Portland Monthly Magazine September 2017

T h e Pa sta C h r o n i c l e s | M a i n e Pa i n t e r s , A C ata lo g , Vo l . III

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Patio Nights SEPTember 2017 Vol. 32 NO. 6 $5.95

Maine

Art Annual Your Fall Guide

Local Art Rebels w w w. p o rt l a n d m ag a z i n e . co m Maine’s city magazine

Hidden History

PLAN A FALL GETAWAY...OR TWO! The perfect locations await you at Red Jacket Resorts in North Conway, NH and Cape Cod, MA. At our North Conway resorts, you’ll find yourself in the heart of the White Mountains surrounded by picture-perfect foliage close to hiking trails, tax-free shopping outlets and a Main Street named one of “America’s Best” by Country Living magazine. And don’t miss our indoor waterpark, Kahuna Laguna voted top ten In USA Today.

Or, stay at one of our oceanfront Cape Cod resorts and explore the Cape Cod National Seashore beaches and trails, bike the Cape Cod Rail Trail or check out one of the many fall festivals. Tour local breweries, dine at a waterfront clam shack or opt for an upscale six-course meal.

For the best fall getaway rates, book direct at redjacketresorts.com.

Seven resorts, a golf course and a water park!

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Home Furnishings & Accents

2017

C i t y

M a g a z i n e

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From Left: meaghan maurice; chaka Kahn; Detail of “Rollover (2014) featured in “Men in Suits: Paintings by Natasha Mayers

September

M a i n e ’ s

97 Art&Style

41 Maine Painters, A Catalog, Vol. III

Prices get a jolt in our special report on dazzling auction sales figures recorded by renowned Maine painters this year.

Compiled by Blair Best, Ryanne Desjardins & Angela Fernandez

19 Perspectives

Food&Drink

Maine Life

95 L’Esprit de l’Escalier “Souvenir”

By Rhea Côté Robbins

Bucatini, orecchiette, papardelle.

Delightful to say and delicious to savor, handmade pasta is the ultimate Italian indulgence.

By Claire Z. Cramer

37 Portland After Dark

120 Flash

91 Everyday Sommelier

12 From the Editor 14 Letters

70 Lasting Impressions

Shelter&Design

89 Tuscan Pentimento

Spin your own story in E. B. White’s charming farmhouse, the very home that inspired Charlotte’s Web.

By Colin W. Sargent

The traditional printing press is experiencing a renaissance in the digital age.

By Sarah Moore A Portland art dealer transports us to Italy to meet da Vinci’s angel.

By Rob Elowitch

Cover:

“Timber Steakhouse patio, Portland.”

By Corey Templeton

59

101 House of the Month

108 New England Home & Living

Personalities 59 Art Agitators

79 Hungry Eye

“What They Drank” Share a glass with The Rolling Stones, Robert de Niro, and Yoko Ono at Le Cirque 2000 in the illstarred moments just before 9/11.

By Ralph Hersom

17 Maine Classics 19 Concierge 20 Fall Festival Guide 34 Chowder “Starry Nights” Patios are the sweet spot for sipping in Maine’s fleeting season.

By Sarah Moore

67 The Silver Screen Dream

96 Dining Guide

Wait. Nosh Kitchen Bar’s venue at 551 Congress Street is Hollywood royalty?

By Herb Adams

97 Restaurant Review

117 Fiction

El Corazon has the beat from the hub of Longfellow Square.

By Claire Z. Cramer

“Patience Boston”

By Michael Kimball

Meet Maine painters who dare to rattle and shake the status quo.

By Daniel Kany

September 2017 11

SO ST

Editorial Colin W. Sargent, Editor & Publisher

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The Jane Dress in Indigo

t’s one thing to write about extraordinary artists outside the walls of our Portland Monthly headquarters building. But it’s even closer to home to talk about the artists within our own magazine. Here at Portland Monthly, we’ve just learned that Folio: Magazine has named our Design Director, Meaghan Maurice, as one of “30 Under 30” national magazine executives who are changing the face of publishing.

As the announcement to Meaghan says, “Congratulations! You’ve been selected by the editors at Folio: as one of the 2017 Folio: 30 Under 30 Honorees. The Folio: 30 Under 30 is a collection of the brightest magazine media individuals under the age of 30 who are executing on some of our industry’s most innovative ideas. The competition was stiff this year, so you should feel especially proud to be on the list.”

Among these 30 breakthrough leaders are senior executives from The Atlantic, Conde Nast, GQ, Men’s Health, Playboy, Glamour, InStyle, and on and on. Then Portland Monthly magazine. To see the full list, visit www.foliomag.com/events/folio-30-under-30. The awards will be celebrated with a luncheon at Hilton Midtown in Manhattan on October 10.

“I was pretty surprised,” Meaghan says. “I was struck that the 30 under 30 wasn’t restricted to artists but included any kind of publishing executives. Our most recent cover floated into my mind.”

We congratulate Meaghan Maurice, who always keeps our readers in mind with her stunning designs. Because of her work’s extraordinary perspective, we know you already feel connected to her.

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Maine’s City Magazine 165 State Street, Portland, Maine 04101 Phone: (207) 775-4339 Fax: (207) 775-2334 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 Nicole Barna Advertising Director nicole@portlandmonthly.com Per Lofving Advertising Executive per@portlandmonthly.com

editorial Sarah Moore Assistant Editor & Publisher sarahm@portlandmonthly.com Olivia Gunn Communications Director olivia@portlandmonthly.com Diane Hudson Flash Jason Hjort Webmaster Colin S. Sargent Special Features & Archives Experience Events Portal: portlandmonthly.com/portmag/submit-an-event/ accounting Eric S. Taylor Controller eric@portlandmonthly.com Interns Blair Best, Ryanne Desjardins, Megan Dunlap, Angela Fernandez & Emma Hyde

subscriptions To subscribe please send your address and a check for $39* (1 yr.), $58* (2 yrs.), or $68* (3 yrs.) to Portland Magazine,165 State Street

Portland, ME 04101 *Add 5.5% if mailed to a Maine address. 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 2017, published in August 2017, Vol. 32, No. 6, copyright 2017. 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.

Portland Magazine is the winner of 65 American Graphic Design Awards presented by Graphic Design USA for excellence in publication design.

S a r g e n t

Publishing, inc.

September 2017 13

letters editor@portlandmonthly.com

AZINE POR T L A ND M AG

ISINE | L E VA N T I N E C U S U P E R YA C H T S S P OT T I N G T H E

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NAV Y DAY S FESTIVA L FRIS SON JAIL FOR SAL E

Close Encounters of the Delicious Kind What a delightful story, especially the section about [Nina Livingstone’s] first encounter with a whole Maine lobster!

[See “Tasting Maine with Barbara Lynch,” Summerguide 2017] Gail Elson, via email I enjoyed getting to know Barbara Lynch on a more personal level, and I was fascinated by writer Nina Livingstone’s encounter with her first lobster.

T. L. Murphy, Windham An interesting and entertaining interview and lobster experience!

Jane Sutton, via email Challenging Eliot Cutler Eliot Cutler should donate 100 percent of the proceeds [from the sale of his house–see “Hidden Shore,” Summerguide 2017] to the State of Maine Human Services. You know, because he handed us LePage on a platter.

Joan Lizzie, Portland [Eliot Cutler] is responsible for LePage’s second term.

Emmet Meara, Camden

MAINE SUN SOLUTIONS • (207) 781-9917 • MESUN@MAINE.RR.COM 1 4 p o r t l a n d m o n t h ly m a g a z i n e

Not in Kansas Anymore I was working on Margaret Hamilton’s roof in the fall of 1963 with Dick Dill, who was the caretaker of Newa-

gen Inn in Southport, and I remember seeing her broom in the front doorway!

[See “No Place Like Home,” July/August 2004, for the full story of Margaret Hamilton, a.k.a. the Wicked Witch of the West, and her home on Cape Island, Southport.]

Jeffrey Goodhue, Coral Springs, FL I remember when I was very little, my sister asked a woman in Sears department store in Portland if she were the Wicked Witch of the West. Maybe she actually was!

Linda Kozel, Yarmouth

THE PARTY SHOULD BE THE ONLY SURPRISE THAT COMES AT RETIREMENT.

Total Family Wealth Management

Dan Fogelberg, Remembered I’m thinking about Maine a lot right now, and Dan frequently pops into my mind [See “Wild Child,” February/ March 2010]. I’ll never forget the first time I heard Home Free. I was hooked.

I live in Illinois, where Dan was born and first discovered. His music calms me, heals me, and makes me smile and cry. His music has resonated since I was a teen–I’m now 60. I’ve never been to Maine, but I know I’d love it. Lobster is my favorite food. I love the water and the woods. Dan and his music will continue to soothe and heal me through life’s joys and challenges. I am a Dan fan forever.

Barbara Paine, Glenview, IL Copies For A Cause Wow! Thank you for your willingness to contribute to the Cape Challenge charity raffle and your incredibly generous donation of three 3-year subscriptions to Portland Monthly.

Kristina Justh, Cape Challenge Raffle Chair, Cape Elizabeth Found: Darling Descendants You say in a story [“Shudder Island,” October 2004] that there are no known descendants of Benjamin Darling [of Malaga Island, Maine]. Well, we are alive and kicking! My brother researched our family history for our father’s fiftieth birthday, and in doing so, he came to the conclusion that Benjamin Darling was our great-greatgreat-great-grandfather. Our last name is also Darling.

Elizabeth Darling, Danvers, MA

David Mitchell Vice President, Investments

Claire Cooney, CFP® Financial Planning Associate

Christopher Rogers Managing Director Senior Vice President, Investments

Nicole Trottier Senior Registered Sales Associate

Dana Ricker Senior Vice President, Investments

Lisa Carey Sales Associate

Steve Guthrie Senior Vice President, Investments

Two Portland Square, 7th Floor // Portland, ME 04101 Phone: 207.771.1800 // Toll-Free: 866.680.1196 // Fax: 207.253.5480 www.PortlandHarborGroup.com

“Helping to Simplify a Complex World” ©2016 Raymond James & Associates, Inc., member New York Stock Exchange/SIPC. Raymond James® is a registered trademark of Raymond James Financial, Inc. Certified Financial Planner Board of Standards Inc. owns the certification marks CFP®, CERTIFIED FINANCIAL PLANNER™, CFP® (with plaque design) and CFP® (with flame design) in the U.S., which it awards to individuals who successfully complete CFP Board’s initial and ongoing certification requirements.

September 2017 15

Clockwise from top left: fage; courtesy the knowles company; barley neck usa; edible island; courtesy photo

Old-School Cool Oysters Rockefeller was just one of the throwback menu items on reopening night at the Roma Café in August. Founded in 1924 in the Rines Mansion at 767 Congress Street, the legendary Italian eatery was once the darling of Portland’s fine dining scene. Today, the Rines Mansion has been given a makeover by owner Roxanne Quimby. Conspicuously absent in the relaunch is the once-extensive collection of Portland Glass wares, which made a night at the Roma even more of a special occasion. According to Quimby, “The collection wasn’t included when I bought the property.”

Will head chef Anders Tallberg–formerly of Roustabout–be buying the landlady’s recently launched lines of artisanal pasta, My Pasta Art? “We’re pretty tight with the Quimbys, but as far as the pasta making goes, we’re not involved with her new business.”

Jewel of Acadia The season’s ill—we’ve lost our summer millionaire,who seemed to leap from an L. L. Bean Catalogue. Robert Lowell’s lines in “Skunk Hour” touched a nerve this year when David Rockefeller died. His 14.5-acre Seal Harbor estate, Ringing Point, was listed for $19M. But now, according to antiques dealer and blogger Brad Emerson, “[The estate] is under contract for the full asking price. The word on the street is that the purchaser is Mitchell Rales, and that it’ll be a tear-down.” Rales, who has a net worth of $4.3 billion, currently owns another property in Northeast Harbor. Stay tuned.

Ocean Queen

Ingrid Bengis-Palei, the legendary lobster supplier to the food industry’s elite, recently passed away.

The Stonington resident supplied Maine seafood to industry heavyweights like Le Bernardin restaurant in midtown Manhattan and chef Jean-Georges Vongerichten (with restaurants in Paris, London, Shanghai, Las Vegas, and Tokyo) for almost 30 years.

