by the Friends of Bates Museum of Art Please visit the website for programming information and updates

Photographer unknown, Marsden Hartley, 1908-09, toned black and white photograph

The photography exhibitions are part of the Maine Photo Project (mainephotoproject.org), a statewide photography collaboration in 2105. The Maine Photo Project is organized and supported by the institutions of the Maine Curators’ Forum and is generously sponsored by the Bates College Museum of Art, the Bowdoin College Museum of Art, and the Colby College Museum of Art, with fiscal management provided by the Maine Historical Society.

The Maine Photo Project is funded in part by a grant from the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts.

Jeffery Becton, The Keeper’s House, 2008, digital montage realized as archival pigment print

75 Russell Street, Lewiston, Maine 04240 Programming information: bates.edu/museum 207.786.6158 Facebook: on.fb.me/bates_bcma Sept-May: 10am-7:00pm Mon, 10am-5pm Tues-Sat. Summer: 10am-5pm Mon-Sat, and open by appointment. Closed during college holidays and between exhibitions.

i ns p i rati on

Maine Painters,

A Catalog Art is all about taking a risk. We are brushing with danger by opening a conversation all about art.

C urat ed by Honour MaCk , and re s Verzos a & bruCe brown.

T

he casual loss of Stephen Etnier’s studio* in Harpswell illustrates the emergency that compels this undertaking. Before more knowledge comes crashing down, or even worse, drifts away without comment, is there a way we can cherish Maine painting across its visual history?

* See “Gone Baby Gone,” page 17.

September 2015 51

the term maine painter covers a wide territory. randomizing algorithm his curated 48-page print feature, “Maine Painters, A Catalog,” spills edgelessly into the internet by design, so it can keep growing. It’s not a list, but rather a start–an opening remark in what we hope will be a great conversation across time.

This catalog of Maine painters 1) isn’t rigged. Artists or galleries have not paid to be listed. Moreover, 2) the catalog has input from both scholarly and popular sources.

This is not intended to be the last word but instead is to suggest a larger catalog that will develop and deepen across time, a beach-

T

cal order to avoid the need to determine an artist’s ‘relevance.’ As easy it would be to alphabetize, we wanted to free readers from the need to ‘check off’ names as they read along. (Go to Online Extras for a look-up guide.) So just what is a randomizing algorithm? As a test, we put the days of the week through the randomizer, and the randomized new week started with Wednesday.

Now we’re talking–may all my weeks start with Wednesday! Thanks to our randomizer, contemporary work strikingly claims a space beside classic Maine artists, viz. Sascha Braunig, 32, and the late Bernard Langlais (1921-1977) appearing side by side.

Curators

Portland native Bruce Brown is a retired educator who has been collecting art for decades. His own collection has been exhibited at the Portland Museum of Art and Colby College Art Museum. He’s a curator emeritus of the Center for Maine Contemporary Art, and presently a co-founder of PhoPa Gallery in Portland.

5 2 p o r t l a n d m o n t h ly m a g a z i n e

Andy Verzosa opened Aucocisco Gallery in Portland in 2000 and ran it for 14 years.

He was a founder of the First Friday Art Walk, and he is a board member of the Maine College of Art, the Maine Historical Society, the Ogunquit Museum of American Art, and the Tides Institute in Eastport.

Honour Mack has an MFA from Yale University; she is a professor of painting at MECA. Mack has been a visiting artist and critic at Colby College, Pennsylvania Academy of Fine Art, Massachusetts College of Art, University of Washington in Seattle, and the University of Pennsylvania.

From leFt: Diane HuDson; DaviD waDe; angela aDams

Meet the

head. We do not claim this is all-inclusive.

Instead, it’s a door flung open. Using multiple sources, we approached a synthesis of painters of consequence whose work has had an impact on Maine, and on our psyche.

We then forwarded this to curators Bruce Brown, Honour Mack, and Andres Verzosa, asking them to add more names. We asked for new contemporary work to be considered in addition to more traditional masters. As for the size of the illustrations, we let our column width make the determination.

Art exists in great time, beyond a single life span, so we chose not to present the work of the artists in this catalog in chronologi-

i ns p i rati on

We show the work and also the dynamic of price at a given instant, because the works themselves are priceless and will live forever, while the prices give us a mirror on ourselves as an index of desire, and even, fleetingly, of taste.

As lovers of print, here is where we see the best value to the internet–as a pairing of sorts. We can provide the exquisite contemplative visuals with a finite closure that paradoxically explodes into infinity, while separately the catalog can grow, shapeshifting and expanding with your every insight.

Drop us a line to venture painters we have

yet to include, because there will be online mechanisms at maineartonline.com and portlandmagazine.com to add painters you recommend. We’re asking you to give us new names and new visions, right now.

Prices are from Artnet, Arcadja, AskArt, and other sources; images are from auction galleries reporting sales as well as online gallery pricing. Missing your favorite pastelist, printer, mixed-media artist, or sculpture? Look forward to our “Maine Artists, a Catalog: All Other Media,” with a cover date of September 2016.

we venture that a Maine painter has impacted Maine or has been impacted by Maine. or both.

Howard Clifford (1950 - 2003), Portland, Cloud Series XVII, 40" x 60", oil on canvas. Sold: Barridoff Galleries, 2012, $4,200

JoHn Moore (1941- ), Skowhegan, Pause, 72" x 62", oil on canvas. Sold: Christie’s New York, 2013, $13,750 raCkstraw downes (1939- ), Morrill, The Pulp Mills at Madison, 12" x 40" oil on canvas. Sold: Barridoff Galleries, 2007, $114,000

alan Magee (1947- ), Cushing, Solaris, 50" x 75", acrylic on canvas.

Sold: Barridoff Galleries, 2009, $120,000

eriC Hopkins (1951- ), Rockland, Flying Over the Islands , 14" x 21", watercolor on paper. Sold: Barridoff Galleries, 2013, $5,520

Yvonne JaCquette (1934- ), Searsmont, Paper Company, Somerset, Maine II, 78 x 64", oil on canvas.

Sold: Barridoff Galleries, 2003, $25,740

JoHn swan (1948- ), Portland, River Tea, 24" x 36", Oil on canvas.

Sold: Coeur D’Alene Auctioneers, 2004, $22,400

September 2015 53

i ns p i r at i o n

10 Exchange Street david driskell (1931- ) Skowhegan, Two Pines (Two Trees), 48 x 40", oil on linen. Sold: Swann Galleries, New York, 2015, $47,500

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anne Harris (1961- ), Portland, Portrait in Paul’s Shirt, 20" x 20", oil on canvas. Sold: Skinner, Inc., 2010, $415

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JoHn Hultberg (1922-2005), Portland, Monhegan Island, Composition with Yellow and Blue, 20"x 40", oil on canvas. Sold: Doyle, New York, 2007, $7,500

Monhegan The

FairFieLD PorTer (1907-1975) Great Spruce Head Island, The Cliffs Of Isle au Haut, 72" x 62", oil on canvas. Sold: Sotheby’s New York, 2014, $665,000

School

James FiTzgeraLD (1899-1971) Monhegan Island, Black Backed Gulls, 21"x 28", watercolor on paper.

Sold: Barridoff Galleries, 2015, $10,800 Lynne DrexLer (1928-1999) Monhegan Island, Floral Polka Dot 1986, 24" x 22", oil on canvas. Sold: Barridoff Galleries, 2012, $1,920 eLioT o’Hara (1890-1969) Kennebunk, Rocky Ledge in Maine, 27" x 20", watercolor on paper.

Sold: Skinner Inc., 2013, $360

JonaTHan FisHer (1768-1847) Blue Hill, View of Blue Hill, Maine, 27"x 47", Oil on canvas. Offered at Christie’s New York (2013): $1,750

reuben Tam (1916-1991) Monhegan Island, Fault and Weathering, 24" x 36", oil on masonite.

Sold: Barridoff Galleries, 2007, $14,400

eDwarD beTTs (1920-2008) Monhegan Island, Rocky Shore, 16"x21", watercolor on paper. Sold: Simpson Galleries, Houston, TX, 2006, $1,750

September 2015 55

in s p i r at i o n

chris becker gallery

Trees in Marsh,2002, 62” x 48” ed.5/6

Bernard Langlais’s abstract paintings from the mid-1950s were bold

in color and design–I loved them.

Completely unlike his later abstract and then figurative paintings in wood, they bespoke of an energy and life force, raw and electric. Still, you could see his irreverent use of what might have been apparently around and available for paints like what appears to be house paint and stretchers made from cast-off wood...A precursor to an affinity for found and readily available materials, not worrying about their durability of archival-ness but more concerned with getting at it and making in the now. –Andres Verzosa

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denny Winters (1907-1985) Rockport, Chickens by Coop, 12" x 16", oil on board. Sold: Thomaston Place Auction Galleries, 2007, $1,700 robert indiana (1928- ) Vinalhaven, Love Wall (Red Green Blue), 120"x 120", oil on canvas.

Sold: Sotheby’s, 2008, $2,841,000

lois dodd (1927- ), Cushing, Untitled (Cows in a Field), 27" x 35", oil on canvas. Sold: Doyle New York, 2013, $10,625

5 6 p o r t l a n d m o n t h ly m a g a z i n e

Jon legere (1944-1996), Portland, Snow Scene and Woodshed Interior, 16" x 23", acrylic on panel. Sold: Eldred’s, 2004, $2,160

Monhegan The

School

Alfred Thompson briCher (18371908), Portsmouth, frequent visitor to Mount Desert Island, Monhegan Island, Casco Bay, Coastal View, 24" x 20", oil on canvas. Sold: Sotheby’s New York, 1998, $233,500

edwArd hopper (1882-1967) Ogunquit, Monhegan Island, Rockland, Portland, Pemaquid, Cape Elizabeth, NYC, East Wind Over Weehawken, 34" x 50", oil on canvas. Sold: Christie’s New York, 2013, $40,485,000

JAy hAll ConnAwAy (1893-1970) Monhegan Island, Into the Sun, 26" x 36", oil on canvas. Sold: Barridoff Galleries, 2007, $30,000

roberT henri (1865-1929) Monhegan, NYC, Jessica Penn in Black with White Plumes, 77" x 38", oil on canvas. Sold: Christie’s New York, 2005, $3,600,000

leon Kroll (1884-1974), Monhegan Island, Good Harbor Beach, Gloucester (1912), 26"x 32" oil on canvas. Sold: Sotheby’s New York, 2011, $170,500

AbrAhAm bogdAnove (1887-1946) Monhegan Island, NYC, On the Beach, 36" x 40", oil on canvas. Sold: Barridoff Galleries, 2005, $60,000

leo brooKs (1909-1993), Monhegan Island, NYC, Two Fisherman, Monhegan, 18" x 23", watercolor on paper.

Sold: Barridoff Galleries, 2011, $3,600

morris shulmAn (1912-1978) Monhegan Island, NYC, From Horn Hill, 18" x 25", mixed media on canvas.

Sold: Barridoff Galleries, 2012, $1,440

September 2015 57

i n spiration

Monhegan The

School

Frederick lynch (1935- ), Saco, The Approximate Shape of Autumn, 30" x 40", watercolor on paper. Sold: Barridoff Galleries, 2007, $3,000

Frances kornBluth (1920-2014) Monhegan Island, Summer’s Vocabulary no.1, 1959, 46" x 41", acrylic on canvas.

Sold: Barridoff Galleries, 2012, $4,560

edward willis redField (1869-1965) Monhegan Island, Brooklyn Bridge at Night, 36" x 50", oil on canvas. Sold: Sotheby’s New York, 2005, $996,000

Michael loew (1907-1985) Monhegan Island, NYC, Autumnal Effigy, 50" x 45", oil on canvas. Sold: Christie’s New York, 2011, $25,000

andrew winter (1893-1958) Monhegan Island, Happy Lobstering Ground, Whitehead Island, Lower Penobscot Bay, 39" x 49", oil on canvas.

Sold: Thomaston Place Auction Galleries, 2012, $47,000

Zero Mostel (1915-1977), Monhegan Island, Self Portrait, 40" x 30", oil on linen. Sold: Swann Galleries, 2005, $8,000

rockwell kent (1882-1971) Monhegan Island, Polar Expedition (1944), 34"x 44", oil on canvas.

Sold: Heritage Auctions, Dallas, TX, 2015, $605,000

GeorGe w. Bellows (1882-1925) Monhegan Island, NYC, Polo Crowd (1910), 45"x 63", oil on canvas. Sold: Sotheby’s New York, 1999, $27,702,500 September 2015 59

I loved John Hultberg’s apocalyptic paintings that he had made out on Monhegan...

They were particularly poignant after 911 despite being made several years or a decade before... They were in fact prescient works. –Andres Verzosa

aliSon hildreth (1934- ) Portland, Untitled, 29" x 21", watercolor on gouache. Sold: Barridoff Galleries, 2008, $1,560

Joellyn dueSberry (1944- ) CO, NY, Mt. Desert, Morning in Goose Cove, Mt. Desert, 36" x 44", oil on linen.

Sold: Barridoff Galleries, 2015, $3,360

Sam Cady (1943- ), Boothbay Harbor, Cactus (Wall Relief #8), 46" x 46", oil on canvas. Sold: Sotheby’s New York, 2007, $3,000 6 0 p o r t l a n d m o n t h ly m a g a z i n e

CharleS dubaCk (1926- ) Tenants Harbor, Coming and Going, 46" x 37", oil with wax on canvas. Offered at Maine Art Collectors: $24,000

robert Shetterly (1946- ) Brooksville, Pair of Masked Females with Doves, Allegories of Summer and Winter, 26"x 36", oil on panel.

Sold: Thomaston Place Auction Galleries, 2010, $500

GraCe deGennaro (1957- ) Yarmouth, Equanimity, 48" x 30" oil on linen. Sold to private collection, 2015, $12,000

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William Thon (1906-2000) Port Clyde, Blue Sailboat Under Orange Sky, 17" x 27", oil on masonite.

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Thomas Cole (1801-1848) Mount Desert, Catskill Mountain House, 15" x 23.2", oil on canvas. Sold: Christie’s New York, 2006, $1,463,500

A sense of place Jon imber (1951-2014) Stonington, Rescue, 64" x 80", oil on canvas. Sold: Rago Arts & Auction Center, Lambertville, NJ, 2013, $875

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i n spir ation

“tom [Burckhardt] has an innovative approach to materials and process.

He combines humor and trickery to comment on the act and history of painting. His questions about painting have opened avenues of approach that allow him to delve into deeper philosophical ideas about our culture.” –Honour Mack

Frederic e. church (1826-1900) Millinocket, Mount Newport on Mount Desert Island, 17" x 25", oil on canvas. Sold: Christie’s New York, 2000, $4,186,000

toM paieMent (1942- ), Woolwich, Venice Beach 2, 24" x 24", mixed media. Offered at Greenhut Galleries (2014): $3,200.

neil Welliver (1929-2005), Belfast, Thawed Ledge, 60" x 70", oil on canvas.

Sold: Barridoff Galleries, 2006, $59,250

alan Bray (1946- ), Sangerville Vernal Pond, 26" x 34" case in panel.

Sold: Barridoff Galleries, 1997, $11,115 Michael ZigMond (1962- ), Frequent visitor to Maine , Public Pool, 30" x 40", oil on canvas. Sold: Outer Cape Auctions, Provincetown, MA, 2004, $1,026

6 2 p o r t l a n d m o n t h ly m a g a z i n e

honour Mack (1963- ), Portland, Chaos, 52" x 52", oil on canvas.