Such was her reputation and dedication to Maine’s local seafood industry, New York Times Magazine published a full profile on Bengis-Palei in 2010: “Bengis-Palei encourages her chefs to identify the individual who caught, dived for, or processed her seafood. ‘A lobster is not just something on your plate; it’s someone’s life,’ she says. ‘Every other year, someone dies on the water. I have tremendous respect for these people.’” A pioneer of lobsters and love, A rooftop garden at Harbor Square Gallery floats above the everyBengis-Palei also fathomed the depths of passion and sexuality as a writer. Her day bustle of Rockland. Named The Muir Garden for Contempocollection of essays entitled Combat in rary Sculpture for late Maine artist Bryce Muir, the space houses the Erogenous Zone was nominated for a sculptures by artists like Roy Patterson and David Holmes. GalNational Book Award in 1972.

Roof with a View

lery owner Thomas O’Donovan says,“It’s my hope that people will visit this sanctuary and reflect upon the inspirational role nature plays in informing artistic compositions–and, indeed, our entire concept of what’s beautiful.” For more dreamy outdoor spaces, see “Starry Nights,” page 37.

Virtual Virtuoso

More frequently seen adorning gallery walls, this portrait by Ogunquit artist Henry Strater (1896-1987) hangs in cyberspace–for now. The portrait of Strater’s son, Nick, is for sale on eBay for $1,500.

Strater founded the The Ogunquit Museum of American Art in 1953. When the virtual gavel falls, the highest bidder will also walk away with three Strater family photos. Readers will recognize Strater’s work because he painted the famous portrait of his pal Ernest Hemingway that adorns the back of A Moveable Feast.

S eptember 2 0 1 7 1 7

CURATED BY MICHELLE GRABNER

ON VIEW THROUGH SEPTEMBER 15

MECA invites you to attend a one-day symposium with a panel discussion moderated by Barry Schwabsky on September 15, 2017. Space is limited, please RSVP to ica@meca.edu.

Curated by artist, writer, and curator Michelle Grabner, Crown Family Professor of Art at the School of the Art Institute of Chicago, this exhibition is built on a triad of traditional painting genres, including still life, landscape, and portraiture.

Fifty-two paintings by fifty-two American artists offer a critical balance to the conditions of atemporality, affected responses, and the material turn currently shaping much of contemporary painting discourse.

For more information contact ica@meca.edu or 207.699.5025 Hours: Wednesday–Sunday, 11AM–5PM, Thursday, 11AM–7PM 522 CONGRESS STREET | PORTLAND ME, 04101 meca.edu/ica | 800.699.1509

1

Concierge

Off The Wall

The whole world’s a stage for this dance troupe. BANDALOOP (not to be confused with the cozy locavore eatery in Kennebunk) will astound crowds over two nights in Portland. BANDALOOP dancers put thrilling, spiraling performances while suspended from the sides of buildings (recent performances have been staged on the Kennedy Center and at Old Jeddah City in the Arctic Circle). See the spectacle for yourself on the Westin Hotel on September 28 and at One City Center, September 29.

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Barn Storming!

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Built in 1887, the Vinegar Hill Music Theatre is a slice of history with a theatrical flair. The all-black barn opens up to reveal a riot of musical and theatrical acts. Catch New York-based band The Slambovian Circus of Dreams playing on the barn stage, September 29. Tickets cost between $22-$35. 985-5552.

Clockwise from top: Atossa Soltani; tom moore; vinfest; frazer harrison

The Whole Song & Dance Experience the fresh talent of Maine State Music Theater and Portland Stage as they join forces for a performance of The All Night Strut! A two-act musical celebration of the 1930s and 1940s jazz, blues, bebop, and American classics. Join them for celebration of Maine musical theatre community on September 9. 725-8769 ($55-$60)

Chaka Khan & Chablis

Down on the Farm Celebrate rural living and organic agriculture this fall at the 41st annual Common Ground Country Fair in Unity. Discover what makes this festival a staple in the Maine calendar, September 22-24. Tickets are $10 in advance for adults, $15 daily at the gate. 568-4142

4

Revel in the turn of the season with annual wine festival VinFest at Thompson’s Point on September 29. The event features a performance by Grammy-award winning artist Chaka Khan while you indulge in a four-course dinner prepared by Chef Abigale Avery, along with wine pairings, naturally, Tickets are $175. 763-4478

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S eptember 2 0 1 7 1 9

Experience

Fall Guide Cumberland County Fair, Cumberland Fairgrounds.

Exhibition halls, midway, livestock, animal pulls, demolition derby, barbecue, and pumpkin and squash weigh-offs, Sept. 24-30.

Eliot Festival Days, various locations around town.

5K road race, crafts, food booths, pancake breakfast, parade, and fireworks, Sept. 30.

Farmington Fair. Livestock, midway, harness racing, and animal pulling, Sept. 17-23.

Fryeburg Fair, “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. 1-8.

935-3268.

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. 13-16.

Food Festivals:

Acadia’s Oktoberfest & Food Festival, 20 Main St., Southwest Harbor. Wine and cheese tasting, Mainebased brewfest, locally sourced food, and crafts, Oct. 6-7.

Apple Pumpkin Festival, Livermore Falls. Food, music, kids’ activities, crafts, Sept. 30. 897-6755.

Bethel Harvestfest & Chowdah Cookoff, Bethel Village Common.

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

16. 824-2282 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. 30.

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. 6-9.

Harvestfest, Short Sands Beach, York. Traditional fall harvest food, kids activities, crafts, and music, Oct. 14.

Harvest on the Harbor, Ocean Gateway, Portland.

9th annual food and wine festival (21+ only). Chef demonstrations, lobster chef competition, Brews & Blues BBQ, tasting events, Oct. 16-24.

Maine Harvest Festival, Cross Insurance Ctr., Bangor. A delicious celebration of Maine’s small farms and their bounty, Nov. 11-12.

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. 30.

Portland Beer Week, Portland. Join the Maine craft beer industry and local businesses as we partake in various events taking

2 0 p o r t l a n d m o n t h ly m a g a z i n e

place in Portland, Maine and surrounding areas.

See website for details.

Nov. 5-11.

Swine and Stein Oktoberfest, Downtown Water St, Gardiner. The 7th Annual Swine & Stein Oktoberfest is a trifecta of beer, food, and music. A beer tasting will showcase the incredible diversity of Maine craft beers along with food from quality Maine restaurants.

Oct. 7.

Art Festivals

Camden International Film Festival. The 10th anniversary of the festival created to highlight emerging documentary filmmakers. Screening more than 70 films, most followed by Q&A sessions with the artists, Sept. 14-17.

593-6593 Cappricio Festival of the Arts, Ogunquit. Coordinated by Ogunquit Performing Arts, an expanded Festival is planned, Sept.

8-17.

Freeport Fall Festival, Freeport. Live music, arts and craft exhibitors, and some of Maine’s best foodincluding annual favorite, the Chowdah Challenge.

Oct 6-8.

Fall Festival Weekend, Sunday River Resort. The unofficial kickoff to Sunday River’s winter season, the festival includes live music, a beer garden, wine tasting, arts & crafts, scenic lift and wagon rides, children’s games and activities, and the famous North American Wife Carrying Championship, Oct. 7-8. (800) 543-2754 Maine Maritime Film Festival, Bucksport. A juried contest of films celebrating the heritage, spirit of adventure, and ingenuity of boats and waterborne pursuits, Sept. 29-Oct.1.

Pumpkinfiddle 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. 30.

Sunday River Open Dart Tournament, Sunday River Resort. Zipline tours, hiking, mountain biking, and disc golf, in addition to dart matches with a $10k grand prize, Sept. 15-17.

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. 16-18.

Learning Festivals

Acadia Night Sky Festival, Bar Harbor. Night hikes, a paddle in a bioluminescent bay, science presentations, and themed movies in this celebration of the best stargazing site on the Eastern seaboard, Sept. 21-24.

from top: York Pumpkin Fest by devyn poirier

Fairs

Wher e Recyclin g has Always bee n in Style

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September 2017 21

Experience

Tour de Farms, Gardiner Road, Wiscasset. Celebrating the land, farms, and people that provide local produce to the region.

Choose your tour and wind through the scenic farmland of Midcoast Maine. The ride begins and ends at the Morris Farm, Sept. 30.

Outdoors Festivals

10th Annual 12 Hours of Bradbury Mountain, Bradbury Mountain State

Park, Pownal. All-day mountain biking extravaganza with events of all ages, Sept. 17.

North American Wife Carrying Competition at Sunday River

pened hosted by Sally Jones, Sept. 30; The Half Moon Jug Band, Oct. 14.

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Eastport Pirate Festival, downtown Eastport. Pirate parade, reenactments, races, cutlass fights, and a costumed pet show, Sept.

9-11.

International Seaplane Fly-In, Greenville. On the shores of Moosehead Lake, enjoy fly-bys by rare aircraft, a craft fair, a steak-and-lobster cookout, lake cruise, flying, raffles, and contests, Sept. 7-10.

695-2928 Lobsterman Triathlon, Freeport. One of the top triathlons in the country, this Olympic-distance “destination race” includes a post-race lobster bake, Sept. 16.

North American WifeCarrying Championships, Sunday River,

City Theater in Biddeford, 205 Main St. Disenchanted, Oct. 13-29.

282-084

97 Summit Rd., Bethel.

Committed couples face uneven ground, obstacles, and water hazards at this lighthearted annual challenge, Oct. 7.

Annual Harvest dance Sept. 23.; Fall Festival, Oct. 14.; Pumpkin Hayrides, SatSundays in Oct., 10-2.

RiverJam Festival, Biddeford & Saco. Family friendly afternoon activities including kayak rides on the Saco River, bounce houses, facepainting, and an artisan market. During the evening there will be live music and fireworks.

Sept. 15-16.

Carousel Music Theater, 196 Townsend Ave., Boothbay Harbor. Hold Tight It’s 60’s Night, through Sept. 30. 6335297

Wolfes Neck Farm, 184 Burnett Road, Freeport.

Theater

Celebration Barn Theater, 190 Stock Farm Rd., South Paris. Mike Miclon’s The Early Evening Show, first Saturday in Sept. & Oct; This is What Hap-

Freeport Community Players, 30 Freeport Performing Arts Center, Holbrook St., Freeport. The Servant of Two Masters, Sept. 14 - Oct. 1. 865-2220 Hackmatack Playhouse, 538 Route 9, Berwick. The Fantasticks, Aug. 16 - Sept.

2. 698-1807 Gaslight Theater, Winthrop St., Hallowell.

Forsooth, My Lovely, Oct. 27 - Nov. 5. 626-3698 Good Theater, 76 Congress St., Portland. Sex With Strangers, Sept. 27 Oct. 22. 835-0895 Lakewood Theater, 75 Theater Rd., Madison.

Baskerville, Sept. 1-9;

October 6–9, 20 17 F R I D AY All Day: Giant Pumpkin Carving S AT U R D AY 2:15 PM: Giant Pumpkin Parade S U N D AY 10:00 AM - 2:00 PM: Pumpkin Catapult & Slin gshot 2:30 PM: Giant Pumpkin Drop M O N D AY Noon: Pumpkin boat Reg

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Common Ground Country Fair, Unity. Celebrate the organic and rural version of the good life and learn new things about farming. Agricultural demonstrations–milking, blacksmithing, composting, stoneworking, orchard-growing–plus produce and crafts vendors, food, music, and camping, Sept. 22-24.

A Comedy of Tenors, Sept.

14-23. 474-7176 Lyric Music Theater, 176 Sawyer St., South Portland.

Nice Work If You Can Get It, Sept. 15 - Oct. 1. 799-1421 Mad Horse Theatre, 24 Mosher St., South Portland.

Bloody Bloody Andrew Jackson, Sept. 21 - Oct. 15.

747-4148 Maine State Ballet Theater, 348 U.S. Rte. 1, Falmouth. The Little Mermaid, Oct. 7 - 18. 781-7672 Ogunquit Playhouse, 10 Main St., Ogunquit. From Here to Eternity, Oct. 4-29.

646-5511 Penobscot Theatre Company, 131 Main St., Bangor. Calendar Girls, Sept. 8-25. 131 Main St. 942-3333 Schoolhouse Arts Center, 16 Richville Rd., Standish.

Dracula, Oct. 6-15.

642-3743

“Constructing the Revolution: Soviet Propaganda Posters from between the World Wars” explores the remarkably wide-ranging body of propaganda posters created during the 1917 Russian Revolution.

Bowdoin Art Museum, September 23- Februrary 11, 2018.

Theater at Monmouth, 796 Main St., Monmouth.

Peter and the Starcatcher, Sept.14 - 24. 933-9999 Waterville Opera House, 93 Main St. 3rd Flr. Waterville, Waterville Rocks!

Sept. 1 - 29. 873-7000

Sept. 18; John Walker: From Seal Point, through Oct 29.

The Portland Players, 420 Cottage Rd., South Portland. Nunsense a Musical, Sept. 22 - Oct. 8. 799-7337

Colby College Museum of Art, 5600 Mayflower Hill Dr., Waterville. Marsden Hartley’s Maine through Nov. 12. 859-5600

Portland Stage, 25 Forest Ave., Portland. The All Night Strut!, through - Sept.

10; Lady Day At Emerson’s Bar & Grill, Sept. 19 - Oct. 15; Complications From A Fall, Oct. 24 - Nov. 12.

774-0465

Cynthia Winings Gallery, 24 Parker Point Rd., Blue Hill. Viewfinders: A Group Exhibition, through Sept.

16; Endless Summer: Gallery Artists, Sept. 19- Oct. 9.

917-204-4001

Art

Bates College Museum of Art, Olin Arts Center, 75 Russell St., Lewiston.

Kate Gilmore: In Your Way, through Oct. 7; At Home and Abroad: Works from the Marsden Hartley Memorial Collection, through Oct. 7. 786-6158

Bowdoin College Museum of Art, 1 Bath Rd., Brunswick. The Ivory Mirror: The Art of Mortality in Renaissance Europe, through-Nov 26. 725-3275

Center for Maine Contemporary Art, 21 Winter St., Rockland. William Wegman; Reel to Real, through Oct 22; Screen: Pop Killed Culture, through

Farnsworth Art Museum, 16 Museum St., Rockland.

American Treasures From the Farnsworth, through Oct. 29; Celebrating Maine, Apr. 5 - Oct. 29; Andrew Wyeth at 100, through Dec. 31. Margue-

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Collection of Svetlana and Eric Silverman. Photography by Matthew Cronin.

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Experience rite Zorach–An Art-Filled Life, through Jan. 18.

596-6457 Greenhut Galleries, 146 Middle St., Portland.

Tina Ingraham Sept. 7-30; Tom Higgins Oct. 5-28. 772-2693 Maine Maritime Museum, 234 Washington St., Bath. Through These Gates: Maine Shipyard Photography 1858-2016, through Sept. 24; See the Light: the Preservation of Midcoast Maine Lighthouses, through Oct. 22.

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MECA, 522 Congress St. “American Genre: Contemporary Painting” Exhibition. Through Sept. 15; Dreamy & Surreal, through Oct. 20 775-3052

Ogunquit Museum of Art, 543 Shore Road, Ogunquit. Tradition and Excellence: Art and Ogunquit, 1914-1918 through Oct. 31; Ernest Hemingway and Henry Strater through Oct. 31; Gary Haven Smith: Sculpture Gardens, through Oct. 31. 688-4468

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Experience The Boothbay Harbor Opera House, 86 Townsend Ave., Boothbay. Rob Ickes & Trent Hensley, Sept. 14; Dougie MacLean, Sept.

17; Rodney Crowell & his Band, Sept. 23; The Bobs - Farewell Tour, Oct. 14; Annual Halloween Potluck & Scary Readings, Oct 26.

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Blue, 650 Congress St. Irish Sessions, every Wednesday. 774-4111.

Committed to providing valuable and personalized burial, cremation, and prearrangement services.

Darling’s Waterfront Pavilion, 1 Railroad St., Bangor. Eric Church, Sept. 23; 358-9327

773-6511 • conroytullywalker.com 172 State Street, Portland • 1024 Broadway, South Portland

Empire, 575 Congress St., Early Mornings, Sept.2; Michael Graves Tour of the Living Dead, Sept. 15; Shokazoba w/ Akaela Moon, Sept. 29. 747-5063 portlandempire.com Jonathan’s Ogunquit, 92 Bournes Ln., Ogunquit. Jonatha Brooke, Sept. 23; Jethro Tulls Martin Barre All Acoustic, Unplugged Concert, Sept. 29. 646-4526 Maine Academy of Modern Music, 125 Presumpscot St. MAMM Presents: Kids & Teens Open Stage, Sept. 8. 899-3433 Merrill Auditorium, 20 Myrtle St. Tony Bennett, Sept. 28. 842-0800 Maine State Pier, Lettuce, Sept. 15. 358-9327 One Longfellow Square, 181 State St. Son Li Ple & Doe Paoro, Sept. 13; Marco Benevento & Carinae, Sept. 14; Ari Hest, Sept. 16; Kevin Burke, Sept. 17; Portland Jazz Orchestra, Sept.

21; Jonathan Edwards, Sept. 23; 2017 Maine Outdoor Film Festival Awards Show, Sept. 28.

761-1757 Port City Music Hall, 504 Congress St. X40th Anniversary Tour, Sept. 15; Every Time I Die, Sept. 27. 956-6000 Portland House of Music and Entertainment, 57 Temple St. DAMN Gina and The Red Eye Flight Crew Summer Residency, every Mon. Jun.-Sept. The Maine Dead Project Summer Residency, every Wed., through Sept. 805-0134 Portland Lobster Co.,180 Commercial St. Live music every evening as well as Saturday and Sunday lunches. Voted best patio & outdoor bar in Portland of 2017 and 2016.

775-2112 Space Gallery, 538 Congress Street. Vagabon with Nnamdi Ogebonnaya, Sept.13; Xiu Xiu with Re-Tros, Sept. 21; Wire, Sept. 22.

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State Theatre, 609 Congress St. Two Door Cinema Club, Sept. 13; The War on Drugs, Sept. 18; Gogol Bordello, Sept. 22;. 956-6000 Stone Mountain Arts Center, 695 Dug Way Rd. Matthew Sweet Sept. 15; Erica Brown and the Bluegrass Connection, Sept. 22. 935-7292 The 1932 Criterion Theater, 35 Cottage St., Bar Harbor. Los Lobos, Sept. 15; Maine Music Festival, Sept. 21; 288-0829

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Thompson’s Point, Portland. Trey Anastasio Band, Sept. 16; The Head and the Heart, Sept. 23. 747-5288

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Vinegar Hill Music Theatre, 53 Old Post Rd., Arundel. Peter Cincotti, Sept. 15; John Waite with Jason Sinay, Sept. 16; Scarab-The Journey Experience, Sept. 22; Slambovian Circus of Dreams, Sept. 29. 985-5552

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Comedy

Community Television Network, 516 Congress St. Portland Playback Theater, the first Friday of every month. 775-2900 ctn5.org Lincoln’s, 36 Market St. Laugh Shack comedy every Thursday.

W W W

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Craig Carreno

M O N H E G A N B O A T

.

C O M

Film

Frontier, 14 Maine St., Brunswick. California Typewriter, Sept. 26. 725-5222 Space Gallery, 538 Congress Street. Film series in partnership with Bayside Bowl, through Sept. 828-5600

Literary Events

Longfellow Garden at Maine Historical Society, 489 Congress St. First Friday Fiction, Sept. 1 & Oct. 6.

Print, 273 Congress St. Gabriel Tallent presents his new novel My Absolute Darling, Sept. 18; KL Pereira presents her new short story collection, A Dream Between Two Rivers: Stories of Liminality, Sept. 26. 536-4778 Vinegar Hill Music Theater, 53 Old Post Road, Arundel. A Celebration of Reading: Barbara Bush Foundation join forces with community leaders, bestselling authors, and valued partners to celebrate the power of literacy, Sept. 8. 985-5552.

York Housing Authority, 4 Pine Grove Lane, York. A reading and discussion of The Boston Castrato with Colin W. Sargent, Sept. 21.

West Buxton Public Library, 34 River Road, Buxton. A reading and discussion of The Boston Castrato with Colin W. Sargent, Sept. 28. 727-5898.

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Tasty Events

Aurora Provisions, 64 Pine St. Two to three free tastings each month on Tuesdays.

871-9060 Craft Beer Cellar, 111 Commercial St. Craft beer tasting every Fri. 956-7322 Cellardoor Winery, Brick North, Thompson’s Point. Complimentary Pairings, Sept. 17, Sept.

24, and Oct. 1; Vinfest, Sept. 29. 536-7700 Leroux Kitchen, Portland. Free wine tastings on the 2nd Saturday of each month, 1-3 p.m.

553-7665 Local Sprouts, 649 Congress St., Portland.

Music Brunch with Sean Mencher and friends, every Sun. 899-3529 Lolita Vinoteca + Asador, 90 Congress St., Portland. Tapas Mondays, every Mon. 3:30-10:30; wines paired with small plates.

775-5652 Otherside Delicatessen, 164 Veranda St. Monthly wine tastings. 761-9650 Rosemont Markets, Portland and Yarmouth.

Two to three free wine tastings each month on Fridays. 774-8129 Sweetgrass Farm Old Port Tasting Room, 324 Fore St. Tasting bar is open year-round for Maine-made wines and spirits. 761-8GIN Wine & Food Walks, Portland. Join Sommelier Erica Archer for a themed walk through a Portland neighborhood with wine and spirit tastings paired with delicious foods, every Sat. through Oct. 7. 619-4630

Don’t Miss

Biddeford Boat Building Festival, 32 Main Street, Biddeford. The festival will include nautical-themed exhibitors, local youth nonprofits, a Friday evening event at Engine with special guests the Lowell Brothers, kids’ activities, food and music, Sept. 16 & 17.

Claw Down, Newagen Seaside Inn, Cape Newagen. Enjoy lobster dishes prepared by some of Maine’s top chefs at the 5th Annual Claw Down, Sept. 14.

633-2353 Community Television Telethon, Mechanics Halls and CTN, Congress Street.

The Community Television Network will launch its first annual 25-hour Telethon broadcast live on Charter Cable Channel 5. The Telethon will include an improvisation class from Portland Playback Theater, a Tai Chi class, and performances by Circus Maine and Primo Cubano, Sept. 22. 775-290 Portland Science Center, 68 Commercial Street, Maine Wharf, Portland. The age of piracy comes to life in Portland with Real Pirates: An Exhibition from National

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Experience

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Roochie Toochie and the Ragtime Shepherd Kings, Mayo Street Arts, 10 Mayo St. This all-star old time novelty jazz & pop quintet has members from such musically esteemed cities as Nashville, Detroit, and New Orleans. They are including a special segment showcasing songs and sheet music covers from the early 20th century written in and about the State of Maine, Sept. 16. 879-4629

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Waking Windows, throughout Portland.

Over 100 bands, authors, artists, performers, comedians, and thinkers convene at 15 venues for the second year in a row to celebrate creativity. Hosted by Space Gallery, Sept. 2829. 877-755-2326.

–Compiled by Blair Best, Ryanne Desjardins, Angela Fernandez, and Sarah Moore. To submit your own event listing, visit: portlandmonthly.com/portmag/submit-an-event/

Boothbay Harbor Region: Destination Art Boothbay Region Art Foundation Boothbay Region One Townsend Avenue, Art Foundation Boothbay Harbor, Maine

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The barren walls of Portland’s one-time industrial wasteland in East Bayside have proven to be the perfect canvas for local artists. Two new murals have joined the outdoor gallery in the past month alone. Look for Robert Brochu’s work at Zero Station and John Knight’s colorful offering on the Aikido of Maine building (right), both off Anderson Street.

“Murals can be a great thing for a city,” says Tessa Greene O’Brien, co-founder of the Portland Mural Initiative. “They’re a positive, creative way to incorporate art in places that are accessible and without barriers.” –Angela Fernandez

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Spotted off the Eastern Prom: Le Grand Bleu superyacht. The 28th largest yacht on the globe, she may also be the most generous gift ever given between friends. Russian-American businessman Eugene Shvidler was gifted the 370-foot superyacht by Roman Abramovich in 2006.

Worth $90 million, Le Grand Bleu is the crown jewel of Shvidler’s treasures, which also include a $14.5M lodge in Aspen and a $37M home in Belgravia, London. A gift of this magnitude may seem extravagant–but then again, Abramovich has a net worth of $9.2 billion. At that level, what’s a couple jillion between friends?

3 4 p o r t l a n d m o n t h ly m a g a z i n e

Cut to the chase As if an 18-mile run isn’t scary enough, imagine being accompanied by a pair of black bears. Such was the ordeal that faced Moninda Marube during a jog near his home in Auburn. Ignoring the old mantra, “brown, lay down; black, attack,” Marube sprinted away and took shelter in a nearby abandoned house, according to The Sun Journal. Then again, he is a marathon runner.

There’s one way to beat your personal record.

from top: megan dunlap; satff graphics; meaghan maurice

Bogart Puzzles jigsaws are no mere child’s play. The Wells-based studio produces painted jigsaws made to order. “We cut each individual jigsaw puzzle piece freehand,” say owners Jay and Allison Hollis. “We use motorized scroll saw blades, as fine as a single horse hair. No two jigsaw puzzle pieces are ever the same.” Before you start planning your kid’s birthday present, take note: a 150-piece puzzle can cost up to $300, meaning each piece lost behind the couch cushion will set you back two bucks.