Offered at (2015): $4,800

ricHard TuTTle (1941- ), Mount Desert, Canvas Pale Purple, 50" x 50", mixed media on canvas. Sold: Christieâ&#x20AC;&#x2122;s, New York, 1998, $74,000

Waldo Peirce (1884-1970) Bangor, Swimming Mosman Park, Searsport, Maine, 1932, 35"x 51", oil on canvas. Sold at: Barridoff Galleries, 2007, $48,000

Beverly Hallam (1923-2013), York, Pool, 48" x 48", acrylic on canvas. Sold: James D. Julia, Inc., 2013, $1,067

September 2015 63

i n spir ation

earl Cunningham (1893-1977) Edgecomb, Coastal Waterways, 15" x 36", oil on board. Sold: Christie’s New York, 2008, $73,000

Jane dahmen (1940- ), Newcastle, Sunny Days, 60" x 72", acrylic on canvas. Sold: Powers Gallery, Acton, MA, $14,000

SuSan WilliamS (1959- ), Rockport, Harbor Entrance, 48" x 48", oil on canvas. Sold: August 2014, $3,500

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WINSLOW HOMERâ&#x20AC;&#x2122;S Civil War

July 2 - October 31

Edwin GamblE (1922-2006) Brunswick, Untitled #2, 20" x 30", watercolor on paper. Sold: Barridoff Galleries, 2001, $899

Tom CroTTy (1934-2015), Freeport, The Steps, 27"x 54", oil on masonite.

Sold: Barridoff Galleries, 2009, $13,200

ogunquitmuseum.org

September 2015 65

I ns p I r atI o n

GeoRGe FRedeRicK moRse (1834-1905)

Portland, View in Cape Elizabeth, 14" x 24", oil on canvas. Sold: Barridoff Galleries, 2007, $7,800

KennetH noland (1924-2010) Port Clyde, Circle, 93" x 93", acrylic on canvas. Sold: Christieâ&#x20AC;&#x2122;s New York, 2013, $2,139,750

Every man needs one good suit.

RobeRt Hamilton (1917-2004) Port Clyde, Neanderthal Embrace, 1974, 45" x 45", oil on canvas. Sold: Skinner Inc., 2010, $1,126

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6 6 p o R t l a n d m o n t h ly m a g a z i n e

Ogunquit The

Art Colony

haMilton easteR field (1873-1922) Ogunquit, NYC, Brooklyn, 1903, 4" x 6.8", oil on panel. Sold: Heritage Auctions, 2012, $1,500

Reginald MaRsh (1898-1954) Ogunquit, Untitled (Nude in Hat), 22" x 16", oil on masonite. Sold: Christie’s New York, 2015, $2,750

Jonathan BoRofsKy (1942- ) Ogunquit, Tree Head at 2, 9, 84, 96" x 61", acrylic on canvas. Sold: Sotheby’s, 1994, $29,900

Channing haRe (1899-1976) Ogunquit, Surrealist Portrait of a Woman, 34" x 30", oil on canvas. Sold: Skinner Auctions, 2010, $2,489

Charles Woodbury gives instruction to a rapt audience.

Walt Kuhn (1877-1949), Ogunquit, Chico in Silk Hat, 40" x 30" oil on canvas. Sold: Sotheby’s New York, 2005, $1,136,000

September 2015 67

Oils Acrylics Pastels Watercolors Pen and Ink Charcoal Drawing Encaustic

Robin Keus

Photography Danielle Langford

Sculpture Woodcarving Stone

O

Clay

Acr

Metal

Pas

Pottery Douglas Taylor Pamala Crabb

Blown Glass Stained Glass

Water

Pen an

Cha

Draw

Enca

Photo

Sculp

Woodc

Sto

Ron Phillips Prévoir

Where Art Meets Life Where Art Meets Life

THE WHITNEY GALLERIES

1810 Post Road 1810 Post Road P.O. Box 1090, Wells, Maine 04090-1090 P.O. Box 1090, Wells, Maine 04090-1090 207.216.9022 207.216.9022 www.thewhitneygalleries.com www.whitneygalleries.com

Cl

Me

Pot

Blown

Stained

Jew

i n spir ation

Ogunquit The

Art Colony

Paul Plante (1942- ), Oquossoc, Offerings for Saints Helen, John Eudes and Bernard, on August 18, 19 and 20 (11 works in 1 frame), Untitled (2 works), 37" x 24.5", oil on paper. Sold: Thomaston Place Auction Galleries, $200

CHarleS Woodbury (1864-1940) Ogunquit, Beach and Dune, 20"x27", oil on canvas. Sold: Sothebyâ&#x20AC;&#x2122;s New York, 2004, $102,000

Henry Strater (1896-1987) Ogunquit, Island Lilies, 60"x 40", oil on canvas. Sold: James D. Julia, 2014, $5,333 deniS boudreau (1950- ) Portland, Monhegan Surf, 29" x 47", oil on board.

Sold: Barridoff Galleries, 2012, $1,170

deWitt Hardy (1940- ), Ogunquit, Oranges, 10" x 12", watercolor on paper. Sold: Barridoff Galleries, 2012, $1,080

GeorGe KunKel (1922-1984) Ogunquit, View from Moody Marsh, 23"x 47", acrylic collage/paper. Sold: Barridoff Galleries, 2013, $1,680 KatHerine bradford (1942- ) Brunswick, Long Green Beans, 42" x 48" oil on canvas. Sold: Wright, New York, 2015, $1,905

September 2015 69

art that celebrates the art that celebrates

spirit maine art thatof celebrates spirit of maine spirit of maine the

the

selected works from maine artists.

Rselected uth haRtmanworks • Jon FeRnans • CaRlyn ekstRom from maine artists. selected works from maine artists. uth h aRtman on F CCanDe aRlynm ekstRom aviD outs • a••ngie B levins ••R ay • ReBekah Raye RDRuth hFaRtman JJon FeRnans eRnans aRlyn e kstRom aviDP Fouts outs • angie levins • ReBekah Raye hilBRook • nB g•ReinDl •m a utumn CiPala sDteve D aviD F • angie BanCy levins •RRanDe anDe may ay • ReBekah Raye

steve PhilBRook • nanCy gReinDl • autumn CiPala

steve PhilBRook • nanCy gReinDl • autumn CiPala

i n spir ation

Ogunquit The

Art Colony

thoMAs Cornell (1937-2012) Brunswick, Self Portrait, 24" x 20", oil on canvas. Sold: Thomaston Place Auction Galleries, 2012, $250

MAuriCe PrendergAst (1861- 1924) Brooksville and Ogunquit, The Stony Beach, 21" x 14", watercolor on paper. Sold: Christie’s New York, 2001, $3,526,000

YAsuo kuniYoshi (1893-1953) Ogunquit, Woodstock, NY, I Was Just Married, 18"x 13", oil on canvas. Sold: Christie’s New York, 1990, $286,000

ChArles Wilder oAkes (1956- ) Port Clyde, The Big Bear, 20"x 25", oil on panel. Sold: Barridoff Galleries, 2013, $2,250

ChArles burChfield (1893-1967) Ogunquit, A Dream of Butterflies, 33" x 40", watercolor on paper. Sold: Sotheby’s New York, Nov. 28, 2007, $1,329,000 PeggY bACon (1895), the Kennebunks, Confrontation, 11"x22", watercolor and pen & ink. Sold: Swann Galleries, 2014, $1,062 Alfred ChAdbourn (1921-1998) Ogunquit, Barber Shop, Yarmouth, 12" x 10", Oil on canvas. Sold: Barridoff Galleries, 2015, $3,240

September 2015 71

Watch them

In Action

Maine Masters is “An ongoing film series featuring some of Maine’s most distinguished artists sponsored by the Union of Maine Visual Artists.” Films produced to date include the acclaimed [Jon] Imber’s Left Hand.

Artists who appear in the Maine Masters series and other films and video events in galleries and libraries throughout the state include, but as yet are not part of our catalog, Cabot Lyford, Joseph Fiore, Beverly Hollman, David Larson, Clark FitzGerald, Olive Pierce, and Paul Sullivan, among many. Visit mainemasters.com to learn more and purchase DVDs.

toM Burckhardt (1964- ) Rockland, Why Don’t They Play Waltzes in Hip-Hop No More?, 80"x 18", enamel on wood.

Sold: Heritage Auctions, 2011, $3,585

Mark Wethli (1949- ) Brunswick, Star Chamber, 6" x 9", oil and tempera on paper. Sold: Barridoff Galleries, 2014, $1.200

philip Barter (1939- ), Sullivan, Wayside with Critters (1991), 23" x 29", oil on masonite. Sold: Thomaston Place Auction Galleries, 2010, $2,300

7 2 p o r t l a n d m o n t h ly m a g a z i n e

Gideon Bok (1966), Camden, Freddy LaSage As Gabriel, 55" x 57", oil on linen. For sale, Alpha Gallery, Boston (2015): $16,000

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Bernard langlais (1921-1977) Cushing, Two Tigers, 48"x 48", oil on wood. Sold: Barridoff Galleries, 2005, $23,400

sasCha Braunig (1983- ), Portland, Squirm, 25" x 19"oil on linen over panel. Offered at Foxy Productions, NYC, (2014): $17,000

Thomas Connolly, Portland, State Theatre 1964, 14" x 22.3", Acrylic on canvas. Sold: Barridoff Galleries, 2004, $2,106

September 2015 73

“Michael Waterman is the quintessential painter of Portland.

he was the first artist i met and had bought work

from…” –Andres Verzosa

Milton avery (1885-1965), Pemaquid Point, March and Sally Outdoors, 30" x 40", oil on canvas. Sold: Sotheby’s New York, 2014, $5,652,000

MicHael WaterMan (1947- ) Portland, Dancers, 15" x 16", oil on canvas. Sold: Barridoff Galleries, 2014, $720

GeorGe daniell (1911-2002) Bar Harbor, NYC, The Desert of Maine, 23" x 33.5", oil on canvas. Sold: Thomaston Place Auction Galleries (2012): $800

WinsloW HoMer (1836-1910) Scarborough, The Red Canoe (1889), 14" x 20", watercolor on paper. Sold: Sotheby’s New York, 1999, $4,842,500

louis doyle norton (1868-1940) Kennebunk, Summer Afternoon, 12" x 17", oil on canvasboard. Sold: James D. Julia, 2011, $3,738 JoHnnie Winona ross (1949- ) Portland, Begin, 72" x 66", oil on canvas. Sold: Barridoff Galleries, 2012, $9,600 cHilde HassaM (1859-1935), Isles of Shoals, Flags, Afternoon on the Ave., 36" x 24", oil on canvas. Sold: Christie’s New York, 1998, $7,922,500

7 4 p o r t l a n d m o n t h ly m a g a z i n e

carlo pittore (1943-2005) Bowdoinham, Painting Manana, 18" x 30", oil on canvas. Sold: Barridoff Galleries, 2012, $720

insp irat io n

Three Cities

Tillman Crane, Portland City Hall Staircase

A Tale of

Connie Hayes (1952- ), Rockland, Whale Boat Island, Harpswell, 18" x 17", oil on canvas. Sold: Barridoff Galleries, 2013, $2,640

William manning (1936- ) Lewiston Muscongus Tryptych Blue, 32" x 48", oil on canvas. Sold: Barridoff Galleries, 2004, $2,340

Paris • New York • Portland

Through October 25, 2015 UNE Art Gallery Wednesday–Sunday, 1–4 p.m., Thursday until 7 p.m. and by appointment. Please call (207) 221-4499 www.une.edu/artgallery

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george lorenzo noyes (18631945), Belfast, Joyous Island, 34" x 36", oil on canvas. Sold: Freeman’s, Boston, 2014, $122,500

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September 2015 75

MAE

i ns p i rati on

KArl SchrAg (1912-1995), Deer Isle, Big Meadow With Birch Trees, 32" x 40", oil on canvas. Sold: Barridoff Galleries, 2006, $1,750

Alice Spencer (1944- ) Portland, Garden with Fir Trees, 27" x 21", acrylic on paper. Sold: Barridoff Galleries, 2012, $1,080

Ahmed AlSoudAni (1975- ), Portland Untitled (2010), 75" x 64", acrylic and charcoal on canvas. Sold: Christieâ&#x20AC;&#x2122;s, London, 2015, $116,700

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September 2015 77

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7 8 p o r t l a n d m o n t h ly m a g a z i n e

ICA GALLERY HOURS Wednesday–Sunday, 11am–5pm Thursdays until 7pm First Fridays until 8pm

Maine College of Art is pleased to present the first retrospective of Thos. Moser, and recognize Thomas Moser’s 44 years of contributions to art, craft, design and entrepreneurism in Maine.

i ns p i rati on

Joseph niColeTTi (1948- ) South Portland, The Thomas Block, Commercial Street, Portland, 20" x 30", oil on canvas. Sold: Barridoff Galleries, 2011, $3,120

Carroll Thayer Berry (1886-1978) New Gloucester, Knight’s Boatyard, Rockland, Maine, 32"x 36", oil on canvas. Sold at: Thomaston Place Auction Galleries, 2008, $5,000

John Whorf (1903-1959), Rumford Falls, Brooklyn Bridge From the Brooklyn Navy Yard, 20" x 25", oil on canvas. Sold: Sotheby’s New York, 2004, $153,600

alex KaTz (1927- ), Skowhegan, Red Tulips (1967), 36" x 72", oil on canvas.

Sold: Sotheby’s New York, 2007, $690,600

BRAND-NEW & TERRIFIC

ALEX KATZ IN THE 1950s July 11–October 18, 2015

Alex Katz, Bather, 1959, oil on linen, 48 x 72 in. Paul J. Schupf LL.D. ‘06 Hamilton, N.Y. Lifetime Trust, Gregor y O. Koerner Trustee. Ar t © Alex Katz/Licensed by VAGA, New York, NY.

colby.edu/museum September 2015 79

Marvel Wynn (1915-2002) Yarmouth, Nude Standing, 23.5" x 17,5", oil on canvas. Sold: Dawson and Nye, 2013, $390

The

Tidewater

Motel

John Whalley (1954- ), Damariscotta, Pears In Wicker Basket, 38" x 54", Pencil on paper. Sold: Sloans and Kenyon, Chevy Chase, MD, 2009, $1,600

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harrison Bird BroWn (1831-1915) Portland, View of the Intervale from Fryeburg, 21"x 36", oil on canvas. Sold: Christie’s New York, 1999, $20,700

I ns p I ratI on

Frances Hynes (1945- ), Falmouth, The Curing Well, 29.5" x 22", watercolor on gouache. Offered at Winter Associates, (2015): $300

Laurence sisson (1928- ) Boothbay, Ebbing Tide, 16" by 24", oil on board.

Sold: Skinner Inc., 2015, $584 Dennis Pinette (1951- ) Belfast, Untitled Landscape, 31" x 34", oil on canvas. Offered at J. Levine Auction & Appraisal (2014): $2,500

Kith & Kin Where blood is thicker than watercolor. As the saying goes, family businesses are the backbone of Maine’s economy.

n.c. wyetH (1882-1945), Port Clyde, Wild Bill Hickok at Cards (1916), 32"x40", oil on canvas. Sold: Coeur D’Alene Auction, 2007, $2,240,000 anDrew wyetH (1917-2009) Cushing. Ericksons, 42" x 38", tempera on paper. Sold: Christie’s New York, 2007, $10,344,000

Jamie wyetH (1946- ), Monhegan Island, The Warning, 34" x 48", mixed media on paper. Sold: Bonhams, New York, 2007, $485,500

The Wyeths September 2015 81

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i ns p i rati on

LucinDa BLiss (1965- ), Portland, Boundaries: Tide Mill Farm, 22" x 30", gouache and watercolor. Sold: Aucocisco Gallery: $1,500

GeorGe HatHaway (1852-1903) Portland, The Causeway, 26" x 40", oil on canvas. Sold: James D. Julia, 2007, $3,853

DaviD Gray (1970- ) Bangor area, High Tide, Green Shutters, 39" x 25", oil on canvas.

Thomaston Place Auction Galleries, Event Coming Soon.

ricHarD estes (1932- ), Northeast Harbor, 34th Street, Manhattan, Looking East, 91" x 91", oil on canvas. Sold: Sotheby’s New York, 2004, $568,000

Ben sHaHn (1898-1969), Skowhegan, Barroom Scene with Fishermen, 18" x 26", oil on cardstock. Sold: Swann Galleries, 2015, $5,000 HaroLD GarDe (1923- ) Belfast, Untitled, 17" x 21", Oil on masonite. Sold: Leland Little Auction, Hillsborough, NC, 2013, $400

BernarDa Bryson sHaHn (19032004), Skowhegan, Moment of silence, 30" x 30", oil on board. Sold: Rago Arts and Auction Center, 2010, $1,464

aBBy sHaHn (1940- ), Solon, You’d Forget Your Head if it Wasn’t Attached to Your Shoulders, 98" x 60", egg tempera on paper. Offered at Maine Artists Guild Gallery: $9,000

The Shahns September 2015 83

i n spir ation

“sascha’s work combines optical fantastic-ness with approachable imagery.

Her work has the power to keep you engaged for an extended period of time. There is a luxurious sensuality about her work.” –Honour Mack

Will Barnet (1911-2012), Frequent visitor to midcoast, Atalanta, 44" x 34", oil on canvas. Sold: Sotheby’s New York, 2014, $137,000

Stephen etnier (1903-1984) Harpswell, Maine Coast, 22" x 36", oil on masonite, Sold: Barridoff Galleries, 2015, $6,900

david deWey (1946), Owls Head, Pemaquid Point Lighthouse, New Harbor, Maine, 28" x 40", watercolor on paper, Sold: Skinner Auctions, 2015, $3,173

Colin page (1977- ), Camden, Schooners at Rest, 18" x 22", oil on canvas, Sold: Thomaston Place Auction Galleries, 2012, $1,700

William muir (1902-1964) Stonington, Still Life with Flower Vase on Checkered Tablecloth, 19" x 23", watercolor on paper. Sold: Thomaston Place Auction Galleries, 2012, $400

The Muirs 8 4 p o r t l a n d m o n t h ly m a g a z i n e

emily muir (1904-2003), Stonington Portrait of a Downeaster, 30" x 27", oil on canvas. Sold: Barridoff Galleries, 2015, $5,520

Bayview Gallery Stapleton KearnS

Quiet Winter Evening by Stapleton Kearns, Oil on linen, 26” x 29”

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I ns p I ratI on

The Zorachs

John helicker (1909-2000) Cranberry Isles, Landscape with Houses and Mountains, 26" x 31", oil on canvas.

Sold: Kaminski Auctions, 2015, $2,500

From left to right, in Robinhood: Dahlov Ipcar; her mother, Marguerite Zorach; her brother Tessim; her father, William Zorach, and her brother Bertram.

top left: archives of american art, smithsonian institution

greg parker (1952- ), Portland, Untitled (Grid), 36" x 48", Graphite, dry pigment. Sold: Bonhams San Francisco, 2013, $1,375

William Zorach (1887-1966), Bath, Yosemite Falls (1920), 72" x 30", oil on canvas. Sold: Sothebyâ&#x20AC;&#x2122;s, 1997, $156,500

marguerite Zorach (1887-1968) Georgetown, Two Nudes, 44" x 33", oil on canvas. Sold: Barridoff Galleries, 2009, $264,000

William kienbusch (1914-1980) Cranberry Isles, Sound of the Gong Buoy, #14, 52"x 66", oil on canvas.

Sold: Doyle, New York, 2006, $7,200

John Folinsbee (1892-1972) Frequent visitor to Maine, Shad Fishing, 32" x 40", oil on canvas. Sold: Sothebyâ&#x20AC;&#x2122;s New York, 2004, $187,200

Dahlov ipcar (1917- ), Georgetown, Embarkation, 26"x 36", oil on canvas.

Sold: Thomaston Place Auction Galleries, 2013, $8,000

September 2015 87

i n spir ation

“abstract painting is a process that asks questions about ideas and subjects without overt

pictorial commentary. It has long been a metaphor for deep philosophical investigation and emotional explorations. As an abstract painter, my imagery exists outside of a narrative or didactic framework, and as a result, I find inspiration in questions that address the confluence of belief systems, the role of spirituality in art, and the possibility of creating a transcendent object.” –Honour Mack

phil Frey (1967- ), Sullivan, Backside of the Island, 18" x 24" oil on canvas.

Sold, 2015: $2,600

robert laurent (1890-1970) Cape Neddick, Ogunquit, Wrapped with Rope, 12" x 16", oil on canvas. Sold: Barridoff Galleries, 2009, $4,920

John laurent (1921-2005) Ogunquit, Oyster Workers at Low Tide, 24" x 49", oil on canvas. Sold: Barridoff Galleries, 2013, $4,320

toni WolF (1959- ), Portland, Self Portrait, 60" x 40", watercolor on paper.

Offered at Barridoff Galleries: $2,500 John Gable (1944- ), Woolwich, The Launching of the Yacht Scheherezade, watercolor on paper. Sold: DuMouchelles Auction House, Detroit, 2014, $4,800

Laurent paul rickert (1947- ), Stonington, Resting on Granite, 28" x 57", oil on canvas. Sold, Barridoff Galleries, 2014, $3,120

8 8 p o r t l a n d m o n t h ly m a g a z i n e

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September 2015 89

i n spir ation

duncan Slade (1918-2013) Norway, Main Street, South Paris, 18" x 24", oil on canvas. Sold: Barridoff Galleries, 2013, $1,560

Fitz Henry lane (1804-1865) Mount Desert, Manchester Harbor, 24" x 36", oil on canvas. Sold: Skinner Inc., 2004, $5,506,000

cHarleS codman (1800-1842) Portland, The Log Cabin (1830), 24" x 36", oil on canvas. Sold: Christieâ&#x20AC;&#x2122;s New York, 2006, $28,800

Frank W. BenSon (1862-1951) North Haven, The Sisters (1899), 40" x 40", oil on canvas. Sold: Sothebyâ&#x20AC;&#x2122;s New York, 1995, $4,182,500

Cummings 9 0 p o r t l a n d m o n t h ly m a g a z i n e

StepHen pace (1918-2010) Stonington, 61-102, 1961, 53"x 67", oil on canvas. Sold: Leslie Hindman Auctioneers, 2013, $60,000

SaraH knock (1947- ), Freeport, Little Whaleboat Island, Dead Reckoning, 34" x 48", oil on canvas. Sold: Greenhut Galleries, July 2015, $20,400

Willard cummingS (1915- ) Skowhegan,Beach #5, 49" x 46.75", oil on canvas. Sold: Skinner Inc, 2015, $500 His daughter Daphne Cummings is also a respected artist and graduate of the Skowhegan School of Painting and Sculpture, which Willard founded. See our story by Diane Hudson in Summerguide 1999.

Sean Foley (1969- ), Portland, Scrimmage, 44" x 50", acrylic on linen.

Sold: Barridoff Galleries, 2012, $9,600

cHarlie HeWitt (1946- ) Brunswick, Spanish Ghetto (Study), 10" x 8", oil on canvas. Sold: Skinner, Marlborough, 2011, $237

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Marsden hartley (1877-1943) Lewiston, Lighthouse, 40" x 32", oil on canvas. Sold: Christie’s New York, 2008, $6,313,000

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Marguerite robichaux (1950- ) Stratton, Ruapehu, 55" x 55", oil on linen. Sold: Thomaston Place Auction Galleries, 2015, $5,000

edwin perry douglas (1935- ) Portland, Untitled, 47" x 60", oil on canvas. Sold: Bonhams & Butterfields, 2006, $5,975

9 2 p o r t l a n d m o n t h ly m a g a z i n e

i ns p i rati on

rufuS Porter (1792-1884) Bridgton, The Steamship Victory, 124" x 73", oil on plaster. Sold: Jackson’s Auctioneers & Appraisers, Cedar Falls, IA, 2002, $172,500

george lloyd (1945- ), Portland, Untitled #37 (1987), 17" x 14", acrylic on paper. Sold: Thomaston Place Auction Galleries, 2009, $475

Joel BaBB (1947- ), Sumner, Gulf Hagas Brook, Maine, 58" x 72", oil on linen. Offered at Vose Galleries, Boston: $40,000

walter griffin (1861-1935), Portland, Old Houses, Stroudwater, Maine, 33" x 36", oil on canvas. Sold: Skinner Inc., 2006, $17,625

henry iSaaCS (1951- ), Cranberry Isles, Untitled, 31" x 47", oil and mixed media on paper. Sold: O’Gallerie, 2009, $600

John Calvin StevenS (1855-1940) Portland, Marsh, Cape Elizabeth, 14" x 18" oil on canvas. Sold: Thomaston Place Auction Galleries, 2014, $900

John Marin (1870-1953) Stonington, Sailboat, Brooklyn Bridge, New York Skyline, 14" x 18", oil on canvas board. Sold: Christie’s New York, 2005, $1,248,000

Brett BigBee (1954- ), South Portland, Portrait of the Artist’s Wife, 12" x 8", pencil on paper. Sold: Barridoff Galleries, 2014, $2,280

MiChael lewiS (1942- ), Orono, Deep Roots, Old Strength #11, 8" x 12", oil was on paper. Offered at James D. Julia: $900

September 2015 93

I ns p I ratI on

Italo Scanga (1932-2001) Skowhegan, Untitled, 65" x 45", mixed media on paper. Sold: Los Angeles Modern Auctions, 2008, $2,200

John Walker (1939- ), Damariscotta, Two Cultures II, 85" x 67", oil on canvas.

Sold: Stair Galleries, 2007, $24,150

VIncent hartgen (1914-2002) Orono, Coastal Spray in Winter, 13" x 9", watercolor on paper. Sold: James D. Julia Inc., 2007, $1,610

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Vern Broe (1930-2011), Richmond, Full Sails Off Friendship, 20" x 30", oil on board. Sold: Eldred’s, Dennis, MA, 2012, $3,186

georgIa o’keeffe (1887-1986) Visitor to York Beach, White Calla Lily, 32" x 17", oil on canvas. Sold: Sotheby’s New York, 2015, $8,986,000

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Abbott Fuller Graves, Harbor Lookout (Est. $100,000-150,000)

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i n spir ation

“Dozier Bell is a Maine artist who paints landscapes that capture the mood and drama

of Maine, without literally representing the Maine landscape. Her images create a psychology that embodies the mood of the state.” –Honour Mack

lyn Snow (1940-2013), South Thomaston, Tempest, 17" x 23", watercolor on paper. Sold: Thomaston Place Auction Galleries, 2010 $2,300

paul black (1952-2014), South Portland, Mill Pond, Somesville, 36" x 40". Sold: James D. Julia Inc., Fairfield, 2011, $2,500

JoSefina auSlender (1959- ) Cape Elizabeth, Structures, 12" x 8", graphite and colored pencil on paper. Sold: Maine Jewish Museum, 2014, $1,750

abbott GraveS (1859-1936) Kennebunkport, Flower Garden Kennebunkport: Maine, 21" x 38", oil on canvas. Sold: Sotheby’s New York, 2001, $313,750

don voiSine (1952), Fort Kent, Pass, 18" x 27", oil on wood. Offered at 1stdibs.com, (2015): $5,000 emily brown (1943- ), South Montville, Billy Mitchell, Appleton, Maine, 24" x 24", oil on canvas. Sold: Christie’s, 2012, $750

9 6 p o r t l a n d m o n t h ly m a g a z i n e

thomaS douGhty (1793-1856) Visitor to Maine, Autumn Landscape (1835) 56" x 70", oil on canvas. Sold: Christie’s New York, 2011, $292,000

Dozier Bell (1957- ), Waldoboro, Early Snow, 13" x 11", mixed media on paper. Sold: Thomaston Place Auction Galleries, 2013, $1,300

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Natasha Mayers (1946- ), Whitefield, House Arrest (State of War), 50" x 38", acrylic on canvas. Barridoff Galleries.

Keith Hamilton, Naomi, archival c-print, 48â&#x20AC;? x 46â&#x20AC;?

WeNDy KiNDreD (1937- ), Fort Kent, Still Life: Plank, 24"x 48", oil on canvas.

Sold: 2013, $800

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RISD Professor Emeritus Dean Richardson, Untitled

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Louise NeveLsoN (1900-1988) Rockland, Untitled (1946), 18" x 8", www.gpmetrobus.com oil on canvas. Sold: Sotheby’s New York, 2011, $10,625

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The following painters don’t appear with an image because either the image, price, dimensions, or place of sale were not available at press time. Look to our digitally searchable online presentation for updated images and prices: Eric Green, David von Schlegell, Hilary Irons, Scott Davis, Cassie Jones, Tollef Rundquest, Elizabeth Cashin McMillen, Janice Kasper, William Irvine, Janice Anthony, Jeff Epstein, Tim Clorius, Ashley Bryan, Inka Essenhigh, Jessica Gandolf, Meg Brown Payson, Ernest McMullen, David Vickery, Daniel Merriam, Bjorn Rundquest, Kayla Mohammadi, Alison Rector, Stew Henderson, Joe Kievitt, Gail Spaien, Philip Brou, Erik Weisenberger, Nina Jerome, Richard Brown Lethem, Jeff Kellar, George Burk. n –Becca Carifio, Molly Parent, and Zee Krstic contributed research for this story.

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I n t er vI ew

A Man in Full Diane HuDson; inset: courtesy JonatHan eDwarDs

Singer songwriter Jonathan Edwards makes his home in Maine.

I

t’s a crisp afternoon in the Spurwink section on the Cape Elizabeth coast.

What invisible hand is conducting us inland from Route 77 and the Spurwink Meeting House, only to slow to a stop in front of an understated sage-green ranch house in broad daylight?

Surprise: Jonathan Edwards, the folk star who brought us “Sunshine” during the darkest days of the Vietnam War,

Inte rvIew by ColIn w. S argent

lives here. With an Ed Harris intensity to his eyes, he welcomes us at the door and leads us barefoot downstairs to his studio through a maze of photos and awards to a comfortable leather couch. Like a shadow, his dog Holly, jumps up beside him.

Through the windows, in squares of green, are the raised beds of the Victory garden we’ve heard he prizes out back. First impression: He doesn’t look like a marathon

runner who’s just finished a race. He’s about to start one.

You’re from Northern Minnesota. Can you show me something in this house that proves that?

He gets up and returns with a haunting black-and-white photo of a young woman in the late 1940s holding a guitar.

This is from Minnesota. It’s a picture of my [birth] mom. I was adopted when I was September 2015 101

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nine months old. This other snapshot is me.

It was taken the day I was adopted. It’s the cover of my new album, Tomorrow’s Child.