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P o rt l a n d a f t e r dark

Pat·i·o: From early 19th century Spanish, denoting an inner courtyard. From the Latin patere, meaning “to lie open.”

Starry Nights Savor the last sips of September sun on Portland patios.

meaghan Maurice

W

elcome to Patio Season in Maine–a rare, precious, slim spell of time. With our long winters, you may think Portland’s establishments would forgo the effort and money needed to create killer patios. Lucky for us, they know the juice is worth the squeeze– Portland’s patios come alive with revellers almost every evening throughout the long, golden evenings of September. Like fiddlehead season, it’s fleeting, vanishing, some-

By Sarah Moore

thing to be savored, and for that, it’s all the more fun, especially when you know where the unforgettable patios are hiding.

A windy but sun-drenched Friday evening in Portland sees us making the ritual evening bike ride downtown in search of hedonism and happy hours. Instead of peeling left from Congress Street and gliding into the familiar web of the Old Port, we veer right on Elm Street, our bikes picking up speed on the steep

incline that leads us swerving into the parking lot of Bayside Bowl (pictured above) on Alder Street. My aversion to sharing footwear with strangers means I’ve never visited the bowling alley and bar joint (please keep your rental bowling shoes at a safe distance.) However, rumors of a game-changing rooftop bar are enough to entice our group to venture into West Bayside for the night. We pass through the bowling hall and hop September 2017 37

P ortland a f t e r da r k

Every night is Friday night at “PoLoCo” on Chandler’s Wharf, where patrons (human and canine) come to enjoy lobster and live music.

into the elevator. At the top, a walkway stretches between solar panels to reach a wide deck. The rooftop space is bordered by long benches on one side and on the other, a 1962 Airstream, partially sunken into the decking, that does duty as a taco truck. The scene whisks you to another dimension. Out of sight of Maine’s recognizable waterfront, with the sunlight glancing off the Intermed high-rise, potted palm plants, and crisscrossing string lights, you might have stepped through a portal to downtown LA. The bar staff, all with aviators and bright, white smiles, could be Hollywood hopefuls. The stiff, salty breeze is the only reminder that we’re still in Vacationland.

W

e order cans of beer and congregate around an old whiskey barrel-table. Beside us, as the taco truck shifts into high gear with rapid service, three burly guys somehow prepare plates of exotic-sounding cactus tacos from the confines of the aluminum trailer. The rooftop bar has a capacity of 200, and the space is soon teeming. Dresses and long hair stream in the wind. A large portion of the crowd seems mostly intent on capturing the scene on their iPhones. The seemingly foreign surroundings and blazing sunset have us all in giddy high spirits.

As the night lengthens, we reluc-

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

tantly come back down to earth and meander our way back to the familiar buzz of Monument Square. It’s fun to step out of Portland for a night, but it feels even better to get back.

Hit the Deck The lucky bonus of patios? They frequently allow canine companions. Good news if you’re a dog owner. Great news if you desperately want a dog but can’t keep one. The sprawling patio/garden behind Silly’s, below, has plenty of space for patrons and their pups. We go at dusk and take a seat on the lowest of the three-tiered patio next to a family of harried-looking parents who are more than happy to let us fuss over their golden labrador as they attempt to corral three children.

“I remember when that little deck was Silly’s only outdoor space,” says my boyfriend, pointing to a tiny purple patio above the large garden area. Nowadays it’s over 1,000 square feet of decking and gravel patio.

True to the colorful, maximalist aesthetic of Silly’s, the outdoor area is overgrown, with vines tumbling over the pergolas and assorted floral ornaments. As with everything at this establishment– decor, menu choices, serving sizes–more is more. We stick to drinks–a couple of beers served in the kind of dented tin cups you’d expect to see camping–and spend an hour sipping beer and people/ dog-watching as the sky deepens to night.

Hidden in Plain Sight When you think of Commercial Street’s longtime players, J’s Oyster or Three Dollar Deweys surely come to mind. But what about Dry Dock Tavern? It’s been part of the Commercial Street landscape for over 30 years, and yet it seems to slide beneath the radar. I’d only ever visited once at the behest of some relatives visiting from abroad. We’re sitting on the Dry Dock patio! they texted. Where? I replied, disgruntled not to be the one choosing our destination. My sulk faded once I’d climbed the two flights of stairs and emerged onto the upper balcony to see the view over Custom House Wharf.

Hey, good enough for Carole King,

The deck at Dry Dock has front seat views to the action on Custom House Wharf.

Nearby, Flatbread overlooks the ferries arriving and departing from Maine State Pier (below).

who’s performed here, good enough for me.

meaghan Maurice

W

ith this in mind, I head down on Saturday night, some reluctant friends in tow. “Why not The Porthole instead?” they demand.

The Porthole might be a great destination for dancing, but if you’re in the mood for spying, the Dry Dock affords a lofty vantage point to watch Porthole’s raucous patio, Boone’s has a buzzy dining deck, and, if you time it right, you have front-row seats to watch the Casablanca “booze cruise” pulling into port. With scenes like these, who needs Netflix? We settle in and place an order of drinks with the server. The tavern’s drinks list is straightforward and not particularly memorable, much like the food menu, but the sights and sounds of the waterfront bars and the lights flashing off the ocean keep us enraptured. From this hardscrabble Mt. Olympus we observe the marauding crowd below. Do you see that couple fighting? What about the ones flirting by the bar? Which of those frat boys is going to fall over first? Who knows? Next week, the roles will probably be reversed and you’ll be the fodder for some other spectators’ Saturday night gossip at the Dry Dock Tavern.

From the outside, there’s little to suggest Timber Steakhouse prizes anything in the way of outdoor space. But if you slip through the restaurant and out the bar door, you emerge onto a peaceful patio walled off from a parking garage by

large sycamore trees and a fence of stacked whisky barrels. The largest part of the patio is filled with wooden tables and parasols. There’s an intimate corner filled with loveseats. This hidden corner of the world is busy, and the clientele is sharper-dressed and a little older than those we’ve seen on other patios around town. We choose a spot in the wicker armchairs surrounding the fire pit, where we’re immediately presented with a dish of fiery wasabi peas. The drinks are on the expensive side–you’ll pay $15 for a cocktail–but the service and space are welcoming. Barbecue smoke drifts from the kitchen, turning the night air a hazy blue.

On nights like these, you almost believe winter will never arrive. n Tell us your favorite patio by sending an email to staff@portlandmonthly.com or tagging us on Twitter @PrtlndAfterDark.

Located in historic Alfred, Maine 11 Oak Street WEDNESDAY THROUGH SUNDAY NOON TO 5 P.M.

Annual Holiday Reception November 17, 4 to 7 p.m.

September 2017 39

P e r sp e ctives

all images courtesy of the respective auction house; This Page: Bonhams, new york

Jamie Wyeth illustrates the historic moment of a weary Thomas Jefferson reading the work of his pen–the incendiary Declaration of Independence–its truths igniting all about him in a prophetic blaze of almighty glory. It’s a history painting depicting the inspired moment when a truly divine and greater power has been at work, using Jefferson as the vessel or agent. Jefferson is spent–as if having been violently possessed. I love the candlelight illuminating the paperwork in the lower part of the painting, as if it’s a roiling inferno. A terrific painting!”

–Andres Verzosa, curator and founder of Portland’s First Friday Artwalk

Maine Painters,

Jamie Wyeth (1946-) Monhegan Island, Declaration of Independence, 40" x 30.25", oil on canvas. Bonhams New York, 2017, $307,500.

A Catalog, Vol. III

Maine Painters are making exciting news at auction. Enter this story to experience the individual works, auction-house locations, and stunning prices realized this year. comp iled By Blair Best, Ryanne Desjardins & Angela Fernandez

September 2017 41

Pers p ective s

Stephen Etnier (1903-1984) Harpswell, Evening Calm, 12" x 20", oil on canvas.

Sold: Eldred’s, 2017, $2,625

Andrew Winter (1892-1958) Monhegan Island, Winter Funeral, Monhegan Island, 11.75" x 16.75", oil on masonite. Sold: Thomaston Place Auction Galleries, 2017, $5,000

Joseph DeCamp (1858-1923) Rockland, Lady in a Black Hat, 14" x 11", oil on canvas. Sold: John Moran Auctioneers, 2017, $12,200 George W. Bellows (1882-1925) Monhegan, Approach of Rain, 13.25" x 19.50", oil on panel. Sold: Sotheby’s New York, 2017, $143,750 Charles Dormon Robinson (18471933) Monmouth, Kolana Peak (Hetchy Hetchy Valley), 13.5" x 16", oil on canvas board. Sold: Heritage Auctions, 2016, $3,250

John Marin (1870-1953) Cape Split, Small Point, Maine, from the Bumper, 16.88" x 22.5", watercolor on paper. Sold: Swann Galleries, 2017, $50,000

William Thon (1906-2000) Port Clyde Deep Winter, 21.5" x 34.5", oil on masonite. Sold: Thomaston Place Auction Galleries, 2016 $11,700

Joel M. Babb Automation (In the International Paper Mill, Jay, Maine), 41" x 35", oil on canvas. Sold: Thomaston Place Auction Galleries, 2016 $11,700

Franklin Stanwood (1852Carl Sprinchorn 1888) Portland, Schooner (1887-1971) Shin Moored in Cove, Man on Shore Pond, Maine with Dinghy, Distant Summer Mountain Winter, House, 17" x 26", oil on canvas.

18" x 24", watercolor.

Sold: Thomaston Place Auction Sold: Barridoff Galleries, 2016, $600 Galleries, 2016, $1,440 4 2 p o r t l a n d m o n t h ly m a g a z i n e

images courtesy of the auction house

William Stubbs (1842-1909) Orrington, The Martha N. Hale passing a lighthouse off a New England coast, 24" x 36", oil on canvas. Sold: Bonhams New York, 2017, $5,000

Books, cards, journals, gifts, & the Largest Selection Of Magazines on the peninsula Georgia O’Keeffe (1887-1986) York, Turkey Feathers and Indian Pot, 20" x 16", oil on canvas. Sold: Sotheby’s New York, 2017, $972,500

Eastman Johnson (1824-1906) Lovell, Augusta, Fryeburg, Crossing a Stream (Piga-Back), 21.13" x 17", oil on board. Sold: Bonhams New York, 2017, $118,750

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Pers p ective s

John Folinsbee (1892-1972) Wiscasset, Kennebec at Bath, 20" x 30", oil on canvas. Sold: Rago Arts and Auction Center, 2016, $16,250

Samuel Colman (1832- 1920) Portland, Autumn Landscape, 25.25" x 45.24", oil on canvas. Sold: Heritage Auctions, 2017 , $137,500 Charles Herbert Woodbury (18641940) Ogunquit, The Breaker, 36.25" x 40", oil on canvas. Sold: Bonhams New York, 2016, $16,250

Robert Indiana (1928-) Vinalhaven, Love, 24" x 24", oil on canvas. Sold: Sotheby’s London, 2017, $2,052,500

William Dunton (1878-1936) Augusta, Glorietta, 20" x 16", oil on canvas. Sold: Christie’s New York, 2015, $497,000

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

Martin Lewis (1881-1962) Portland, R.F.D., 12" x 15.75", oil on canvas. Sold: Swann Galleries, 2017, $6,250

Kenneth Noland (1924-2010) Port Clyde, April in Balance, 93.11" x 50.39", acrylic on canvas. Sold: Sotheby’s London, 2017, $447,310

Richard Estes (1932-) Mount Desert Island, Sandwiches, Hamburgers, Frankfurters, 14.41" x 22.32", acrylic on panel. Sold: Farsettiarte, 2017, $63,250

images courtesy of the auction house

William Zorach (1887-1966) Bath, Maine Houses, 15.5" x 12.25", watercolor with pencil on paper. Sold: Sotheby’s New York, 2017, $5,000

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Marsden Hartley (1877-1943) Lewiston, Ellsworth, Landscape No. 39 (Little River, New Hampshire), 23.88" x 19.63, oil on board. Sold: Bonhams New York, 2017, $1,387,500

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4 6 p o r t l a n d m o n t h ly m a g a z i n e

Ben Foster (1852-1926) North Anson, Autumn Landscape, 40.00" x 32.25", oil on canvas. Sold: Doyle New York, 2017, $2,812

images courtesy of the auction house

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P e r sp e ctives

Neil Welliver (1929-2005) Belfast Study for Beaver Flowage and Windfall, 24" x 24", oil on linen. Sold: Thomaston Place Auction Galleries, 2016, $11,700

Hortense T. Ferne (1885-1976) Penobscot, Dona Bella at the Bullfights, 38.5" x 48.5", oil on canvas. Sold: Thomaston Place Auction Galleries, 2016, $500

Carl Sprinchorn (1887-1971) Shin Pond, Maine Mountain Winter, 18" x 24", watercolor. Sold: Barridoff Galleries, 2016, $1,440

John Joseph Enneking (1841-1916) North Newry, Spring Fields, 10" x 14", oil on canvas board. Sold: Freeman’s, 2017, $3,000.