Edwards, seated on his kiddie seat with the furious seriousness of the very young, extends both hands toward the viewer, searching. Produced by Darrell Scott and accompanied by Nashville cats Vince Gill, Jerry Douglas, Shawn Colvin, and Alison Krauss, the album is Edwards’s springboard to live performances that will zigzag across venues vast and intimate: Stonington Opera House in Maine; Birchmere, in Alexandria, Virginia; Timberline Lodge Amphitheater, in Government Camp, Oregon; and One Longfellow Square in Portland, September 9 and 10.

Searching seems to be a motif in Tomorrow’s Child.

Yes. Everything I do comes to bear on what I do and what I write.

One of the striking songs on your new CD is “I Wish I Was A Mole In The Ground,” written and recorded in 1928 by Bascom Lamar Lunsford. It tunnels into your memory, has North Carolina roots, is gently subversive. Is that what attracted you to it?

I wish I was a mole in the ground Yes, I wish I was a mole in the ground If I’s a mole in the ground I’d root that mountain down And I wish I was a mole in the ground.

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When James Taylor’s new album was released this summer, it topped the Billboard 200. It was hard not to think, they’re looking for a new Tony Bennett.

I enjoy the audiences, period. Sometimes I’ll look out and say, “I see a lot of old people 1 0 2 p o r t l a n d m o n t h ly m a g a z i n e

Diane HuDson

This song just spoke to me. Joe Walsh, who lives in Portland, is on the board at One Longfellow Square and teaches at Berklee [College of Music in Boston], suggested he arrange it and I record it. It’s about heartbreak, sadness, and defiance.

in the audience.” Then I’ll speak to the new members. “Thanks very much for bringing your parents.”

Jonathan’s fiancée, Sandy Owen, says: “This is a good time to mention Jonathan’s album is number one on the folk charts.”

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Sandy is a Kennebunk native; they met during a concert in Blue Hill, at an old club called The Left Bank. Edwards says, “I saw her in the crowd.” They talked after the concert, grew closer upon further meetings after years passed. She seems already in deep harmony with him; there’s a rhythm to their motions.

Edwards: I had to decide I was ready for this.

I take better care of myself than I ever did.

There’s going to be a lot of touring this year.

A colleague saw you perform in Newport, Rhode Island, decades ago. Take us there.

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harbor. I totally felt at home there. I met Cheryl Wheeler there. She’s a friend.

Also in Newport, I played aboard a ship, the Black Pearl. I was there for a week.

That’s where I got sailing in my blood, after I met Barclay Warburton. some bitters?

Do you have a boat now?

No time to dream of doing that.

If there were a cocktail called the Jonathan Edwards, how would a 21st century mixologist shake you up? Some folk, a dash of balladeer,

1 0 4 p o r t l a n d m o n t h ly m a g a z i n e

(A quick smile.) I’m not so sure about bitters.

I’m not preaching the horrors, not me.

So you share nothing with the scary Calvinistic theologian of the same name?

Nothing.

In t e rIv e w Dark rum then, for the drink called the Jonathan Edwards?

No dark rum. In the late 1970s I used to live in St. Croix, where they serve light rum. I got used to it.

What do you like about playing at Jonathan’s in Ogunquit?

Everything about the venue I like. I’ve been 20 years playing there. Jonathan West is a dear friend.

According to urban legend, you almost didn’t get to record your monster hit single.

It was late one night, in the early a.m. We were recording an album, and the sound engineer and I were the only ones in the studio. Recording [with magnetic tapes] was very young then. He inadvertently recorded over one of the songs he’d spent the afternoon recording. He looked for it everywhere, everywhere. Ironically, the song was called “Please Find Me.” Finally he gave up and said, Do you have something else that’s three minutes long? I said, yeah. A last-minute substitution. I recorded it with the bass, came back and added the track with my 12-string, then a third track with drums. It was “Sunshine.”

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What are your 30 best seconds in show business?

I’m standing at the foot of the Washington Monument in 1971, at a huge anti-war rally.

It was a rose-colored dawn in the Potomac River Valley. I had just written “Sunshine.”

People had just started hearing it. [He waits two beats.] That song was the perfect song to play that morning.

From top! Diane HuDson; courtesy JonatHan eDwarDs (2)

What are your worst 30 seconds in show business?

I was opening for Pat Sky at Boston University or BC. As I neared the stage, a guy in the audience yelled, You suck. What to do? You do the best you can. At the microphone I said, Thank you very much. Usually they don’t say that until I’ve played three or four songs.

Tell us one time you were forced to play “Sunshine” when you didn’t want to.

There’s never been a time. I have always been one-hundred-percent grateful. If I had never had another song, I’d be thrilled to leave this world remembered for that one song.

Sandy Owen hands Edwards a glass of water.

(This is a good sign, because it means he’s go-

W W W.CO N CO R D COAC H L I N E S .CO M September 2015 105

I nt e r I v e w ing to sing, right here in the basement studio of his home in Cape Elizabeth.)

He slings the guitar around his neck and sings it stunningly it like he just wrote it for five people. Better than the first time anybody ever heard it. The day before, he’d sung live on NPR’s World Cafe. Some guys have all the talent.

You know so many fellow musicians. How about Paul McCartney?

I haven’t met him, but I want him to hear my version of “She Loves You.”

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Where’d you go after you lived in Boston?

In 1973, I lived in Nova Scotia, farming 680 acres. I lived there for eight years. My daughter Grace was born at the top of a hill in our cabin in 1976. One day, I got a phone call. It was Emmylou Harris, calling from L.A., calling me out of this farm. She said, What are you doing up there? She asked me to sing with her on her Elite Hotel album.

Two years ago, I took Grace back to see where she was born. When we pulled in, I caught sight of a neighbor behind a team of horses pulling a manure spreader. When he recognized me, he brightened. ‘Jon, get out of that car and spread some manure for me.’

As we talk, he and Sandy take us out to show us the garden, and this isn’t a haphazard garden. It is in perfect tune, in raised beds, with fall’s first monarch butterfly floating by: basil, cilantro, parsley, borage, lacinato kale, countless tomato plants, blackberries, and raspberries.

What’s musical about a garden?

The fertility. The order. The sense it makes to me, across the seasons, months.

There are ocean views everywhere in Cape Elizabeth.

You didn’t choose one. Is there a hidden part of you, or do you carry your own shore with you?

We are very near the beach. We can ride our bikes there. I can listen here. I listen to the

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It seems impossible, to cover that song. The Mt. Everest of cover challenges. How could he possibly make it his own? Then Edwards starts singing, and it’s so wistful and lonely the way he plays it, it makes your hair stand on end.

It’s track number five on his album My Love Will Keep (2011). To hear it, visit https:// www.youtube.com/watch?v=z9075lmLck8.

guy next door get up and go to work.

T

For five years. I’m feeling it really intimately and really well. When we leave, I tell my neighbors, Please, there’s no way I can pick these vegetables in the garden.

Take anything you can, and they watch it for me. A few times a year some friends visit and we play outdoors. Anyone who wants to stops by.

Balancing global and local, do your neighbors think of you as the performer or the guy with the garden?

All of that.

What are your favorite haunts here?

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Our band, Headstone Circus [they also played under names like St. James Doorknob, and Finite Minds] had a gig at Loring Air Force Base, in way-the-hell northern Maine. At the NCOs club, not the officers club. I was wearing my vest with the stars from the American flag on it. We imagined going up on stage: Who were these hippies?

It took forever to drive there the night before.

Along the way, a crazy guy (I can say that because he would say it himself) in our band, Joe Dolce, acquired this rutabaga, the biggest I’ve ever seen. The night got darker and darker until we saw the giant runway lights wincing back and forth in white.

(He waves his hands slowly.)

Shhhh, shhhh. The lights were frightening, mindsplitting. Joe told us to pull over at the base of the lights, with the runway spilling out in front of us. He jumped out with his rutabaga. In our headlights he out walked toward the lights, holding the mystical rutabaga over his head. Poof. The lights went out, the sky went black. We looked at each other. Whoaaaaaa.

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M a i n e Li f e

Weaves of

Grass Clara neptune Keezer not only lives the magic of her art, she’s a star on eBay.

By Bunny M c Bride

Baskets courtesy the aBBe MuseuM

Basket weaving is a legacy in the Keezer family. From left: Clara’s 55" Fancy Basket; son Rocky Keezer’s 44" Watermelon and 6" Corn baskets; Clara’s 6" Fancy and 44" Plum baskets; and Rocky’s 5" Strawberry

i

t’s rare to sell one’s first piece of art, especially if you’re just 8 years old. But Passamaquoddy artist Clara Neptune Keezer did just that. It was a small candy basket woven with ash splints. The buyer paid her 25 cents, and, fittingly, little Clara spent her earnings on candy. Eight decades later, she’s still making baskets, but today her finely crafted pieces can garner hundreds of dollars.

They’ve been featured in many exhibitions (including a one-woman show at the Farnsworth Museum in Rockland) and are in museums and private collections across the Unit-

ed States and beyond.

Clara grew up on the Passamaquoddy Reservation at Pleasant Point (Sipayik) in Perry. She lived with her grand parents Alice (a Penobscot) and Joseph Neptune.

It was Alice who first showed Clara how how to prepare brown ash splints, how to pick, clean, and braid sweet grass, and how to weave the two materials together into a basket. From her she also learned the importance of doing quality work: “If I made a mistake,” Clara recalls, “she’d say ‘fix it’– and I did!”

Clara has stayed true to her grandmother’s demand during a lifetime of weaving, reaching for perfection with every twist and turn of every strand in every basket she makes. She weaves those strands into a surprising array of forms, including a cornucopia of brightly colored baskets shaped like fruits and vegetables.

Jennifer Neptune, director of the Maine Indian Basketmakers Alliance (MIBA), sounds gleeful when talking about Clara’s baskets: “When you go to Clara’s table at the [annual Native American] Festival in Bar Harbor, you’re excited because you know there September 2015 109

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M a i ne Li f e will be something different. She’s famous for her strawberry and fruit baskets, but then she makes a snowman or a bumble bee! Her baskets are so colorful and full of curls, diamond weaves, and bows. Just seeing them makes you happy.” As for the strong and tight quality of her weaving: “It’s the standard that I and many others measure our work against.” eyond novel shapes and a bold use of color–evident in many but not all of her pieces–Clara’s baskets are distinguished by a particular diamond weave passed down through her family and the innovative way she crisscrosses sweet grass in and out of the ash.

Those characteristics can be seen in the work of her two sons, Rocky and Kenny, noted basketmakers in their own right. Clara mentored both of them–informally during their growing up years (“They just picked it up because I

B

made baskets every day”) and later as her apprentices in MIBA’s formal master/apprentice program. Among basketmakers in Maine’s four tribes–the Passamaquoddy, Penobscot, Maliseet, and Mi’kmaq (collectively known as Wabanaki or “Dawnland” people)–one can identify distinct family styles. Distinguishing styles between the tribes is more difficult due to generations of intermarriage, especially between Passamaquoddy and Penobscot.

In 2002, the National Endowment for the Arts awarded Clara a Heritage Fellowship honoring her artistic excellence as well as her contribution to our nation’s traditional arts heritage. Clara has played a major role in the revitalization of Maine Indian basketry. According to Theresa Secord, who served as MIBA’s director for two decades, “Clara was one of our founding members, and she is

the one person who taught every year in the MIBA master/apprentice program for at least 20 years. She is really the matriarch of MIBA in so many ways.” Jennifer Neptune elaborates: “Here she is, this amazing, amazing artist, and yet so humble about herself and her work. She has always been more than generous with her time, teaching workshops in addition to her individual apprentices, sharing all the tricks she’s figured out, encouraging and inspiring so many others.”

A true artist in life as well as in basketmaking. n Bunny McBride lives in Bath. Her extensive writing on Wabanakis includes the books Women of the Dawn, Indians in Eden, Molly Spotted Elk: A Penobscot in Paris, and Our Lives in Our Hands: Micmac Indian Basketmakers.

Bid on a Basket

A Gallery of Clara Neptune Keezer’s Baskets from eBay

Baskets from eBay; Background: Blake gumprecht

Graceful loops at basket bottom, natural color; 4.5" tall. $152.75

Special basket, small loop curls & double bow handle; 5.5" tall. $197.75

Large Open Basket, Loop Edging at Top; 5.5" tall. $242.75

Special basket with small loop curls and double bow handle; 4" tall. $250.00

Turquoise & natural curl; 3.75" tall. $132.50

Very lovely May Day candy basket, NEA Award winner; 6" to top of handle. $62.75

September 2015 111

P e r s Pec ti ve

Sticking To

The Art

While the world hunts David Driskell for his opinions about the Cosby collection on exhibit at the Smithsonian, he drops a hint with us, in Maine.

from left: the ColleCtion of Camille o. and William h. Cosby Jr.; PhotograPh by frank steWart; smithsonian ameriCan art museum

W

e should remember that the real man behind this collection is David Driskell,” writes the Washington Post about the Smithsonian Institution’s exhibit that is sparking so much controversy: “Conversations: African and American Artworks in Dialogue.”

This is the very David C. Driskell, co-curator of the Smithsonian show and for dec-

Still Life: Souvenir No. IV, oil on canvas, 1916, by Eldzier Cortor, from the collection of Camille and William Cosby, is presently on exhibit at the Smithsonian Institution. At right, painter and curator David Driskell.

From s taFF & wire rePorts

ades the scholar and art consultant who has brought the Camille and William Cosby collection to an elite sphere, that so many Mainers revere as a likable Falmouth resident, world-class painter, and curatorial expert on world painting.

Driskell has been friends with Bill and Camille Cosby since Cosby called him in 1976 (see our interview, “The Prime of David Driskell,” Sept. 2001). No doubt uncomfortable with the controversy, Driskell has remained eloquently silent. Consider Artnet News: “We also reached out to David Driskell, the cocurator of the show who is also a longtime friend and advisor to Cosby, as well as to Cosby’s attorney Marty Singer for comment about whether the accusations have impacted the museum show. Neither responded.”

If you were in Driskell’s position, would you respond? As an index to the controversy about Bill Cosby as he relates to art, Artnet reports, “In a November 15 radio interview conducted at the Smithsonian that took the term ‘awkward silence’ to an entirely new level, NPR reporter Scott Simon talked with Bill and Camille Cosby in detail about the [62] artworks they loaned to the show. At the end of the four-minute segment, viewers were treated to roughly 30 seconds of dead air when Simon asked Cosby to comment on the allegations as Cosby shook his head no and wagged his finger at Simon…” This dead air time was, according to the Washington Post, “perhaps the most significant dead air in the history of National Public Radio.”

Then there’s “Public split over Cos-

by’s art at the Smithsonian,” by Brett Zongker of the Associated Press, which appeared in the Post. Here, once again, Driskell’s name comes up most respectfully, with a quote from him tantalizingly absent.

Kudos to our “Flash” editor, Diane Hudson, who had the moxie to ask Driskell what the situation was when she covered his art opening at a Portland gallery. Here is Driskell, thoughtful and, it must be assumed, hurt: “As a curator hired by the Smithsonian in connection with this exhibit, I have been asked not to speak publicly about the controversy until my contract ends on January 16. You have not seen any comments from me about the exhibit as all the interviewers want to talk to me about Bill Cosby. I have no information about that and cannot speak to it. I can, however, speak about the art, and tell you that the art speaks for itself. This work by major American artists [including Beaufort Delaney, Jacob Lawrence, Elizabeth Catlett, Romare Berden, Faith Ringgold, Driskell himself, Alma Thomas, and Henry Ossawa Tanner] has never before been seen in public, and may never be provided that opportunity again. An extension of the American canon, the exhibit provides an invaluable educational opportunity that should not be lost…

The Smithsonian reports attendance has more than doubled since the opening of this exhibit, and I do not think that is because of the controversy surrounding it.”