Selden Connor Gile (1877-1947) Stowe, Tiburon Bay, 24" x 30", oil on canvas. Sold: Bonhams San Francisco, 2016, $245,000

Marguerite Zorach (1887-1968) Seal Harbor, Birds at Robinhood Cove, 11.97" x 13.98", oil on board. Sold: Trinity International Auctions & Appraisals LLC, 2016, $6,130

Frank Whiteside (1866-1929) Ogunquit, Along the Coast, Ogunquit, 14.00" x 20.00", oil on canvas. Sold: Barridoff Galleries, 2016, $960.

Robert Spear Dunning (1829-1905) Brunswick, Strawberries, Grapes, Sugar Bowl, and Nosegay on a Silver Tray, 14" x 12.13", oil on canvas. Sold: Skinner Inc., 2017, $38,130

Charles Morris Young (1869-1964) Southwest Harbor, Smedely Field, 15.00" x 18.00", oil on canvas. Sold: Alderfer Auction House Pennsylvania, 2017, $8,190

Stephen Pace (1918-2010) Stonington, Untitled (Abstract), 27.75" x 20", watercolor on paper. Sold: Rachel Davis Fine Arts, 2017, $1,600.

September 2017 47

Pers p ective s

Walter Griffin (1861-1935) Portland, Summer Landscape with Waterfall, 20" x 27.5", oil on canvas. Sold: Trinity International Auctions and Appraisals, 2017, $1,593.

Virgil Williams (1830-1836) Dixfield, Rowboat on the River, 32.50" x 47.75", oil on canvas. Sold: Shannon’s Fine Art Auctioneers, 2015, $7,800.

Andrew Newell Wyeth (1917-2009) Port Clyde, Cushing, Winter Corn Fields, 32.01" x 40", tempera on board. Sold: Freeman’s, 2015, $1,145,000

NC Wyeth (1882-1945) Port Clyde, Hands Up! 43 x 30, oil on canvas. Sold: Christie’s New York, 2016, $4,951,500

Imero Gobbato (1923-2010) Winter Lighthouse in Maine, 24.5" x 28.5" oil on canvas. Sold: Thomaston Galleries, $11,115 4 8 p o r t l a n d m o n t h ly m a g a z i n e

Donald Allen Mosher (1945-2014) Monhegan, Stonington, Maine, 20" x 24", oil on canvas. Sold: James D. Julia, 2016, $3,258

Paul Strisik (1918-1998) Rockport, Downeast Harbor 20" x 30", Oil on canvas. Sold: James D. Julia, 2017, $6,413

Abbott Fuller Graves (1859-1936) Kennebunkport, Field of Wildflowers, 11" x 13", oil on canvas. Sold: Leslie Hindman Auctioneers, 2017, $2,500

James Everett Stuart (1852-1941) Bangor, (detail from) Sunset Glow, Mt. Tacoma, 24" x 20", oil on canvas. Sold: Clars Auction Gallery, 2017, $1,599

Samuel Bradburn Banton (1795-1864) Belfast, Profile Bust of Couple, 2.5" x 3.75" watercolor. Sold: Thomaston Place Auction Galleries, 2016, $1,800

images courtesy of the auction house

Dwight Blaney (1865-1944) Bar Harbor, Wooded Beach Scene, 14.00" x 20.00", watercolor on paper. Sold: Swann Galleries, 2017, $2,340

Tina Ingraham Rocks, Trees, Sand and Sea: Popham to Blue Hill

September 7 - 30 Opening reception Sept. 7, 5-7pm featuring Roy Germon in the side gallery

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September 2017 49

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P e r s p e ctives

Reuben Tam (1916-1991) Monhegan Island, Red Tide Sunset, 20" x 22", Oil on board. Sold: James D. Julia, 2017, $2,117

Hunt Slonem (1951-) Kittery, Ringnecks, 24" x 24", oil on canvas. Sold: Fairfield, 2017, $4,600

Charles Herbert Woodbury (18641940) South Berwick, Wave Peaks, 8" x 26", oil on canvas. Sold: James D. Julia, 2016, $4,740

Xanthus Russell Smith (1839-1929) Casco Bay, C.S.S. Manassas & U.S.S. Hartford in New Orleans Harbor, 5.25" x 9.5", oil on board. Sold: Christie’s New York, 2017, $27,500

George Carpenter (1928-2006) Ogunquit, Rocky Surf, 12" x 16", oil on board.

Sold: James D. Julia 2016, $1,185

T. M. Nicholas (1936-) Rockport, Breezy Day, Acadia, 20" x 30", Oil on canvas.

Sold: James D. Julia, 2017, $6,413

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September 2017 51

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P e r sp e ctives

images courtesy of the auction house

Haley Lever (1876-1958) Grand Manan, Monhegan Island Dock, 24" x 26", Oil on canvas. Sold: James D. Julia, 2017, $13,310

Eric Hopkins (1964-) New Haven, Flying Over the End of the Point Again, 36" x 48", oil on canvas. Sold: Barridoff Galleries, 2016, $9,600

Alfred Chadbourn (1921-1998) Yarmouth, View from the Table, 40" x 40", watercolor and pen. Sold: Barridoff Galleries, 2016, $4,800

Jay Connaway (1892-1970) Monhegan Island, (detail from) Monhegan Dock, Winter, 19.25" x 23.25", oil on canvas. Sold: Thomaston Place Auction Gallery, 2016, $5,500

Seth Eastman (1808-1875) Brunswick, (detail from) Garden Scene, 13.25" x 5.25", watercolor on paper. Sold: Vogt

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William Thon (1906-2000) Port Clyde, (detail from) The Sardine Boat, 19.50" x 26.25", w/c and pen. Sold: Northeast Auction, 2016, $1,080

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Alexander Bower (1875-1952) Cliff Island, Portland Harbor, 33" x 27", Oil on canvas.

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Marsden Hartley, Canuck Yankee Lumberjack at Old Orchard Beach, Maine, 1940–41. Oil on Masonite-type hardboard, 40 1/8 x 30 in. (101.9 x 76.2 cm). Hirshhorn Museum and Sculpture Garden, Smithsonian Institution

images courtesy of the auction house

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P e r sp ect i v e s

Alzira Boehm Peirce (1908-2010) Ellsworth, The Ping Pong Match, 31" x 44", Oil on board. Sold: James D. Julia, 2017, $2,117

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Walter E. Schofield (1866-1944) Chebeague Island, Coast of Maine, 29.75" x 36", oil on canvas. Sold: James D. Julia, 2016, $26,662.50

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Peter Poskas (1939-) Monhegan, Dark Water Study, 9.50" x 11.25", Oil on masonite. Sold: Barridoff Galleries, 2016, $3,100 Alfred Gwynne Morang (1901-1958) Ellsworth, Carnival Abstract, 13.5" x 10.5", ink and gouache on paper.

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courtesy of the respective auction house

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September 2017 57

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Arts

Art Agitators

Fog or Lost Souls (2012) by Natasha Mayers

Stir it up: Social activism thrives

images courtesy of the artists

W

hen Governor LePage seized Judy Taylor’s largely federally funded “History of Maine Labor” mural from its spot in the Department of Labor in 2011, artist and activist Robert Shetterly and his Union of Maine Visual Artists colleagues mustered more than 400 concerned persons to a press conference at the art-denuded office. The great African American artist David Driskell was this year’s honoree at the Colby College Museum of Art’s annual Summer Luncheon. A crowd of hundreds gave him a standing ovation for his speech about art of the African diaspora, the work he makes in his Falmouth studio, and his own story of growing up poor and black in the South. Meanwhile, current artists like Pigeon have grabbed attention with a series of wheatpaste-posted prints featuring the

in Maine’s fine art world.

By Dan iel Kany

bold label “MAINER” under images of real Mainers–black, Latino, female, gritty, gay, and otherwise. The arresting images were seen by tens of thousands on the Congress Street columns of Maine Historical Society, among other places. Jay York’s photo series “Jay’s Morning Walk” chronicles the photographer’s daily observations of city life on film. His lens casts an unflinching eye on discarded syringes and uncomfortable scenes of the previous night’s hedonism on Portland streets in the stark light of day.

These images appear on hundreds of local Facebook feeds day-after-day (including mine), like a calendar drumbeat.

Everywhere, it seems, we are seeing Maine artists dedicated to stirring social engagement.

In fact, well before Trump, art in Maine passed an invisible threshold. While the

Live Wires Natasha

h Maye rs

h

BUSTED: Natasha Mayers is arrested for an act of non-violent civil disobedience at the launch of a Bath Iron Works destroyer on April 1, 2017.

Natasha Mayers is a painter and activist whose 2016 solo exhibition “suits” at the Maine Jewish Museum took an old-school liberal approach to economic justice, portraying Wall Street’s members, or “suits,” as September 2017 59

Arts cultural landscape had long been dominated by traditional arts, the scales have tipped towards more contemporary modes. Maybe it’s the modernist roots of Maine’s traditional art? After all, the Impressionists, Winslow Homer, and even the practice of plein-air painting are all radical and revolutionary by nature.

B

6 0 p o r t l a n d m o n t h ly m a g a z i n e

“I’m sometimes making nasty jokes about a nasty world.”

(Natasha Mayers, continued from first page) a sickness, an infection within our culture, appearing everywhere in painterly references to masterpieces, styles, places, and ideas.

What’s the social content of your work?

I question power and the social order. I’m interested in power differentials–the hidden mechanisms that control how wealth is distributed. This was my theme for the “suits” series. The “suits” neutralize the individual, depersonalize the role. Even the people who wear the suits are disempowered [sometimes], as they too are caught in and chewed up by the system they pretend to control.

Is art an effective tool for social change?

Yes, of course! The most important work I do now is with the Artists’ Rapid Response

Team (ARRT!), a project of the Union of Maine Visual Artists. I also work with the disenfranchised and those in the mental health system. I help those people find their voices, to tap into their full range of expression. In collectively creating protest banners, ARRT! also helps marginalized groups to amplify their voices and be heard. It’s important to me that I am unafraid to address social issues directly in my work.

What’s the relationship you see between your audience and the content of your work?

I’m sometimes making nasty jokes about a nasty world. I’m talking about the most serious things with a touch of irony, humor, pattern, exuberant color, eccentric configurations. It may be simultaneously seen as a cry of joy and a cry of rage–a damning cri-

images courtesy of the artists

ecause it’s our norm, American culture may be hard for us to see.

But to the world, America represents the possibility and potential of societal revolution. We are the proof a society can overthrow powerful oppressors to create its culture anew according to its own values.

In oppressive regimes, the incendiary power of culture is well known. After Malevich and his colleagues of the Russian avant-garde helped lead the effort to remove the Czar, the Soviets outlawed abstraction–even though black square painter Malevich was the first cultural minister of the revolution. Hitler also took the threat of abstract painting seriously and forcibly seized what he labeled “entartete kunst”– degenerate art.

Art, in other words, has long been known to stir social engagement–and powerfully. We should also remember that while we largely associate Maine-connected modernists like Edward Hopper, Robert Henri, George Bellows, and Rockwell Kent with painterly appeal, they were seen in their time as politically-charged social realists. Henri, Bellows, and Hopper were members of the rebellious Ashcan School movement. We know this, but we have forgotten how to connect that to the Maine side of their work.

With fewer leading galleries but plenty of expansion among museums and non-profit venues, Portland’s art scene has changed.

Social media is now a massive engine for the dissemination of cultural efforts. But as the venues have changed, so have the media. Installation, video, performance, photography, and various multimedia offerings now appear to outnumber painting in terms of audience and local offerings.

While offhand I could list dozens of regional artists whose work is primarily driven by social content, I recently spoke to a few who represent the range and reality of Maine artists who dare to disturb, incite, and stir social engagement.

hDaniel Minterh

Daniel Minter is a painter who has never shied away from difficult subject matter.

Take, for example, the ghastly history of Malaga–a coastal Maine island that was home to a mixed-race fishing village. In 1912, the state purchased the island, forced the inhabitants to leave, seized mixed-race children from their families, and even exhumed the bodies from the local cemetery (See our story, “Shudder Island,” October 2004). This shameful slice of history was brought to life

by Minter through a series of paintings of the island’s former inhabitants. In 2012, “A Shallow Home” went on exhibition at the Soren Christensen Gallery in New Orleans.

Earlier this year, Daniel Minter organized an exhibition entitled “A Distant Holla” at Portland’s Abyssinian Meeting House. Built in 1828 by free blacks, Portland’s Abyssinian Meeting House is the third oldest African American meeting house in America. Minter’s highly attended exhibition and performances celebrated the driving power of the Abyssinian Meeting House and its attending black communities as facets of local society

and culture. The show featured works by David Driskell, Lebanese artist Elizabeth Jabar, Haitian-American Rafael Clariot, Ebeneza Akapko, Titi de Baccarat, and Hi Tiger frontman Derek Jackson. Following its opening, “A Distant Holla” was lauded as “a deeply spiritual show on hallowed ground” by the Portland Press Herald.

F

rom painting exhibitions to performances, Minter is a leading community figure who, despite his broad-tent appeal, engages with an outspoken edge.

He was one of the few local figures who spoke out publicly on social media in support of British artist Hannah Black’s criticisms of Dana Schutz’s contentious painting of Emmett Till in this year’s Whitney Biennial.

While Minter’s work often features uncomfortable truths, he presents past difficulties in the light of spiritual healing rather than bitter shadows. Outrage, his toughest works remind us, can and should motivate us all to be better people. Outrage is a tool for guiding the future away from past wrongs.

Rollover (2014) featured in “Men in Suits: Paintings

by Natasha Mayers,”an exhibition at the Maine Jewish Museum in Portland in 2015.

tique of our government’s policies, but also an artist’s coping mechanism for living with the onslaught of depressing news.

My challenge is to make a symbolic image that expresses both personal and universal feelings, to avoid clichés, to get under your skin, and not turn you off. To help you connect the dots between events and issues.

Art can help you feel your feelings when things are scary. It allows us to reflect on who we are and what we’re doing as a nation. When you view my work, I hope you’ll get more in touch with your unease about what’s going on and sense the emergency and the madness of it. Grief can open the heart to courage and compassion, and outrage can move you to an active and moral response.

Denise Levertov articulated this idea in the introduction to her poetry anthology, Making Peace: “A poetry articulating the dreads and horrors of our time is necessary in order to make readers understand what is happening, really understand it, not just know about it but feel it.”

A Distant Holla (2017) by Daniel Minter September 2017 61

Arts h

Jan Piribeck

h

an Piribeck is a professor at USM, where she helped establish the digital art program. Her art takes its lead from geographic information science and specifically seeks to engage the community about the effects and echoes of sea level change.

What social goals are you trying to reach with your art?

Society would be much healthier if it didn’t ignore environmental change. I’m trying to accomplish the goal of informing people about sea level rise using art as a medium of communication and expression. My vision is for artists, community members, entrepreneurs, city planners, and government officials to work together toward “no regrets” decisions that impact the long-term future of the environment.

Generally, what is your work about?

The subject matter of my work is sea level change, which I think of as a metaphor for change in general.

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

Jan Piribeck installs Blue Wrap Wave, a collaborative project done with Christopher Wright as part of ‘Meeting Place East Bayside,’ a project of Art At Work, The City of Portland, and the East Bayside Neighborhood Organization.

Is art an effective tool for social change?

Of course! Some artists believe social content corrupts the purity of aesthetics, but as Laurie Anderson said, quoting Lenin, “Ethics is the aesthetics of the future.” That future has arrived.

Tell me about your work’s social engagement?

I’m the founder of an artist collective called the King Tide Party. King Tides are the highest tides of the year, and they pose a frightening reality to the future of Casco Bay. We’re a collective of socially engaged artists whose

Ilulissat Glacier: Aerial View

mission is to develop new and imaginative ways of communicating the reality of sea level rise. We’ll make something, a sculptural object, a reading–a process in which people participate by writing something and reading it in public. The process will punctuate and embed into the memory of the people who participate.

How do your social or political goals relate to the objectnature of art?

I believe in the well crafted idea. I believe in letting the idea take form. For me, that’s generally installation, prints, and a process of digital journaling.

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“‘There’s a lot of suffering due to conflicts in our world.

But how much? Due to how many current wars and conflicts?’” I didn’t know, so I went looking for answers.” vestigates the CIA’s imperialist playbook for American conquest possibilities. Among his socially-engaged artistic production, however, we should include his curatorial activities. Mills hosted the first curated exhibition of Saudi contemporary art in New England at Bates, “Phantom Punch: Contemporary Art from Saudi Arabia in Lewiston.” Referencing the infamous 1965 knock-out boxing match between Muhammed Ali and Sonny Liston, the show aimed to “create a timely cross-cultural dialogue on campus and in the surrounding communities.”

What role do you see art playing in local, state and/or national culture?

Art is part of culture. I don’t prescribe a

images courtesy of the artists

OCT 4 thru OCT 29

Dan Mills h

Dan Mills is both a painter and the Director of the Bates Museum of Art. His work, which has been exhibited in leading galleries in New York, Chicago, and Los Angeles, ranges from parody videos of Donald Trump to large-scale paintings on maps that use nuanced visual systems to redirect and provoke deeper understanding of demographic and map-related data. His 2011 map series, “Future States of America,” in-

specific role but recognize that art, the arts, are inextricably woven into culture.

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Is art an effective tool for social change?

Y

es, but it’s only one facet or tool. Unless the art rises to being culturally embraced beyond the art world and covered in the media, it’s scope is limited.

Our society sometimes has a way of diminishing the arts and their importance. However, more people attend museums than professional sports events and theme parks combined, with over 850 million visitors each year to American museums, according to the American Alliance of Museums.

What do you think is the most important social content that now appears in Maine art?

I think it’s the breadth of the art being made here in terms of subject, concepts, and disciplines.

Tell us about your latest project.

My 2015 series, “Current Wars and Conflicts,” started with the thought: “There’s a lot of suffering due to conflicts in our world.

But how much? Due to how many current wars and conflicts?” I didn’t know, so I went looking for answers. After doing some research, I created over 40 works that visualize the information on maps, atlas pages, children’s geographies, and drawings. n September 2017 65

L a n dmarks first Maine’s w e n k o Wh heater movie t r become would late NOSH, ous the infam f o e m o h rger?

Now Bu e s p y l a Apoc

m a e Dr The Silver Screen

It was Maine’s first theater built exclusively for the movies, a palace of pictured promises lit by electricity, the doorway to a new century–it was Dreamland.

Meaghan Maurice

P

ortland’s long love affair with the movies began promptly at six p.m. on the warm summer evening of July 3, 1907, at 551 Congress Street.

Movies are amusements today, but when the 20th century was young, they were miracles. The idea that an image could burst its frame and come to life seemed like sorcery– impossible to explain and amazing to behold. Moving pictures also presented a tantalizing opportunity for newcomer James W. Greely, a promoter and eager entrepreneur then strolling the streets of Maine’s largest city. Born in Bangor and educated in

By Her b Adams

Lewiston, Greely (1876-1950) was a young Spanish-American War veteran with a savvy eye and a sure sense of what sells.

Portland had seen motion pictures before–flickering French imports of scenery and fire engines shown as wraparounds for lantern slides and sing-a-longs, usually in borrowed halls and club rooms. Why not, pondered Greely, display this new miracle in a palace of luxury worthy of its mystery? And why not on that very street of dreams, Congress Street?

The man, the moment, and the magic had met, and the name Greely gave it said it all: Dreamland.

From the first, like its very name, Dreamland Theater was a fantasy. Erected over a rebuilt fruit store on a bustling arc of Congress Street opposite the thennew Beaux-Arts Miller Building (1904, now the Maine College of Art), its soaring, stepped façade–part Mexican, part Moorish, with dazzling light effects–was the work of 28-year-old John Howard Stevens, son of the famed architect John Calvin Stevens himself. the opening night Scaffolding and canvas covered frantic construction crews until the very last minute. It was “one of the most strenuous days known September 2017 67

Landmarks

Hidden History

A

nd what a change. Above a 12-foot arched doorway, a 20-foot electric banner blazed DREAMLAND in red, white, and blue amid 300 twinkling stars that beckoned patriotic patrons into a penny arcade whose walls and ceilings glowed with red, green, and gold trim, all bathed in the light of frosted white globes, “the effect of which is very tasty,” noted the Express.

“Up to a few minutes before 6 o’clock the place was in the hands of various kinds of workmen, including painters and carpenters and joiners,” observed the Argus, “but aside from the delightful freshness of everything, and barriers here and there to keep people from pressing against wet paint, it would never have been known the place was so pushed to be ready…the visitor will be greatly surprised as he enters, as one would hardly imagine the place to be so large.” Under an arched steel ceiling, some 243 “folding revolving chairs, a feature new to this city” faced a huge white wall “on which are thrown the pictures” and a cur-

6 8 p o r t l a n d m o n t h ly m a g a z i n e

tained space for the live musicians, who on opening night were to include Prof. Heinrich Puzzi of New York on the piano and from Boston “Miss Anna Dolan to take care of the traps and drums.” Vocals were to be provided by the baritone Mr. J. W. Myers, one of the most famous voices in America, thanks to the new-fangled Edison gramophone records.

Far back above the arcade (focal length was a new idea, and a big picture required a big distance) in a fireproof projection room stood two new “moving picture machines, the very latest type, which practically do away with the flicker so confusing to the eye…with double shutoffs, to insure perfect safety.” Which was prudent of the planners, as early nitrate film was notoriously unsta-

ble–embarrassing explosions had marred Boston screenings.

Dreamland endured a few openingnight jitters–drummer Anna Dolan got stuck in Boston, the projectors stuttered, and the ceiling fans refused to pull–but baritone Myers soothed all with “Two Little Sailor Boys” and sing-along slides; and Little Sadie McDonough, Portland’s child wonder vocalist, put in a surprise appearance, wowing the crowd with her rendition of “My Irish Rosie.”

Outside, the crush of the waiting crowds slowed the Congress Street trolley cars, but Greely kept things flowing smoothly within. “All-day and all-night crowds made their way through the pretty entrance,” noted the Express. “It is by far and away

meaghan maurice

to workmen in this city for a long time,” according to The Eastern Argus, Portland’s morning newspaper from 1863 to 1921.

“Yesterday afternoon the staging was removed, and hundreds of people stood and admired the new building and wondered at the marvelous change from the old, unsightly affair of a few weeks ago,” reported the Evening Express on opening night, July 3, 1907.

Dreamland’s name suggests its grand yet hazy reputation, in much the same way that foggy details of a dream slip away after waking up. The building that first introduced Mainers to the movies now houses the extravagantly gluttonous NOSH Kitchen Bar, serving up bacon-dusted fries and a burger sandwiched between slabs of deep-fried mac & cheese. The years and renovations have wiped away the design, structures, and ephemera that harken back to 551 Congress’s original purpose. The interior of the space is modern and clean, with little to suggest its starry past. Landlord Tom Moulton was unaware of his property’s legend. “None of the architecture is original besides the ceiling, which has been painted over,” Moulton says.

“I know it was a theater but, I don’t know much about it at all,” his son, co-owner Tobey Moulton, adds.

What about NOSH’s staff, the people who spend every day getting to know this centuryold space? It seems that traces of history still go bump in the night. “I knew it was once a theater,” says server Elizabeth Mancini. ‘I was terrified when I first closed up alone. I heard so many noises.”

“A co-worker claims to have seen a ghost…a lady walked through the wall,” confides bartender Faith Currier. “And after hours, I once saw a cork board that was hooked firmly into the wall fly off of its own accord. It creeped me out.”

Perhaps Dreamland will continue to linger here, gone but refusing to be entirely forgotten.

– By Ryanne Desjardins

ahead of anything yet seen in these parts from an artistic point of view, and as an attraction, it bids fair to stand with any. The rough edges have been smoothed off the many little defects that are bound to happen to any brand new affair, so that in the future the people can expect perfection.”

The first movie shown at Dreamland may have been The Bunco Steerers, but Portland’s first night at a professional movie house was no bunco. “There are people in this city who make it their Christian duty to frown upon every new enterprise that starts up,” admitted the Argus the next day. “[But] the new Dreamland happened to hit people just right, and it has been crowded ever since the doors were first opened.” On Thanksgiving Day, 1907, Greely reported 2,443 paid admissions for Dreamland’s 243 seats between 11 a.m. and 11 p.m., meaning each seat sold ten times over during the course of the day.