The show goes on. n September 2015 113

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hen a rare harlequin lobster (dark and red, split down the middle) was pulled out of the briny deep this summer in Scarborough, it was just the ticket for a slow news day. The wire services and internet jumped on the tidbit, finally agreeing that the odds were 50 million to one. The science slid slowly September 2015 115

into…romance.

At the Lobster Institute at the University of Maine at Orono, Dr. Robert C. Bayer, has the integrity to be less precise. (After all, who is going to count 50 million crustaceans?) Even so, he admires and studies lobsters who dare to be different.

“I have seen fewer of the half-andhalf lobsters than blue ones,” he says. In fact, “in terms of the incidence of color variants, I’ve seen more blue lobsters than any other. We become aware of these through calls from the fishermen who’ve caught them or from the press. Most of the color variants end up on display somewhere. The Oceanarium in Bar Harbor often has some.”

As for the moonglow lobsters that amaze with their pearly iridescence, “White, albino, appears to be the least common. The albino does not turn red when cooked; I have only seen a few of them in my career. All other lobsters turn red when cooked. The blue ones turn a bit more pink than red.”

1 1 6 p o r t l a n d m o n t h ly m a g a z i n e

Then, from out of nowhere, he drops the bomb. “By the way, we have bred blue lobsters by mating a blue male with a blue female. All the offspring are blue.”

If they can be created, how soon will they

be marketed and one day guiltlessly eaten?

Blue lobsters may be trending on the future in a world that doesn’t blink at charcuterie (imagine the trendy menus–in December, Blue Xmas, with twin lobsters

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Blue on Blue) if under controlled conditions they can be made less rare.

Below the roil of the sea, “the actual incidence of these is a guess, but it’s likely one in several million in the lobster harvest. The Brittany blue is a European lobster, a close cousin of ours. These lobsters are genetically so close to the Maine lobster that we can breed the two and create a hybrid.”

So soon? Blue lobster fricassee, anyone?

Color-morph lobsters include calicos, though Dr. Bayer has observed through observation that calicos “often have an underlying bacterial infection of some type.”

The blues are something else again, the stuff of dreams and nightmares. Before Warhol, wouldn’t Salvador Dali have loved them. They are truly off the hook. n

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Hu ngry Ey E

Morning Glory Baked goods and pastries rise to an art form in the city that first swooned over croissants 20 years ago.

Corey TempleTon

By C l airE Z. C ramEr

Everybody must get scones: Morning temptations at Tandem Coffee and Bakery.

September 2015 119

H u n gry EyE

W

e marvel at the sheer number of restaurants in the Forest City, but how about the bakeries? Portland is the center of the universe for from-scratch, flakey, buttery, first-class baked treats. Hot, fresh scones; lighter-than-air croissants; deadly sweet sticky buns; cookies; breads; and rolls are baked every day in small, thriving hives all over town.

Magnet for talent Think of Standard Baking Company as the Harvard of Portland bakeries. People with sweet dreams and magic hands come to them. And if they leave, Standard’s legend grows deeper in the culture. “The caliber and availability of professional baking training has improved vastly since we first opened,” says Alison Pray, who with husband Matt James owns Standard Baking, now 20 years old. Their croissants, morning buns, and baguettes were the original boulangerie delicacies that set a very high bar in Portland.

“We’ve been really fortunate to have

“i went gluten-free myself about eight years ago,” says Bevin mcnulty, owner and baker of Bam Bam Bakery on Commercial Street. “i found the products on the market weren’t very delicious.”

Bevin began experimenting with her own recipes and studying alternative baking. “gluten is the protein in wheat; that’s what binds your bread and gives it elasticity and keep it together. We use xantham gum” to replace this quality, along with precise combinations of other non-wheat flours depending on the item. gluten-free does have something of an image problem. “the biggest misperception is that it tastes gross– dry and gross and boring,” says mcnulty. one bite of a Funky monkey (peanut butter, chocolate chip, and coconut cookie) should clear this up. it’s delicate, rich, and intense.

Bam Bam’s most popular items are “whoopie pies in the summer and lemon bars and cookies in general.” look for pumpkin whoopies with maple filling this fall. –Becca Carifio 1 2 0 p o r t l a n d m o n t h ly m a g a z i n e

Catherine Coté-Eliot pauses to reflect for a moment at Portland Patisserie.

found some great people through these programs.” Some of whom are now dazzling diners at some of the hot spots elsewhere downtown, as this story shows.

“Our greatest challenge as bread bakers is consistency,” says Pray. “At the same time, we love to bake, so we’re always looking for new ideas and inspiration. I love to travel specifically to visit bakeries. In Paris, friends recommended Des Pains et des Idees, in the Marais. There are lines out their door all day long. My favorite from their shop was a pain au levain roll with savory additions like bacon and bleu cheese.” tasty Career U-tUrns Bakers are like doctors,” says Catherine Coté-Eliot, pastry chef at Portland Patisserie on Market Street, where dainty and precise French confections including cylindrical framboisiers and colorful macarons dazzle on platters and stands. “We all have our specialties. I’m really not all that into breads.”

Which is not to say she doesn’t know how. In fact, Coté-Eliot, 34, spent five years making bread and pastries at Standard Baking.

“Baking’s my second career,” she says.

“I have a degree in architecture from Ohio State. But then I did a 10-month course

at the French Culinary Institute in Manhattan,” after which she ended up baking at one of the Financier Patisseries in the financial district. “I have a French last name (Coté), a French Canadian background, and a grandmother in Gouldsboro, but I don’t speak French.”

Her husband, Frederic Eliot does; he’s chef at Petite Jacqueline, which is owned, like Portland Patisserie, by the talented Steve and Michelle Corry. So how did Catherine meet this Parisian-born chef?

“At O.S.U., actually. Cooking is a second career for Fred, too. He was the head of the university’s IT department, and just before I left for a semester in France, I went to ask him about good places to visit.” The couple moved to New York, where Catherine launched her pastry careeer and Fred “cooked all over–Prune, Le Cirque, the Oak Room.”

When they started a family, they decided to move to Portland. Frederic’s nighttime schedule dovetailed nicely with Catherine’s dawn baking routine in terms of sharing child-care duties. “I didn’t want a desk job,” she says, “but I feel my architecture training is useful to me as a baker. I’m designing and creating things every day.”

She sure is. Her tender, buttery bourbon

From LeFt: FILe; JoaquIn maLLmann

But what if wheat is out…

Portland’s Bakeries

Full Service Meat Counter • Catering • Sand

Full Service Meat Counter • Catering Baked GoodsMade • Large & Wine • C Sandwiches DailySelection • Baked Beer Goods Large Selection of Beer & Wine Complete Grocery Line

(A Selection) Ameera Bread 845 Forest Ave.

Aurora Provisions 64 pine St., auroraprovisions.com

Bam Bam Bakery

Store Hours: Monday - Saturday 6am - 7pm •

267 Commercial St., bambambakery.com

Monday–Saturday 6am–7pm • Sunday 8am–7pm 1 Elm •Street • Camden • 207-236 1 Elm Street • Camden (207) 236-3361 www.frenchandbrawn.com www.frenchandbrawn.com

Big Sky Bread company 536 Deering Ave. & 28 monument Square, mainebread.com

Borealis Breads & Bistro 182 Ocean Ave.

Dutch’s 28 preble St., dutchsportland.com east end cupcakes 426 Fore St., eastendcupcake.com

Foley’s cakes 1 monument Way, foleyscakes.com

Katie Made Bakery 181 Congress St., katiemadebakery.com

Open through October!

Join us for 2 for Tuesdays!

28 monument Sq., lovekupcakesinc.com

Lunch 11:30-2 Dinner 5-8:30

Portland Patisserie and Grand café

Closed on Mondays

love Kupcakes

46 market St., portlandpatisserie.com

Rosemont Market & Bakery

284-6000 | 122 Hills Beach Rd., Biddeford | buffleheadsrestaurant.com

40 pine St., rosemontmarket.com

Standard Baking co.

75 Commercial St., standardbakingco.com

Tandem coffee + Bakery 742 Congress St., tandemcoffee.com

Ten Ten Pié 171 Cumberland Ave.

Two Fat cats Bakery 47 India St., twofatcatsbakery.com

pecan shortbread cookie with a cup of coffee may be the tastiest treat you have all day.

Scone Soul Picnic “Briana and I met in New York,” says baker Laura Motley at Tandem Bakery on Congress Street. “We baked together at Pies ’n’ Thighs in Brooklyn.” Briana Holt is Tandem’s baker extraordinaire, from whose boundless imagination spring spicy ginger and toasted white chocolate cookies the size of lunch plates, dainty rye shortbread cookies rimmed with black sesame seeds and a hint of sea salt, and “loaded biscuits” filled with cream cheese and jam.

“I get a feeling about something,” says Holt, “and try to access my experiences and general baking knowledge to make it happen.”

Tandem Bakery has been open barely a year; it’s already a West End institution– a bright, airy space of plate-glass windows, a September 2015 121

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Hu n g ry E y E spotless open kitchen, and a long counter full of tempting baked goods. As I visit today, boxes of fresh blueberry pies with almond crumb topping are stacked on the counter, ready to be taken home for dessert. Signature scones include pineapple/rosemary, kale/parmesan, apple/feta, and “everything seeded.” The latter is what happens when a bagel concept is reincarnated as a feather-light scone topped with sesame and poppy seeds and a whisper of garlic, and pastry shot through with visible veins of cream cheese.

“The everything scone was a done deal in my mind,” says Briana. “It’s exponentially gotten more rad. It’s my not-so-secret favorite thing we make.” For Holt, the soul of a scone should be “amazing butter flavor, a perfect biscuity interior, and a firm, satisfying crunch on the outside.”

The Martha’s Vineyard native grew up baking with her mother and Austria-born grandmother, including lots of cookies at Christmas time–“hundreds of cookies cooling on counters, on the porch, the bathroom counter–we always had a problem with quantity control. I think I may still have it.”

All natural artisanal cupcakes made in small batches available in vegan and gluten free!

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1 2 2 p o r t l a n d m o n t h ly m a g a z i n e

Dutch’s turns out elegant versions of simple things. Even buttered whole-wheat toast with their own spectacular blueberry jam will make you take notice. There are excellent and distinctive whole-wheat loaves all over town, including at nearby Big Sky Bakery. But Lucy’s has a soulful charm that makes a great sandwich.

Cinnamon Buns at DutCh’s–photo By knaCk faCtory

She says her aim is “to make scone lovers of scone haters.” Mission accomplished!

Tandem really has the edge here–Briana Holt owns the scone.

Take-ouT, Deluxe eDiTion “We get up at four,” says Lucy Dutch as she takes a brunch order at the counter at Dutch’s on Preble Street. She and husband, Belfast native Ian Dutch, turn out delicious breakfast and lunch creations and bake every bagel, biscuit, and loaf from scratch six days a week. Lucy’s croissant is balanced in flakiness and cakey tenderness. She came by her skills by hands-on restaurant work. “I’ve cooked around, I baked a lot, I collect recipes and cookbooks.”

ChoiCes, ChoiCes f you roam the city’s bakeries, you’ll find exotic surprises at Ten Ten Pié on Cumberland Avenue at the bottom of Munjoy Hill. Atsuko Fujimoto–she’s another former Standard Baking alumna and Fore Street restaurant pastry chef–is dreaming up fusions of classic French pastries with worldbeat imagination. Try almond croissants dusted with matcha green tea confectioner’s sugar, tiny financier-like tartlets called visitadines, and bite-size dark double-chocolate sake cakes shaped like fat corks.

Among the trends here to stay: interesting use of rye flour in sweets (Standard Baking’s chocolate rye cookies, for one) and delicate dust-

I

ings of sea salt crystals and seeds on sweet as well as savory treats. “It’s a daily struggle for me to not put them on literally everything!” says Briana Holt.

Even old favorites are up in lights here.

Visualize something you never tire of. Say it’s a fresh croissant, or an oatmeal raisin cookie. The city is your oyster! You can seek the perfect cookie forever without ever having to endure disappointment. Rosemont’s bakery stocks its three city markets every day, and their cookies are fantastic. Standard Baking’s oatmeal cookie is as sweet as a happy childhood. Big Sky is always there for you when you’re running errands in Monument Square. A recent stop at Two Fat Cats on India Street turned up a surprise. This little bakeshop, once a spin-off of Standard Baking but now independent, has a rather provenÇal facade in a pleasing shade of Dijon Poupon. You descend into a cellar-like space filled with racks of pies and cakes…and spot the cookies! On the way home with your oatmeal raisin prize you discover bits of dried apricot in addition to the raisins. Brilliant! n

Oktoberfest!

October 2-4 2015

75+ Beers to Choose From!

Beer Tasting Wall

Pour-your-own beer wall Huge selection of local and regional craft beers

22 Taps – 10 Oktoberfest Exclusives!

Lachs Brötchen $12.95 Cold smoked salmon on a flaky French baguette topped with steeped onions and dill oil. Served with French fries.

Jägerschnitzel $17.95 Marinated, breaded, and fried pork loin topped with wild mushroom sauerbraten gravy and

French fries.

Nuremberger Bratwurst $14.95 Topped with Bavarian sauerkraut and curry Dijon mustard on a flaky French baguette.

Black Rock Grill

Oven Roasted, CageAutumn Spätzle $16.95 free half Chicken $18.95 House-made dumpling Smoked paprika and noodle pan fried in caraway-glazed, served brown butter with with pumpkin au gratin, mushrooms, leeks, and pickled beets. and parsnip julienne.

Drink Special: Glühwein!

German Mulled Wine

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I

am in possession, free of charge from my parents and our ancestors, of both French–my first language, my mother tongue–and English, my learned-to-accommodate-the-world language. I possess a duality of languages–a characteristic of being bilingual where my world view expands, meanings are extended, and prejudices expire.

That is the privilege of possessing two languages. I name things or people by two names. Everything I experience, I do so with the sense of knowing there are multiple ways of reflecting in the presence of what I observe. Everything is multiplied by its currency of what it is named or called.

The essence of the everyday changes as the facets of language sparkle across the ordinary and make it extraordinaire.

Think about the languages you possess.

For example, do you speak fluent dog? Cat? Gardening? Nature sounds?

Music? How is your world expanded by having knowledge of hearing, knowing, and understanding others or other things?

This is our shared, combined privilege–to be multilingual. We are all lovers of languages, of words, of expressions and how our lives are enriched as a result.

We all understand our world better because we speak to it twice. n

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Perfect for your rustic italian cravings. open year round and full menu available for takeout. 27 Western avenue, Kennebunk, 967-2211, abbondanteme.com Barnacle Billy’s, known for luxury lobster, steamed clams, large lusty drinks, barbecued chicken, homemade clam chowder & of course, the lobster roll & lobster stew. Features extensive indoor & sundeck seating where guests can enjoy both the beauty of the harbor & the ocean beyond. Perkins Cove, ogunquit, 646-5575, barnbilly.com Brea lu Cafe has been serving up breakfast & lunch for 25 years! Favorite menu choices include 12 speciality omelettes, build-your-own breakfast burritos, Belgian waffles with fruit, eggs Benedict & homemade corned beef hash. enjoy a pint sized bloody mary,mimosa or irish coffee while you feast on your favorite breakfast open daily, 7am-2pm. 428 Forest ave., Portland, 772-9202.

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Monday–Saturday 8:30-5:30 • Sunday 9:00-4:00 (207) 775-0251 or (800) 370-1790 • www.harborfish.com

(207) (800)•04101 370-1790 or775-0251 (800)370-1790 www.harborfish.com 9(207)775-0251 Custom House Wharf • Portland,orMaine • Mon-Sat 8:30-5:30 custom House house Wharf wharf •• portland, 99 Custom Portland, maine Maine 04101 04101 mon–sat 8:30-5:30 • sun 9:00-4:00 www.harborfish.com 1 2 6 p o r t l a n d m o n t h ly m a g a z i n e

Earth at Hidden pond James Beard award-winner Chef Ken oringer opened this “farm-to-fork” restaurant in 2011 featuring the bounty of hidden Pond Resort’s organic farm in a menu that includes house-made pastas and charcuterie, wood-grilled pizzas, and signatures like peekytoe crab toast with French cocktail sauce. Craft cocktails and an extensive wine list. open may-oct. 354 goose Rocks Road, Kennebunkport, 967-6550, earthathiddenpond.com Eve’s at the Garden, an oasis of calm and great food in the middle of the old Port. the perfect spot for meetings, special occasions, and a cocktail. ingredients from maine’s waters and farms: jumbo scallops, natural, sustainable pork, beef, fish, and shellfish, and maine lobster. home to the annual ice Bar, eve’s garden is perfect for outdoor dining in season. happy hour mon. - Fri.; free valet parking. lunch 11:30am-2pm, Dinner 5-9:30pm. 468 Fore St., Portland, 775-9090, evesatthegarden.com Great lost Bear a full bar with 70 beer taps of maine & american craft breweries & a large Belgian selection. menu features salads, burgers, a large vegetarian selection & the best nachos & Buffalo

wings in town. Discover where the natives go when they’re restless! every day 11:30am-11:30pm. 540 Forest Ave., in the Woodfords area of portland, 772-0300, greatlostbear.com

Hurricane Restaurant features the finest seafood and New england cooking on maine’s coast. Serving lunch and dinner seven days a week. Sunday brunch ‘til 3:30pm. Discover our award-winning wine list, enjoy $10 off every bottle of wine on Wednesdays.

Wicked good house-made pastries, signature cocktails, and extraordinary five-star New england cuisine. reservations strongly suggested. Dock Square, Kennebunkport, 967-9111, hurricanerestaurant.com Kon Asian Bistro Steakhouse & Sushi Bar is upscale Asian with modern flair. Japanese, Sushi, thai, Chinese–or try our hibachi tables. Our private party room accommodates groups from business meetings to birthday parties. Choose fresh, delicious items and enjoy our entertaining chefs preparing your meal in front of you. Family friendly; open mon-thurs 11:30am-10pm, Fri. to 11pm, Sat. 1pm-11:00pm, Sun. 11:30am-9:30pm. 874-0000, konasianbistrome.com Maria’s Ristorante is portland’s original classic Italian restaurant. Greg and tony Napolitano are always in house preparing classics like Zuppa de pesce, eggplant parmigian, Grilled Veal Sausages, Veal Chop milanese, homemade cavatelli pastas, pistachio Gelato, Limoncello Cake, and maine’s best meatballs. prices $11.95 - $22.95 tue-Sat. starting at 5pm. Catering always available. 337 Cumberland Ave. 772-9232, www.mariasrestaurant.com Miss Portland Diner, portland’s only landmark diner serving classic, homemade comfort food. Open daily at 7am serving breakfast, lunch and dinner. beer, wine and liquor. Located at 140 marginal Way, portland, 210-6673, missportlanddiner.com.

Pedro’s focuses on simple yet full-flavored mexican and Latino food. Offering tacos, burritos and an impressive array of margaritas, sangria, beer, and wine. especiales de la semana (specials of the week) keep the menu varied and fresh and showcase different Latino cultures. Seasonal outdoor dining available. Open daily, 12pm-10pm. 181 port rd., Kennebunk, 967-5544, pedrosmaine.com Ocean at Cape Arundel Inn & Resort With outstanding 180-degree water views, Ocean is perfect for a memorable meal or bites at the bar. executive Chef pierre Gignac offers ocean inspired fine cuisine, beautifully presented, and enhanced by the fresh sea air and stunning ambiance. Open year round. 208 Ocean Ave., Kennebunkport, 967-4015, capearundelinn.com/dining One Dock Award-winning One Dock at the Kennebunkport Inn serves native maine comfort food classics with an upscale twist, plus a selection of small plates. Guests can enjoy live music on weekends, daily Happy Hour specials and outdoor dining on the patio and terrace throughout summer. Open year round. One Dock Square, Kennebunkport, 967-2621, onedock.com

Joaquin MallMann

Pier 77 & The Ramp Bar & Grill are owned & managed by Kate & Chef peter morency. pier 77 has a formal dining room with stunning views of Cape porpoise Harbor & live music each weekend, while the ramp is more casual, with its own bar menu at hard-tobeat prices. Open year-round. 77 pier rd., Kennebunkport, 967-8500, pier77restaurant.com * The Tides Beach Club Coastal chic ambiance overlooking Goose rocks beach. Local seafood is the focal point: maine lobster roll with drawn butter or herbed mayo; crispy fried clams with house tartar; marinated grilled tuna with house-made kimchee, soba noodles, and wasabi. Specialty cocktails with fresh local juices and herbs, artisanal beers, and an extensive wine list. Open may-Oct. 254 Goose rocks rd., Kennebunkport, 967-3757, tidesbeachclubmaine.com *reservations recommended

Bayside BBQ

E

Terlingua brings lots of Latin flair to the hipster end of Washington Avenue.

ste es el paraíso,” says my dining companion as we take our seats in Terlingua, a bite of fall in the evening air.

Our drinks are heavenly, too–dead-perfect margarita and a daiquiri ($10). A zesty mushroom empanada ($10) arrives, sporting a buttery crust and bursting with flavor.

It’s accompanied by a tasty fried egg and delicately dressed Winter Hill Farm lettuce.

We continue with the Pork Belly Chicharron ($7 for smaller portion, $13 for large).

I say go large for this fork-tender, sensationally seared strip of pork belly edged with crisp greens.

Just then our bartender whispers, “You want barbecue, you’d better order up quick.”

So we do–it can and does sell out.

Though not specifically a barbecue joint, (Terlingua bills itself as “boutique barbecue”), the house-smoked meats–daily preparations listed on a board at the bar–offer some mighty fine fare along those lines.

Crossed off a second after we order, our St. Louis ribs appear, perfectly blackened on big bones ($14/$21). With these tender beasts are savory sauces (spicy vinegar and sweetand-smoky), slices of ripe watermelon, a tangy mixture of house-pickled vegetables, and grilled pita bread.

We can’t resist the Wagyu brisket ($21/$28), top-notch beef justifying the ‘boutique’ moniker.

Sides have a Latin flair. At Terlingua you find no corn bread, slaw, or baked beans. Instead, we thoroughly enjoy the sliced avocado and tomato with salted cucumber ($5) but could easily scarf up slow-cooked greens with pork belly ($4); grilled corn with bacon, cotija cheese, and cilantro ($4); or roasted cauliflower with poblano and cheese ($5).

A trio of sorbets completes a most delightful dinner. n Terlingua, 52 Washington Avenue, Portland. Closed Tuesday, Dinner 5-9 pm, late night snacks, 9 pm-close.

808-8502, terlingua.me

S e p t e m b e r 2015 127

RICHARD P. WALTZ

Pl u mb i n g & He at i n g C o. In c .

The Only Name You Need To Know

Sewer & Drain Services •Drain line & sewer cleaning •Video inspection & locating •Excavation for broken sewer & water mains •Power jetting •Basement flooding •Manhole & catch basin cleaning We have the equipment to install, maintain or repair all your sewer and drain needs.

Heating and Air Conditioning •New systems •System upgrades •Annual maintenance •High-efficency air source heat pumps for heating & cooling CALL US TODAY for information about all your summer cooling needs

Outside Improvement & Living •Patios & decks •Additions •Screened in porches •Windows installations (wood, vinyl, new & replacement •Siding installation (wood & vinyl) Step outside and remodel your outdoor living space this summer into a work space of beauty

Family Owned & Operated Since 1936 Now Under 3rd Generation Ownership Fully Licensed & Insured | Master Plumber License 510 (207) 772 -2801 | www.richardpwaltz.com | info@richardpwaltz.com

House of tHe MontH Colin W. Sargent

Endangered

Species

How many homes do you know that have been owned by the same family for more than 200 years? The Hugh McCulloch House in Kennebunk is for sale for the first time since 1802. This astonishing treasure is filled with astonishing treasures, including a ballroom with disappearing walls.

H

can we have for ignoring our own threatened wonders, some right below our noses, one as near and dear as Kennebunk Landing. Disinterest can be every bit as destructive as terrorist violence to precious architecture.

This is a call to arms for a historic preservation organization or just a lover of beau-

tiful, singular spaces to take on the role of next steward of the Hugh McCulloch House that has been so beloved and so carefully curated by Enid and Arthur Thoms. Don’t worry–this isn’t a museum, though it could be one. It is a wonderful family home.

With its dapper yellow clapboards, smart

Colin Sargent

istory is all the more precious when heroes fight for it.

If we were brought to tears by the beheading of Syrian antiquities scholar Khaled-al Assad, 82, who stoutly refused to disclose the location of hidden Palmyra art treasures to ISIS militants, then what excuse

S e p t e m b e r 2015 129

House of tHe MontH

white trim, and cheery, eccentric dormers, The Hugh McCulloch house at 160 Summer Street is a ship captain’s home among ship captains’ homes, its green lawn descending gracefully to the serpentine blue curves of the Kennebunk River. Here Capt. Hugh McCulloch and his vast coterie of artisans built scores of historic vessels that plied the world’s seas, among them the Rubicon, the Sabine, and the Advance. Captain McCulloch also owned Green, Folly, and Goat islands in Cape Porpoise, before Goat Island Light was built in the 1830s, according to brazoriaroots.com.

1 3 0 p o r t l a n d m o n t h ly m a g a z i n e

lives here with her husband, Arthur, and sparkles as she gives the tour. “On the second floor, two original paneled walls swing up on hinges to the ceiling to create the ballroom. I’ll show you.” She fairly races to it. “This is the famous wall.

The whole wall lifts up–these are the hooks in the ceiling that held it up for the dances.” Aha! Open concept before open concept.

The music room or salon features an original window seat that looks out to what was once part of a shaded porch and is now a foyer. A pair of priceless gaslights in turquoise majolica and brass adorn this spacious, for-

mal, and yet cozy room, the dark piano having crept between the windows, waiting for its next recital. Not only is the historic wallpaper visible in a closet, the ‘younger’ wallpaper front-and-center in the music room is surely 19th century.

The house is filled with artifacts collected by many generations of world travelers. A Simon Willard clock greets guests.

Not just any Simon Willard tall clock. Its painted face was personally endorsed by Simon Willard to Hugh McCulloch.

As we enter the dining room, in vivid coral with creamy trim, we see a flintlock over the fireplace. Enid stops, musing.

“We were married right here, on December

Courtesy Coldwell banker residential; Colin sargent(3)

D

eeper still is the continuing cultural impact of Capt. McCulloch’s son.

The second-floor bedroom is the birthplace of his son, Secretary of the U.S. Treasury Hugh McCulloch, who served under three presidents, beginning with Abraham Lincoln. In the famous engraving of the murdered president’s death bed, McCulloch was one of the figures standing watch over him.

And we are on watch now, for someone who won’t tear out or discard the French wallpaper, blast away the secret passageway to the left of the chimney in the music room, rip out the original Indian shutters on both floors, or raze the upstairs ballroom that made this tony house the talk of the town.

This striking Georgian home, built in 1782, has been reduced from $914,000 in 2014 to $685,000. If you love beautiful, old things, now is the time to make your move.

“Some people call this The Hugh McCulloch House, some call it The House With the Ballroom,” says Enid Thoms, the Secretary’s great granddaughter who

22, 1962,” she says, muffling a giggle. “The minister was backed up to the fireplace. We stood in the middle of the room. It was a small affair in the midst of a big blizzard!”

Of the McCulloch Shipyard (the grasscovered ways, softened by time, slip into the river framed in the wall of windows of the updated kitchen), she says, “Do you know the granite locks in the Kennebunk River? When they were finished building a hull here, they’d lock in a moon tide and take the hulls to the Port. In Kennebunkport, the vessels were rigged.” Wistfully, she adds, “Four ships built here were lost in the War of 1812.”

Another ship was lost in a storm off the coast of Kennebunkport.

Hugh McCulloch, the Secretary of

the Treasury, “attended Bowdoin for two years, then left by horseback for Indiana.

He worked his way up and became president of the Bank of Fort Wayne. Then, he was named First Comptroller of Currency

by Lincoln and succeeded as Secretary of the Treasury.”

The house, and much of Captain’s Row (Summer Street) in Kennebunk, are on the National Register of Historic Places.

“I graduated from Orono in 1959,” Enid says. Recruited by the CIA at school, “I signed my life away with a 37-page document and went directly to Washington, D.C. My husband and I met in Washington at the CIA’s Foreign Broadcast Information Service. We were both editors. The

FBIS had listening posts that were like parentheses around the Soviet Union. I worked in the USSR section. He worked in the Asia sector.”

The romance deepened with a further assignment. “We honeymooned in Saigon.”

Their shared love of retiring here reverberates in every cared-for room. Just as we leave, she says proudly, “There isn’t a straight door anywhere. My mother always said this house rises and falls with the tides.”

If you’re not wondering why we’re sharing this sentiment, you may very well be the right buyer. Four bedrooms, 2.5 baths. Twoand-a-half acres of waterfront, including a dock. Taxes are $7,729. n

Hidden Asset

I

nside a closet in the music room is a very large fragment of ancient wallpaper that, according to family tradition, was the original wallpaper for the entire room and has resided here as long as the mcCullochs. this delightful attraction appears to have been applied directly to the wallboard. It’s incendiary and naughty–a celebration of Independence Day, 1775. One of the figures grinds the words “british Laws” under his shoe. A neoclassic british warrior holds his head in his hands, ruined. A son of Liberty shares an engaging conversation with a Native American. We asked wallpaper scholar and conservator Barry Blanchard for a close analysis: “this pattern is referred to as ‘pillar and arch,’ blanchard says. “It was popular in english design in the 18th century. After the American revolution, versions of the pattern included iconic images representing the new nation and breaking of the bonds with the british empire. most likely they’d have been printed in France, although there’s a chance an American company could have made a knock off. “there’s a sample of this same paper in the wallpaper archives of Historic New england. When you get to the site click on Collections, Archives and exhibitiions>Collections Access>Wallpaper. In the search box, type in ‘pillar and arch.’ Scroll down to find your wallpaper. “the Cooper Hewitt museum in NY has a large wallpaper collection, as well. If you do a search for ‘pillar and Arch wallpaper at Cooper Hewitt’ and ‘Sacred Washington/Cooper Hewitt,’ you can find some links to historical perspectives on this type of wallpaper.