A Fleeting Dream ut Dreamland, like dreams themselves, could not last forever. By 1910, only three years after opening its doors, Dreamland was gone, unable to sustain itself as a small house against the demands of the new motion-picture distribution monopolies. But Portland was in love We are committed to with the movies, and the 110-year romance thefabled highest continues providing to this day. Other movie houses rose and fell the ForestenterCity– quality ofincasino Kotzschmar Hall, the Old Nickel, and tainment for you andtheyour Old Portland competing with fading liveguests - truly perfect for theater troupes at the Jefferson and the occasion!

Keith’s–asany tastesfun-filled in entertainment changed, but the movies endured.

Dreamland itself still stands, altered Contact our lively group but recognizable, now entertaining happlan make py patronstoday as Noshand Kitchen Bar,towith its your next event someown name up in lights above the door, like the Dreamland of longspecial! ago. James thing really W. Greely marched on, too, running other theaters and a city roller rink in World War II. Many years later the savvy pioneer shared the(207) secret650-9977 of his success with a young reporter who asked him, “Why tomob_2001@yahoo.com are there so many sex pictures and gunwww.casino-to-you.com men stories and not more (classics)?”

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By Sarah M o o re

7 0 p o r t l a n d m o n t h ly m a g a z i n e

“I

trends

Over 300 years since the printing

press came to America, the craft is

experiencing a renaissance, with Maine at the epicenter.

wood type

blair best

Ink runs in this city’s blood. Paper from Maine forests has turned brilliant ideas into stunning books and documents for centuries.

Even given the relentless, ephemeral nature of information in our digital age, it’s little surprise that the deliberate and tactile art of printmaking is thriving. You may have noticed how the trend subtly pervades daily life in the Forest City. Menus incite hunger with delicious type, wedding invitations are stamped into heavy paper, and business cards are being crafted so artfully that Patrick Bateman, the American Psycho, would be incensed with envy. Keep an eye out for Gus & Ruby, the Portland letterpress shop that recently opened an outpost on Exchange Street.

But recent history tells us this is no flash-in-the-pan trend. The city houses a number of individuals for whom the traditional practice of printmaking is a lifelong fascination–and an art form. Today’s burgeoning print scene is fresh growth from established roots.

In 1875, the Rev. Francis Southworth launched Southworth Press as a means to distribute religious documents to sailors (who may have benefited from some divine intervention).

The company was renamed the Anthoensen Press in 1934 after it was bought by Fred Anthoensen, a Danish printer who began as Southworth’s apprentice. Fred’s vision and dedication to rare typography and design cemented the press’s reputation nationwide as a standardbearer of high-quality print production.

The high-toned Boston Athenaeum published its numbers here, resulting in our city becoming an international intellectual magnet. According to USM’s special collections, which prizes original manuscripts and ephemera from Anthoensen, “For most of the 20th century, the Press was located at 105 Middle Street. A fire in 1970 temporarily shut down the press, causing some smoke and water damage to their rare types and the office collection of the books they had produced.” Undaunted, “The Anthoensen Press moved to a new location on Exchange Street.”

Having survived fire, the company was less prepared for dramatic changes in technology in the 1980s which replaced the exacting nature of letterpress–even its adroitness–with a rapid evolution of computer alternatives. Anthoensen limped along until 1987. Despite its departure, the legacy of traditional print lingers. If you want to see the ghostly residue of Anthoensen’s painted signage on a brick wall in the Old Port, just have a beer on the Thirsty Pig deck.

Which brings us to the crafty print merchants of today.

Inked Designers used to maneuvering a mouse will be stopped short by the sight of Wolfe Edition’s 2,000-square-foot workshop on the first floor of a 100-year-old former bakery on

September 2017 71

trends

Partially obscured by ivy, the Market Street-facing wall of the Thirsty Pig is a palimpsest of the Anthoensen Press, which occupied the space up until 1987.

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Out of the Ashes In those years, a traditional print shop could be built on a dime. “I started out with nothing,” Wolfe says, standing within his empire of iron and paper. “There’s no way I would’ve been able to buy all of this if it weren’t for the flux the industry was in at the time. Companies were practically giving away inventory. I have machinery from Anthoensen, Curry Printing, Stinehour Press. “This cost me a thousand dollars.”

He points to an eight-foot Linotype machine, a mad-scientist tangle of keys and levers. “I was told the Press Herald got rid of

from left: beer snob squad; meaghan maurice; Blair best (2)

intaglio

Pleasant Street. Walls are lined with type cases and drawers amid a scatter of lead type blocks and swathes of paper. Heavy manual machinery gives the interior the patina of antiquity. The overall impression?

We must be on the set of a steampunk movie. Owner David Wolfe rolled into Portland in 1979 to become a “printer’s devil” at Anthoensen Press, “sweeping floors, mainly,” he says. A graduate of fine art printmaking from Maryland Institute College of Art, Wolfe learned the slow, precise art of letterpress printing using Linotype machines and giant cylinder printing presses. Even then, he’d become part of a reverse trend, when the world was shifting rapidly toward alternative modern methods. Did he ever fear he’d chosen a soon-to-be obsolete career path?

“When Henry C. Thomas bought Anthoensen in 1982 and decided to modernize, I could’ve gone down either path: employing the new methods or staying with the old ones,” he says. “In fact, the ‘powers that be’ offered me the opportunity to become head of the traditional letterpress department, replacing my friend Harry Milliken. They wanted to push the old guard out. That didn’t sit well with me, so Harry and I left to start Shagbark Press in 1984.”

about 50 of them!”

Wolfe and Milliken ran Shagbark for five years before selling in 1992 to another former Anthoensen employee, Scott Vile. If Anthoensen was the source of Portland’s printing stream, Shagbark may have been the confluence–Vile and Wolfe have worked and collaborated ever since. Wolfe spent a further five years at the famous Stinehour Press in Vermont before returning to Portland and establishing Wolfe Editions in 1997.

“One of the things that has kept me here is my ability to adapt and change,” Wolfe says of his professional longevity. Original works span from letterpress posters designed for Tide Institute of Modern Art to the handmade exterior signage for Woodford Food & Beverage. Wolfe also collaborated with celebrated artist Dahlov Ipcar shortly before her death in 2016. Together they reproduced her famous oil painting

A

Odalisque (1960) as a series of one hundred woodblock prints for Maine College of Art, the proceeds of which benefit student scholarships. “We chose that painting because, well, everybody loves cats,” he says. “It was a pivotal piece in her career. It was one of her first forays into patterns. I had to cut the image out myself. She told me her hands were too crippled to hold the materials.”

Having weathered the uncertain years of the early 21st century, Wolfe now has the sense that Maine is poised to lead the print renaissance. His son, Sean Wolfe-Parrot, plans to open an annex of Wolfe Editions in Eastport to manage the steady workflow.

Meanwhile, according to Wolfe Sr., “Big print shops in New York, Boston, and San Francisco are closing down because of rent costs. I’ve been getting commissions from clients in New York. It’s cheaper to work with printmakers here instead.”

printer’s devil

Master printer Pilar Nadal runs Pickwick Independent Press on Congress Street.

Sociable Machines Over thirty years into his career, Scott Vile of Ascensius Press is riding the current wave of print popularity with the calm air of a veteran of the craft. “Maine is thriving right now because of the large printing costs in this line of work,” he says. “I have a medium Heidelberg cylinder, a large Albion handpress from 1860, a couple of Vandercook 4T models–these machines take up space. A good friend near Boston is currently seriously considering closing business after 30 years. His rent alone is $3,000 per month.” Meanwhile, Vile enjoys the luxury of affordable space in Maine. He recently relocated his studio to a 3,500-square-foot former supermarket in Bar Mills.

While Wolfe is a print polymath, Vile is a dedicated bibliophile. He launched Ascensius Press in 1988 with the aim to produce high-quality books and “books about books” for private libraries and arts organizations along the East Coast. He’s also witnessing the effects of a strangled print industry in the big cities, with the ripple effect felt in Maine. “I’ve been making stationery and literature for condo developers in Manhattan. They have plenty of money to spend. I really don’t like that kind of work, though,” he says, “I love making books.

I still have some of Anthoensen’s clients from the 1930s and ’40s.”

Ascensius’s stellar catalog of creations includes an illustrated edition of Henry David Thoreau’s The Maine Woods printed on Maine paper and sold in a Maine-made white pine box. “All 45 copies sold in 2001.

Last year, I saw that one of these editions was being re-sold for $3,500.” In 2011, Ascensius printed a special edition of David Foster Wallace’s acclaimed essay, “Consider the Lobster,” with illustrations by David Godine, and, in 2014, an edition of Robert Frost’s North of Boston in celebration of the centennial of the anthology’s publication.

Ascensius’s Maine focus deepened further once Vile was enlisted to produce letterpress invitations, promos, and small books for the L. L. Bean family, including “materials for Leon Gorman’s funeral in 2015.” The partnership blossomed when a young Bean’s designer stumbled across Ascensius online and was captivated by authentic production quality of letterpress printing. According to Vile, this enthusiasm is bubbling up in a new generation that have grown up on a diet of screen and tran-

September 2017 73

trends

An Exact Art

“W

“Big print shops in New York, Boston, and San Francisco are

f rom left: meaghan maurice (1); Blar Best (2)

closing down because of rent costs. It’s cheaper to work with printmakers here in Maine instead.”–David Wolfe sient digital content.

“About 15 to 20 years ago, young people could still remember the old days of letterpress. But this new generation has never been exposed to it before. There’s a sense of excitement among young artists discovering printmaking for the first time.”

P

Freshly Pressed Pickwick Independent Press may be a relative newcomer to the print scene, but it’s perhaps the most visible to Portlanders.

Situated above Space Gallery on Congress Street, Pickwick is a collective of printmak-

ith printmaking, there is definitely a fine line between art and craft,” says artist Jessyca Broekman. I had the chance to personally walk that line and witness the inner workings of nonprofit printmaking studio Peregrine Press.

“We work together, we teach each other, and we help each other,” Broekman continues, as four other female artists, dressed in ink-stained aprons, prepare paint and type trays around us. Surrounded by carving tools and paint-covered work tables, it’s captivating standing alongside these artists and watching their meticulous printing processes. I’m particularly drawn to one printer and her journey. Jenny Scheu is an architect and has been using monotype printing while adding layers of ink, glue, sand, tape and watercolors to create large abstract printing plates. When her third print of the morning rolls through the press, I watch her struggle carefully to peel it off. “I might end up coloring it or cutting it up for a collage. It doesn’t feel very successful to me, so I’m still trying to experiment. I’ve been working on developing this plate for a whole month,” Scheu says. There is a palpable sense that these printers share a love for the fine art of printmaking and embrace the long, challenging processes involved. They even trust me to pull the heavy press wheel on one of the proofs myself and watch the inked print reveal itself on the paper below. Consider me a print convert. – By Blair Best

ers responsible for many of the posters that herald music and art shows on the city’s flyposting walls. Owner Pilar Nadal runs this community art space for around 25 paying members who have 24-hour access to a number of letterpress, woodcut, lithography, and silkscreen printing systems.

The organization was bought by Nadal in 2015. She’d begun to take an interest in the art of traditional printmaking in 2006 while living in New York, working as a graphic designer for Whole Foods. “I had a happenstance education in print up until I moved to Maine,” she says. “Then I gradSeptember 2017 75

T re n d s uated from MECA with an MFA in 2013 and spent two years training with David Wolfe to become a master printer.” These days, “Ninety percent of my time is dedicated to running Pickwick,” Nadal says, leaning against a worktop in the sunlit studio that’s plastered floor-to-ceiling in posters, members’ artwork, and color charts.

“We have our annual print sale in Congress Square Park, the second New England Art Book Fair, open studio events, and commissions.”

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Nadal is exuberant about the growing hunger for traditional print methods.

“I think there’s always been a pretty robust print scene in Portland, but I think it’s coming to the surface more. There’s this idea that doing something by hand is harder than doing it on a computer.” She laughs.

“It’s not really. They just use different motor skills. I see students get really excited about printmaking. It’s a physical, tactile process.

I think there’s a real longing to create something with a tangible, material presence in the world.” n

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h u n gry Ey e

Pasta Fa n tast i ca Freshly made pasta in traditional strands and shapes? Served with enchanting, authentic sauces? In wonderfully intimate trattorias?

Portland’s the place.

kari herer

By clair e z. cramer

T

here’s always been an Italian community in Portland, and Italian restaurants. DiMillo’s, Maria’s, Bruno’s, and the bygone Village Café are part of our DNA. Vignola/Cinque Terre brought upscale Italian cuisine. More than 10 years ago, the Front Room on Munjoy Hill turned us all into gnocchi fiends–for brunch, no less, with eggs and hollandaise sauce. Chef/owner Harding Smith subsequent-

September 2017 79

Ribollita chef Kevin Quiet has been preparing fresh pasta by hand for the past 20 years. He uses a wooden drying rack to hang strands of spaghetti and pappardelle.