“Also, a book by Catherine Lynn called Wallpaper In America has a section on this period. She has a photo of this same paper and other similar ones with additional information on the history behind it.

“Your wallpaper has been reproduced by Adelphi paperHangings in Sharon Springs, New York. they produce reproduction wallpapers from original documents. their wallpapers are block printed which is the original method used in the 18th century. I have installed many of their products and consider it among the best in the historic market. the manager and printer is Steve Larsen. I'm sure he’d be happy to talk to you. You can reach him at (518) 284-9066. “the border would have been installed at the same time as the wallpaper. Finding historical references to that would be much more difficult and time-consuming. Assuming the wallpapers are original to the late 18th century, it does make it an interesting document. Steve Larsen might be interested in it as something to reproduce.”

S e p t e m b e r 2015 131

New eNglaNd Homes & living

Catch the sunrise over open ocean; listen to the crashing surf.

414 Seguinland | Georgetown, Maine

GEORGETOWN $799,900 3BR / 2.5BA

BELGRADE $479,000 5BR / 2BA

EMBDEN $489,000 4BR / 3BA

Wonderful Oceanfront Cape with spectacular views. 200 yards from Reid State Park & iconic sand beach. 1.2 acres, 2 car garage, & wrap-around deck. Sighted for max. light & elevated ocean views. Aerial video available.

Unique 2-in-1 property on the shore of Great Pond. A Classic waterfront camp with private dock & small cabin, PLUS separate 2 car garage with year-round 2 bedroom guest apartment. Perfect for the whole family. Just Reduced!

This Lake House is built for entertaining! Commercial quality kitchen with hemlock pergola & wraparound bar. Natural wood textures throughout create a strong indoor/ outdoor feel. Dock/slip space included.

2 07. 6 3 2 . 2 34 5 • M A I N E P R O P E R T I E S . C O M

SHEEPSCOT RIVER | SOUTHPORT

Custom 3BR/4BA on 2.1ac with spectacular west views. 158’ deep waterfront w/dock & float. 2 master suites, media room & office. $1,195,000

BACK RIVER | BOOTHBAY

Pristine 2BR on 1.48ac & 175’ waterfront. 2-car garage w/guest quarters. New kitchen, baths, floors, decks, roof & heat. Furnished. $499,000

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30 yea rs 2015

1 3 2 p o r t l a n d m o n t h ly m a g a z i n e

LINEKIN BAY | EAST BOOTHBAY

Sited on .28ac with dock & 110’ frontage is this striking 4BR/3.5BA log home meticulously designed & maintained for comfort. $1,475,000

BOOTHBAY | BACK RIVER

8.8 private acres of level waterfront for this 3BR with barn, garage & sheds. Private dock, automatic generator, wood stove. $595,000

SOUTHPORT WATERFRONT

Lovely 4BR colonial with views of Townsend Gut. Quality workmanship, Cherry wood floors, garage w/guest apt. Dock/boathouse. $1,195,000

SAWYER’S ISLAND | BOOTHBAY

Quality construction in prime location. 4BR/2.5BA. Dock & float off Back River. Ipe decking, river stone FP, custom kitchen. $715,000

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DISCOVER MAINE

DISCOVER MAINE

DOWNEAST PROPERTIES

DOWNEAST PROPERTIES

PARADISE FOUND IN STONINGTON MAINE. Find island living at its best near the end of the beautiful and PARADISE FOUND IN in STONINGTON, MAINE. island lobster living atand its granite best near the end ofknown the beautiful and scenic Oceanville Road Stonington, the worldFind renowned capital.

Long for these scenic Oceanville Roadhas in become Stonington, the worldfor renowned lobster and andthose granite capital.

Longfor known for these attributes, Stonington a destination artists, writers simply looking an enchanting attributes, Stonington has become a destination for artists, writers and those simply looking for an retreat. The custom-designed main residence and adjacent Post & Beam structure are set perfectly onenchanting retreat.

The custom-designed main the residence adjacent & Deer BeamIsle structure are Walls set perfectly on secluded Buckminster Point overlooking famousand sailing watersPost of the Thorofare. of secluded Buckminster Point overlooking the famous sailing waters of the Deer Isle Thorofare. Walls of winwindows open to views of ocean islands including Isle au Haut. On a clear day you can see Cadillac Mountain. dows open to views of ocean islands including Isle au Haut. On a clear day you can see Cadillac Mountain.

It’s nothing short of spectacular! The mystique of the sea is visible from most of the rooms and decks of the It’s nothing short of spectacular! The mystique of the sea is visible from most of the rooms and decks of main house and separate guest apartment. Both building’s natural siding and efficient design create a natural thePARADISE main house FOUND and separate STONINGTON guest apartment. The natural Find sidingisland and efficient design of bothnear buildings creMAINE. living itsbuildings best the balance with the landscape IN surrounding. The natural siding and efficient design of at both create a end of th ate a harmonious balance with the surrounding landscape. Each element has been meticulously selected with in Stonington, world lobster and granite Lon harmonious balance the landscape.

Each element been meticulously selected withcapital. an an scenic unerringOceanville eye for with detailRoad andsurrounding aesthetics.

The livingthe quarters of renowned thehas main house’s beautifully appointed rooms unerring eye bedrooms, for detail and aesthetics.

The living of the main house’s beautifully rooms include two a studio/office and fabulous eat-in kitchen. private second appointed storythose guest quarters attributes, Stonington has become aquarters destination for The artists, writers and simply looki include two bedrooms, a studio/office and fabulous eat-in kitchen.

The private second story guest quarters with vaulted post and beam ceiling has its own kitchen, living room, two bedrooms and two decks. Step out retreat.

The custom-designed main residence and adjacent Postandwater &two Beam structure are set with and beam3 ceiling hasthat its own room,420’ twoofbedrooms decks. Step out to to a vaulted naturallypost landscaped ½ acres leadskitchen, to the living expansive bold deep frontage of granite secluded overlooking the famous sailing waters of the Deer Thorofa asBuckminster well as3a½sandy pocket beach.

Two deep-water complete this fantastic island Isle haven! aoutcropping naturally landscaped acresPoint that leads to the expansive 420’moorings of bold deep water frontage of granite MLS#1226381 $899,500 outcropping as open well as to a sandy pocket beach. Two deep-water moorings windows views of ocean islands including Isle complete au Haut.this Onfantastic a clearisland dayhaven! you can see

It’s nothing short of spectacular!

The mystique of the sea is visible `from most of the rooms ANOTHER EXCLUSIVE OFFER BY DOWNEAST PROPERIES main house and separate guest apartment. Both building’s natural siding and efficient des www.downeastproperties.com |(207)367-2790 |office@downeastproperties.com

balance with the landscape surrounding. The natural siding and efficient design of both bu harmonious balance with the surrounding landscape. Each element has been meticulously

“You’re Home in Maine”

Chrysa specializes in relocation, vacation & luxury properties.

She also has the network to market your luxury or historic property internationally–a necessityChrysa in our Baker globalchrysa@kw.com economy.

207.553.2472

Chrysa Sells it All Farmhouse

Townhouse

Office: 207.773.2345 Direct: 207.553.7329 Cell: 207.653.6220

Oceanfront

207.318.3421 www.BridgetteVermette.com “We recently had the good fortune to work with Chrysa Baker of Keller Williams Portland to sell

K

w

r

50 s

s .P

, me 04102

eller ealty ortland RE/MAX

BY THE BAY |house The Common at 88 Middle St.,was Portland, ME | cbaker@homesinmaine.com homesinmaine.com ourilliams in Falmouth.

Chrysa aeawall pleasaure to t work with and did a| fantastic job of marketing

our house and helping us to get the best price for our property. Her knowledge of the market and confidence made us feel very comfortable in listing our house with her. She was aggressive but not overbearing and respected our needs and desires. Her ideas onn staging made all the difference in the overall marketing of our home and property. Due to her excellent marketing strategies, we were able to sell our property in one week. What often is a very stressful process was overall very smooth and stress free thanks to Chrysa’s knowledge and guidence.

We highly recommend her to anyone looking to sell their property.”

–Len & Leslie wallace

Chrysa Baker | chrysa@kw.com | 207.553.2472 www.chrysabaker.com | 207.653.6220

63 Pleasant Hill Road • Scarborough P: 885.1499 • F: 885.9410 info@easterncarpetcleaning.com

“Clean Up Cancer” For well over a year now many of us have seen the pink van of Eastern Carpet and Upholstery Cleaning driving around York and Cumberland counties, and we may have asked what’s it all about. To clear up this question I spent some time with Diane Gadbois at her home and asked her some very personal questions that I am sure were difficult to answer. You see, George and Diane Gadbois are private people who give more than their share back to the community, and the last thing they want is to be noticed for their generosity. They started Eastern Carpet and Upholstery Cleaning 40 years ago on a wish and a prayer and now have the largest family-run carpet cleaning and water damage restoration company in the area.

Back to the pink van! If you notice on the rear side panels are the words Susan G. Komen for the Cure. This national foundation has brought forth women’s cancer awareness, promoted extensive cancer research, and although not exclusive to the cause, is nationally recognized by the color pink. The cost to place this name on the van will not be discussed here, but let us say the

yearly donation is significant and the proceeds all go to the cure for women’s cancer.

Diane was introduced to breast cancer early in life when her mother had a radical mastectomy. She remembers her mother’s doctor telling her sister and her “one of you will have cancer.”

Not a pleasant thought at the time, but it stuck with Diane and saved her life. Twice, after the normal tests and screenings for cancer, Diane received a clean bill of health and relatively soon after, while doing a self-examination, found a lump. Not once but twice! Fortunately they were found in time, and Diane is doing fine, but she wants to get the message out that as important as it is to get regular screenings, it is equally as important to be your own advocate and make double sure with a self-examination.

So when you see the pink Eastern van go by, remember it’s just Diane reminding you even if you have had the tests be your own advocate and make a regular self-examination part of your life because it could save it. It did for Diane!

New eNglaNd Homes & living

THE HATCHER GROUP KELLER WILLIAMS REALTY

JOHN HATCHER

“A HOUSE SOLD NAME”

(207) 775-2121 WWW.JOHNHATCHER.US

Scarborough Higgins Beach Oceanfront 5 BR, 3 Full BA, 1 Half BA $1,275,000

Portland Historic West Mansion 9 BR, 5 Full BA, 1 Half BA $2,795,000

Cape Elizabeth Stonegate Shingle Style 4 BR, 2 Full BA, 1 Half BA $739,000

Cape Elizabeth Equestrian Estate 4 BR, 3 Full BA, 1 Half BA $975,000

John Hatcher • The Hatcher Group 6 Deering Street, Portland, Maine 04101 207-775-2121• John@JohnHatcher.us • www.JohnHatcher.us

1 3 6 p o r t l a n d m o n t h ly m a g a z i n e

New eNglaNd Homes & living

Waterfront + Forest = FORESTS Maine Retreat WATERFRONT MOOSE HORN CAMP, Spring Lake, ME Vintage, 4-bedroom sporting lodge with guest house and outbuildings; 564-acre property nearly surrounds the 42-acre Upper Shaw Pond; Over 2 miles of internal roads and trails; Surrounded by a vast private forest for hunting and hiking; Close to Flagstaff Lake. $849,000

30 Bringing Maine Arts to you for

YEARS

MERRYMEETING FOREST, New Durham, NH High on a peninsula in Merrymeeting Lake, this 2,014-acre tract offers panoramic views of the Lakes Region from a ridgetop meadow. Enjoy supreme privacy within a bustling lakeside community. Building sites and a well-stocked timber resource. $3,760,000

Portland

Fountains Land, Inc. 1-866-348-4010

M a i n e ’s C i t y M a g a z i n e

portlandmagazine.com • 165 State Street • (207) 775-4339

All of our rural land listings are at fountainsland.com

“Your Real Estate Source for The Rangeley Region” RANGELEY LAKE

Family Owned for 30+ Years, Vintage 4-BR Lake Home w/Modern Updates. Very Private 2 Acre Setting w/Level Lawn to 700’ WF Plus Brook Frontage, Drive-In Boat House. $1,150,000

Caryn Dreyfuss Broker

(207) 233-8275

caryn@citycoverealty.com

MOOSELOOKMEGUNTIC LAKE

Northwoods-Style Lakehouse. 130' WF w/ Mooring, Dock, Mountain & Lake Views. 2.5 Acres; 3+ BR, 3.5 BA, Open LIV w/ Stone Frplc, KIT w/ Stainless & Granite, Finished Basement, Detached 2-Car. $795,000

RANGELEY LAKE

“Hill View” 3-BR Log Chalet w/Spacious Sunny Rooms, Gas Stone Frplc, Master Suite. Top Quality Materials, Superior Fit/Finish, Lge Screened Porch, Open Lake/Mt Views, Sandy WF. $689,000

MOOSELOOKMEGUNTIC LAKE

RANGELEY LAKE

RANGELEY LAKE

Classic Lakeside Retreat Offering 3-BR, Comfortable Floor Plan, Open Views, Plus Attached 3-Car w/Unfinished Bonus Room Above. Level Lawn to Prime WF w/Sandy Beach. $659,900

“The Pines” Classic Lakeside Cottage Recently Updated & Brimming w/Charm. 3-BR w/2nd Fl. Bunk Room, Open Westerly Views, Deck, Lawn to Gradual Entry WF w/Permanent Dock. $399,500

Fully Renovated Family Compound on Greenvale Cove w/4-BR Home, 3-BR Guest Cabin, Drive-in Boat House. Views/Sunsets, Great Fishing, Close to All 4-Season Activities. $579,900

2455 Main Street • P.O. Box 1234 • Rangeley, ME 04970

www.realestateinrangeley.com

September 2015 137

New eNglaNd Homes & living BRUNSWICK

BRUNSWICK

237 Waldoboro Road, Jefferson, ME 04348 207-549-5657 • FAX 207-549-5647

A grand colonial with 3/BR/2.5BA, HW floors, chef’s kitchen, pantry, deck, new stone patio & landscaping. $329,000.

GEORGETOWN

One level living in Meadowbrook.

3BR/2.5BA, large kitchen, double sided fireplace, HW floors, attic & garage. $359,000.

BRUNSWICK

Jefferson - This is a spectacular year round home

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Set in the heart of Five Islands is this quin- This custom-designed Royal Barry Wills tessential Maine cottage w/views & front- reproduction Cape exudes the finest qualage on the bay. $399,000. ity & craftsmanship. $675,000.

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Waldoboro

Working Farm with Medomak River frontage and small brook. Property consists of 1992 Cape style with barn, bird complex, wood storage, 2012 Cape with barn, pole barn, 2003 doublewide, nut trees, vegetable gardens, high bush blueberries, gooseberries, currants, raspberries, blackberries and more. $785,000

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1 3 8 p o r t l a n d m o n t h ly m a g a z i n e

New eNglaNd Homes & living 23

Ed Gardner | Broker

Ed Gardner | Brok

www.ed-gardner.com 151 Newbury St., Portland, M

Southern Maine

www.ed-gardner.com 151 Newbury St., Portland, ME 04101

(207) 773-1919

(207) 773-1919

50 Federal Street, Portland

PORTLAND | $395,000 One-of-a-kind downtown Loft Condo offering a fabulous open concept. The flexible floor plan with 14’ ceilings, stainless/granite kitchen and bamboo flooring has tons of light. Two walk-in showers and huge finished basement space, and storage make this a unique home.

Boothbay

Quintessential Maine farmhouse with 4 BRs and 3 BAs situated on a hill overlooking the Sheepscot River in the desirable Sawyer’s Island area. $645,000 PORTLAND | $629,000 Exciting top floor Loft Condo in the heart of the Arts District!

Unique space offers an open floor plan with granite & stainless kitchen, exposed brick & beams w/ vaulted ceilings & skylights, good light & views, along w/ beautiful appointment to details!

PORTLAND | $384,500 UNDER CONTRACT

PORTLAND | $395,000 One-of-a-kind downtown Loft Condo offering a fabulous open

Beautiful, classic, well cared for home with charm galore! Updated concept. The flexible floor plan with 14’ ceilings, stainless/granite kitchen with granite, gas range, stainless steel & glass tile. Large PORTLAND | $345,000 & $349,000 PORTLAND | $485,500 and bamboo flooring has tons of light. Two walk-in Living room with fireplace, Dining room with built-in, largekitchen views of Back Cove, city & mountains!

Meticulously maintained 3 unit building in andPanoramic huge finished basement space, and storage make this master Bedroom, beautiful wood floors throughout, finishedshowers 3rd These two open concept CHESTNUT STREET Portland Historic Neighborhood.

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Unique space offers an open floor plan with granite & stainless PORTLAND | $94,500 kitchen, exposed brick & beams w/ vaulted ceilings & skylights, Historic Arts District condo within walking distance to everygood light & views, along w/ beautiful appointment to details!

$893,000

thing! This quiet studio condo gets you where you want to be with high ceilings, beautiful moldings, claw foot tub, and new windows. Low fees include heat & HW! Pets OK. Don’t waitPORTLAND on this one!

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Boothbay Harbor

PORTLAND | $443,100

Wonderful country settingcondo just minutes to townviews & shops! This A beautifully remodeled 2 BR, 2.5 BA waterfront with “almost new” home features hardwood floors, front to back livingroom w/wood$449,000 burning fireplace, and 3 car garage. 3 bedrooms & of all of Boothbay Harbor.

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Chebeague Island

FALMOUTH | $475,000 Picture-perfect beautifully maintained Private Country Home & 3 stall Barn with flexible use on 6.5 ac. 2/10 mile driveway to 4 Bedrooms, 3 fireplaces + woodstove, gorgeous oak moldings & floors plus in-law apt. Fabulous gardens & landscaping show pride of ownership!

Oceanfront

Deer Point, rock-bound coast, private setting. Cedar shingled, green, open concept designed, 3 bedroom, 2.5 bath year-round contemporary Cape. $529,000.

First quality architect designed renovation, bold, deepwater ledge frontage with panoramic views to islands and open water. $585,000.

Jane Leonard Cell: 831-9951 (207) 553-7385 • jane@homesinmaine.com The Common at 88 Middle Street • Portland, Me

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PORTLAND | $ Historic Arts Dist thing! This quiet s with high ceilings windows. Low fee Don’t wait on this

Ed Gardner | Broker

511 Congress PORTLAND St., Portland, | $443,100ME 04101 Wonderful country setting just minutes to town & shops! This Ed Gardner | Broker (207) 773-1919 “almost new” home features hardwood floors, front to back living151 Newbury St., Portland, MEand04101 room w/wood burning fireplace, 3 car garage. 3 bedrooms & For more info and pictures visit: www.Ed-Gardner.com 3 baths plus unfinished bonus area offer lots of space & flexibility. www.Ed-Gardner.com | (207) 773-1919

SOUTH PORTLAND | $ 697,000 Waterfront - Expansive 2nd floor waterfront condominium with an open floor plan, is perfect for entertaining! Wonderful views from the unit and expansive private deck, this 2 bedroom 2 bath unit is full of customized extras, making this a fabulous place to call home. New in 2009, this light and airy Mill Cove Landing home, offers 2 car covered parking, lots of windows and a strong and healthy association.

FALMOUTH | $475,000 Picture-perfect beautifully maintained Private Country Home & 3 stall Barn with flexible use on 6.5 ac. 2/10 mile driveway to 4 Bedrooms, 3 fireplaces + woodstove, gorgeous oak moldings & floors plus in-law apt. Fabulous gardens & landscaping show pride of ownership!

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September 2015 139

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1 4 0 p o r t l a n d m o n t h ly m a g a z i n e

Fiction Brian Daly

&

From the top Fashionplusgeekery.com; bergenshakespeare.org

Toil go to Parkside High, home of the Not-SoGreat Apes.

Wait. That might not be their name.

Then what is it?

What? What? What?

Oh, this is the worst.

I have to remember what to call them so I can cheer them on to victory in “The Big Game.”

Just kidding.

But now I’m serious: If you see me at “The Big Game” or even “The Petite But Adorable Game,” shoot me. Shoot me dead before I cram my hand into a foam “We’re Number One” finger.

I hate my school.

Parkside High has a plus-size student body. Whoever said good things come in small packages (I think it was either Aristotle or Perez Hilton) should have gone on to say that it’s never a good idea to stuff too much into that small package. That’s Parkside: too many kids packed into the stairwells like cattle.

“Temple Grandin, please report to guidance.”

In the crush of students at Parkside, I don’t stand out. I’m a stealth student flying under the radar and sailing under the sonar

Trouble

Saying the word “Macbeth” inside a theatre is strictly taboo unless one is rehearsing or in the midst of performing Shakespeare’s dark tragedy. Doing so is almost universally believed to bring about bad luck or even disaster.

To avoid the portentous curse, actors refer to the play by such euphemisms as “The Scottish Play.” –history.com

Orson Welles portraying you-know-who.

and slithering under the electric eye. I might as well be invisible and fragrance-free.

This morning I climbed the front steps of the school in a herd, wondering, as always, how I was going to make it through anoth-

er day. (Hypnotize myself? Chew my cud?)

Then it was into the hallowed halls and up the stairs to the second floor. Mr. Littlefield, my biology teacher, was standing outside his classroom, which is what the teachers at Parkside do to provide a safe and welcoming environment for us students. Oh, the warmth! I nodded at him, and he flashed me a winning fake smile and said, “There he is!”

Yes, I was there. And thank you for noticing.

Farther down the hall, I ran into Mrs. Webber, my math teacher, and gave her the continental nod-smile combo, the one that comes with the complimentary French eyebrow.

She said, “Hey…how’s it going?”

I stuck a thumb up and narrowed an eye like a sniper. She was thinking, Here’s a young man who’s going places. I was thinking, Hey, how’s it going, Spencer? Just once.

I slipped in through the rear door of Mr. Talbot’s room and sat at my desk in the back left corner, which is where I sit in all my classes if I have a choice. While I was wrenching my English binder out of my backpack, I heard somebody come in through the front door, so I looked up and saw a young-ish woman–mid-twenties?– raking a tangle of curly black hair away from S e p t e m b e r 2015 141

her face. She pushed her Clark Kent glasses up, too, while her hand was in the area. She was wearing clunky motorcycle boots, a colorful batik skirt (or was it a tablecloth?), a powder blue men’s dress shirt from the dollar rack at Goodwill, and a fuzzy pink cardigan she inherited from her great-aunt after the 23 cats that lived with the old girl ganged up on her one night and smothered her while she slept.

She looked fabulous.

Old Mr. Talbot, bent over his desk like Bob Cratchit, was squinting at his iPad and trying to do something mind-blowingly complicated like check his school email.

She said, “Mr. Talbot?”

Nothing from him. Not now. He was busy. Intense concentration required. Barely breathing. Emergency call. Bomb squad. Tick tick tick. Got to defuse it.

She said, “I’m your intern,” and smiled.

Snip the blue wire. Wait–maybe the green.

She advanced on him with her hand extended, and finally he blinked and said, “Who?” “Sue Stein. Your intern.”

As they shook hands, he said, “Oh, my goodness. Welcome to Parkside High, Ms. Stein. I’m Milton Talbot.”

I’d been paying attention to what was going on in the front of the room and hadn’t noticed my English binder sliding down the desktop. It tipped over the edge and slapped the floor, which made Ms. Stein look my way.

“Oh,” she said. “Hello there.”

“Hi.” “This is one of your sophomore English students: Schuyler Watson.”

“It’s Spencer Wilson.”

“Nice to meet you, Spencer.”

“Right,” I said. “Spencer. Nice to meet you, too, Ms. Stein.”

Other kids were showing up for English now, but she kept talking to me, which was refreshing. She said, “I’m a student at the university, and I’m going to be here for a while doing an internship–” “–teaching Macbeth,” said Mr. Talbot, a 1 4 2 p o r t l a n d m o n t h ly m a g a z i n e

dim smile perking up his saggy face.

She said, “Really? I didn’t know.”

“Oh, yes.” said Mr. Talbot. “Macbeth. Every year at this time.”

Ms. Stein said, “It’s been a while since I’ve read it, so I’m going to need some time to prepare.”

“Oh, there’s no need, dear. No need at all.”

Did I notice the skin over Ms. Stein’s temples tighten ever so slightly when she heard “dear”? (How would you know? You weren’t there. Forget I asked.)

Mr. Talbot opened a squeaky drawer low on his vintage oak desk and lifted out a tome that looked like a Bible with a water retention issue. He said, “You can use my Macbeth file,” and dropped it–thwomp!–onto his desk, narrowly missing the iPad. Ms. Stein gulped. “Thank you. I’m sure it’ll be a big help.”

Mr. Talbot said, “Well, let’s see.”

“You mean now?”

“No time like the present.”

“I just meant I thought I’d have a day or two to get settled in and–” “Oh, give it a try. Jump right in. I’ll introduce you.”

And within a minute, Ms. Stein picked the Macbeth file up from Mr. Talbot’s desk and started reading to us. What fun. Nothing else quickens the pulse like listening to someone read unfamiliar material written in a leaden style. When she got to the part about the play being written in iambic pentameter, Mr. Talbot clapped the five-beat rhythm, looking happy that he could still clap.

I scanned the room from my observation post in the back to see how the lesson was going over: Thirty-two kids looked ready to go nighty-night.

Ms. Stein kept reading. “The Bard arranged words to suit his needs and desires, whether to create rhythm or to highlight phrases or to make a character’s speech pattern unique. At times, he inverted the typical word order of English speech. For instance, a character might say, ‘Goes he,’ instead of ‘He goes.’”

Rudy lifted a well-muscled arm and said, “Ms. Stein, I’ve got to go.”

Ms. Stein said, “Go? You mean to the–” “Bad.” Mr. Talbot said, “You’re a sophomore in high school now, Rudy, and it’s time you learned self-control. See if you can hold on.”

When they get around to remaking the juvenile delinquent movies of the 1950s, Rudy will be cast as a brooding loner in a tight T-shirt who gets shot accidentally when a zip gun battle breaks out at the Pulaski Day Dance. hile Rudy slumped at his desk and scowled, Ms. Stein, her forearms seizing up, put the file down and said, “You know, kids, I was just thinking. So much of William Shakespeare’s life is unknown to us, but his life’s work is familiar to people all over the world. Isn’t that something? He wrote Macbeth 400 years ago, and here we are today at Parkside High beginning our study of that very play.”

Mr. Talbot looked just a tad put out. Back to the file already!

But Ms. Stein pressed on extemporaneously, probably glad to give her arms a rest.

“I remember one of the themes of this play is ambition, and now that I’m thinking about it, it seems to me that Shakespeare, who was a playwright trying to forge a career in an iffy business, must have understood what a powerful drive ambition can be, and that probably helped him write the Macbeth character as a fully-formed human being.”

I made a note of that.

Camden, famous school-wide for her flowing mane of perfect blonde hair and for using people and then throwing them away like dental floss, must have heard that tidbit even though she was watching a horror movie on her iPad with her earbuds plugged in underneath all the hair. She snapped her fingers. Taylor, her top handmaiden, leaned forward from the desk behind her.

Camden said, “Write that down.”

Write that down?

Oh. Ah. I see.

Camden wanted to give the impression to Mr. Talbot and Ms. Stein that she was paying attention and she wanted to keep Taylor on her toes. Just last year all she was allowed to do for Camden was give her her dessert at lunch, and now this year she picks out the horror movies that Camden watches in school. If that isn’t the American Dream in action, I don’t know what is. Of course

Fiction

the party works

Taylor makes herself sick worrying that her movie selection might displease Her Highness, but that’s the price she pays for status. Today’s movie seemed to be a winner.

Phew. From what I could glimpse, it had something to do with dead teenagers. Maybe you’ve seen it.

Ms. Stein said, “The ambition that drove Shakespeare to make a name for himself with his plays was like the ambition that drove Macbeth to make a name for himself by murdering Duncan and–” Mr. Talbot said, “All well and good.

Thank you, Ms. Stein. Now please return to the lesson.”

That’s what Ms. Stein did, but she looked a tad put out herself to be reined in just when she was starting to roll.

I wrote “make a name for himself” in my notebook.

Then I leaned on my elbows, my face in my hands, and closed my eyes so I could concentrate on the lecture.

Not. I took a nap.

When I came to, I checked out the room again. Some of the kids were awake, but their heads were doing the slow orbit thing, and there was drooling.

Ms. Stein read, “In the year 1603, King James VI of Scotland ascended to the throne of England, at which time he also became known as King James I. Londoners of the day became as interested in Scottish culture as students at Parkside High School are today.”

Well, there’s a meaningful benchmark.

And the bell rang.

Rise and shine!

The other kids left, but I stayed behind for a minute to look at my notes. While I was reading them, I highlighted “ambition,” “make a name for himself,” and “theatre,” and when I did that, the seed of an idea took root in the mental soil inside the cerebral flowerpot on the psychological windowsill of my mind’s kitchen, right next to the virtual spider plant. n This is chapter one of Brian Daly’s Toil & Trouble, a novel about “a high-school sophomore who thinks he’s put the Macbeth Curse on his school’s production of ‘The Scottish Play.’ He’s the author of Big and Hairy, a middle grade novel. He also wrote the screenplay adaptation of that book for a Showtime Original Feature starring Richard Thomas. Look for a staged reading of Brian’s new musical comedy Come Out Swingin’! at the Lyric Music Theater on October 2.

Great Outdoors Port Mag_Layout 1 8/7/2015 10:17 AM Page 1

Books & Gifts for Thoughtful Living

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S e p t e m b e r 2015 143

flash Portlandmonthly.com 1

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Recital night foR the o’connoR Method StRing caMp, hoSted by the libeRty foundation: 1. the Jerks of grass: Jason phelps, Sarah logan, carter logan, Melissa caron, chris day 2. Maggie & Mark o’connor 3. Rick liberty, norma liberty, Maggie landry, Makaela Rice 4. leora Koubi, francisco gomez-Rivas-Vazquez 5. ashley liberty, Joy adams, pattie hopkinsKinlaw, april liberty, Melissa tong

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gala at the MuSeuM of afRican aRt & cultuRe: 1. Susan barbera, david Johnson 2. david turgelsky, lisa dombeck 3. Jahmel barrett, Venus labelle

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opening Reception foR daVid dRiSKell at gReenhut galleRieS: 1. louise philbrick, peggy greenhut golden, Marcia Minter 2. david driskell, ann Zill 3. thelma driskell, pat davidson Reef

Casual ElEganCE in Portland’s WEst End FEaturing: -upstairs private dining room for groups of 10-50, with cathedral ceilings and expansive views of Casco Bay. -Happy Hour at the bar tue-sat 5pm-7pm $5 appetizer specials & $5 drink specials

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