8 0 p o r t l a n d m o n t h ly m a g a z i n e

meaghan maurice

Hungry Eye

ly opened the Corner Room, with an Italian menu featuring such pastas as pappardelle and bucatini made on the premises. And today, the bar for authentic Italian pasta in this city has never been higher.

BACK COVE SUPER FINE “All of our pastas are handmade by our morning prep guru, Camille,” says chef Mike Smith at Tipo on Ocean Avenue. “She has what we refer to in the business as ‘pasta hands.’ She does a killer job. We use different flours and combinations of flours for each pasta. We like super fine pasta flour, semolina, and rye flour.

The gnocchi are both potato- and ricottabased, with some flour and egg.”

“W

e have an electric pasta roller made in Italy to roll out the sheets. The fazzoletti (handkerchiefs) and the garganelli (tubular quills) are cut with a “bicycle” cutter, with five smallwheel blades that can be [adjusted] and locked into place. The spaghetti is cut on a chitarra.

The corzetti (flat circles) are hand-stamped with a custom corzetti stamp from Florence.”

We find Camille Mann making pasta in Tipo’s spotless kitchen one recent morning.

A restaurant veteran who’s worked at Fore Street, Hugo’s, Eventide, and Pai Men Miyake, she moves with practiced, economical motions at a broad stainless counter. She sends a long, wide band of pasta dough through the electric roller several times, after which she lays it out on the flour-dusted counter.

“This is a garganelli board.” She sets down a wooden board less than a foot square. It’s surface is carved with tiny parallel ridges.

“Wood enhances the texture of the pasta, and rigates carry the sauce better.” A couple of passes of the bicycle cutter over the sheet of dough turn it into neat two-inch squares.

Working quickly, she rolls each square diagonally onto a thin dowel over the garganelli board. Voilà–ridged tubes with a quill point at each end. In a couple of minutes, she’s heaped a drying tray with a slew of them.

“Right now, we serve these with lamb sugo.

In the spring, it was spring peas and scallions.”

She pulls a brick of bright red dough from the cooler. “Corzetti dough–we put beet powder and a little wine in it.” Another long sheet is rolled out and cut into lengths which are placed on a wooden board and punched into circles about the circumference of a golf ball, using the ring piece of the corzetti stamp. She uses the floured stamp piece to imprint each red circle with Tipo’s motorcycle logo. “We’ll September 2017 81

Hungry Eye

sauce these with pork, Calabrian chilies, and a little chard.”

MILANESE CORNER “We make pasta every day,” says Enrico Barbiero, chef and co-owner of Paciarino with his wife, Fabiana de Savino. The pair left their native Milan with a young daughter seeking a more peaceful place to raise her and have since made their living with 8 2 p o r t l a n d m o n t h ly m a g a z i n e

the charming pastificeria on Fore Street they opened nine years ago. High ceilings, simple pine furniture, brick walls, and potted plants lend a rustic atmosphere.

Enrico’s assistant, Martha Page, tends to a noisy contraption the size of a washing machine. Inside, a batch of ravioli dough is mixing. She lifts up a hinged hatch cover, peeks, and pours in a slosh of tomato paste and water. “This is ravioli Milanese, so it

gets a bit of tomato.” When a five-inch-wide belt of dough starts rolling out, it’s a rich, rosy, buff color. The continuous strip winds around a vertical dowel. Once two dowels have been wound with dough, they’re mounted on another part of the machine.

She loads a canister with a mixture of ricotta, eggs, Parmesan, and black pepper. Next, she snaps it into place on the machine. A flick of a switch, and perfect pairs of ravioli

meaghan maurice

Camille Mann puts her famous “pasta hands” to work stretching out dough through an Italian-made pasta machine at Tipo.

Chef Paolo Laboa (right) and Frank Lehman prepare tortellini for the night’s service at Solo Italiano.

Don’t overlook Paciarino’s retail fridge case just outside the kitchen. I ask Enrico about the black tagliolini. “Ah, that’s made with squid ink, which I get from Browne Trading. It loves any sauce made with frutti di mare.” I purchase a package and make a quick scampi for dinner with fresh tomatoes and lots of garlic from the farmers’ market. Boiling water turns the tagliolini a dark, dramatic green-black, and the tender noodles really do love the shrimp sauce. Do try this at home!

squares start dropping out of a chute onto a broad drying tray dusted with rice flour. In no time, two large drying trays are heaped with ravioli. “This is only enough ravioli for today,” Page says.

“I

had to learn a lot,” she says. “Since I grew up in Maine, the joke here is that I believed there were only two types of pasta–macaroni and spaghetti.”

ON TO LIGURIA Paolo Laboa, executive chef at Solo Italiano on Commercial Street, is another native Italian in charge of a Portland restaurant kitchen. Like Milanese chef Enrico Barbiero, he too has regional pride and a glorious accent. Laboa’s home town is Genoa.

“Genova,” he corrects. “Genovese food has the light hand, very healthy. Today, salt and sugar are put into everything. We don’t do that. My food is real. Everything here is local. Produce and duck eggs come from Stonecipher Farm; other vegetables come from Dandelion Farm.” He shows us his corzetti stamps–“made by a Ligurian stamp-making family who’s carved them for 400 years.”

Solo Italiano has the greatest seating capacity of the fresh pasta palaces we visit, hence the greatest nightly need for freshly made pasta in up to a half-dozen

shapes. Yet the pasta-making work space is the smallest we’ve seen. What’s more, “The menu changes every day,” says Frank Lehman, who functions as the one-man pasta station.

H

e stands at a small counter, handcutting and piping tortellini at lightning speed. “The trick here is to roll, cut, and seal every one of these before the dough dries out,” says Lehman, whose eyes never stray from his work. He piles the tortellini onto a baking sheet dusted with semolina.

“These are filled with mozzarella, basil, and marjoram,” says Chef Laboa. “Tonight, we’ll sauce them with puttanesca di tonno– that’s a puttanesca sauce with fresh tuna.”

He pulls the fingers of one hand together and gazes heavenward to suggest how divine this will be.

Next up are the fazzoletti that Solo sauces with pesto alla Genovese. Laboa’s pesto won a 2008 best pesto award in Genova, and he has the mortar-and-pestle trophy to prove it. “Notice Frank uses only the width of his hand to measure where to cut,” says Laboa as Lehman runs a rolling blade across the sheet of dough along the pinky side of his left hand.

Once these rectangles are dispatched to another flour-dusted sheet, he switches gears to the orecchiette. “These will get a traditional sauce of sausage and broccoSeptember 2017 83

A casual, affordable, Italian-Inspired Restaurant

At the corner of Federal & Exchange Street in Portland’s downtown.

110 Exchange St. Portland, Maine (207) 879-4747

GLUT EN FRE OPTI E ONS

Our house-made, gluten-free pasta can be enjoyed as a substitute for any of our house-made pastas!

Enjoy the same warm, comfortable ambiance at any of Harding Lee Smith’s other Portland sister restaurants:

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84 Exchange St. 207-774-2333

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CP 17-34 Portland Mag_4.75x4.875_mech_HI.pdf

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Enjoy a taste of Italy without leaving Ogunquit

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LITTLE TUSCANY “We make our own gnocchi, ravoli, fettuccine, and pappardelle,” says chef/owner of Ribollita, Kevin Quiet, pictured below. With its café-curtained façade and whimsically carved sign, Ribollita has been a fixture for 20 years on Middle Street near its terminus at India Street, once the edge of Portland’s Little Italy [See our story “Portland’s Little Italy,” April 1990]. A concrete rooster sits in the window–“the symbol of Tuscany.” When you enter, you’re immediately attracted to the brick walls and the coziness of the small dining rooms.

french toast

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Caffé Prego—Ogunquit’s original Italian caffé serving select Italian wines, beer & cocktails along with Italian entrées, authentic brick-oven pizza, paninis, garden-fresh salads, homemade gelato, Italian pastries and a full breakfast served Friday through Monday. Enjoy ocean views from our outdoor bistro and savor a frothy cappuccino under the stars.

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li rabe.” He rolls balls of dough into ropes about a half-inch thick, and lines up a parallel row of six ropes. Picking up a straightedge cutter, he chops the whole row into tiny pieces. One at a time, he gives each piece a quick roll with his thumb, and before our eyes, the “little ears” of pasta pile up. Talk about pasta hands!

If there’s one thing to know about the pasta makers of Portland, it’s that they love what they do.

“Five years ago, I was washing dishes for Paolo at Prides Osteria in Beverly, Massachusetts,” says Frank Lehman. “He taught me to make pasta there. When he moved here, I followed.” He adds, “I was already looking for a way to live in Portland.”

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his is Old Portland,” says Quiet. “There used to be lots of little places like this.” A vintage black-and-white photo hangs in the tiny foyer, showing the busy barbershop that occupied this space in the 1950s. Today, Ribollita is surrounded by hipsterdom–the

September 2017 85

Maria’s Ristorante – Portland’s Classic Italian Restaurant –

Six Course Italian Dinner for Two (Including a bottle of wine) $29 Per Person

Most romantic in the 1980s.

Most romantic now.

Open Wednesday-Saturday | www.mariasrestaurant.com 337 Cumberland Avenue, Portland • 772-9232

55 York Street, Kennebunk, Maine (207) 985-6100 | portinnkennebunk.com

unwind

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8 6 p o r t l a n d m o n t h ly m a g a z i n e

H u n g ry EYE Eventide/Hugo/Honeypaw hegemony, plus Duckfat and the East Ender–and an obstructed sky to the east, thanks to the ever-growing condo canyon on Munjoy Hill.

Quiet doesn’t dwell on such things. “I remember when Jordan’s meat plant used to block out my sun, too,” he says.

In his tiny kitchen, Quiet rolls a length of dough from an electric machine roughly the size of a toaster. He spoons filling into neat rows. “This is a puree of cannellini beans, romano, and a dash of balsamic. The sauce will be a simple hazelnut brown butter.” He takes the edge trimmings of pasta and hangs the strips on a wooden drying rack below the rows of drying spaghetti and pappardelle. “We’ll use the trimmings as stracciatella.”

He pulls a bowl of a different filling from the cooler. “This is simply ricotta, romano, and fresh peas from Snell.” He offers a teaspoon.

The filling tastes so simple and enchanting that when I leave, I head straight to Terra Cotta Pasta in South Portland and purchase a package fresh pasta sheets and a tub of creamy ricotta. n

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Bruno’s Restaurant & Tavern announces Bruno’s Pasta Company www.brunosportland.com | 207-878-9511 | @brunosmaine 33 Allen Avenue Portland, Maine 04101

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Tuscan Pentimento A getaway in Italy surprises with treasures hidden in plain sight.

Above: A terracotta angel reattributed to Leonardo da Vinci. Right: Elowitch descending from Piazza della Fontana. Background: Upper Collodi is famous for its picturesque stairs.

from top: villamelai; SCPixBit

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B y R o b E lo wi tch

rom the porch of my second home in Collodi, a medieval town in the hills of Tuscany, my eyes are automatically drawn down the hillside toward a surprising 50-foot wooden statue of Pinocchio (in his original form as Geppetto’s puppet son, before he transformed into a real boy). The towering wooden figure captivates the surrounding hills from its spot in an ancient town that is, coincidentally, also named Collodi.

In the town of old Collodi lies an extraordinary garden filled with flowers,

pools, and sculptures wrought in marble and terracotta set in the grounds of a palatial villa. It was in the kitchen of this villa, as the story goes, that Carlo Lorenzini (better known by his pen name Carlo Collodi, for whom the two towns are named) wrote The Adventures of Pinocchio. Carlo’s mother worked in the kitchen and his father in the garden.

Collodi is one of my favorite places in the world besides Portland. The upper town, where we stay, is mostly devoid of tourists. The road up to it is narrow, twisting, and not easily found. Indeed, parts

of the road are not paved at all. The upper Collodi has no souvenir shops or stores selling tourist knick-knacks. In fact, it has no stores at all. And no restaurants–but a lot of great cooking. The locals speak little English. The lower town, meanwhile, attracts some tourists, mostly European, who visit the garden and the famous Parco Di Pinocchio amusement park. By American standards, Parco Di Pinocchio is very simple–its attractions are rustic and centered on storytelling. Souvenirs include dolls, carvings, and other replicas of Pinocchio. Some are inspired by the 19th-century book, others by the 1940 Disney film, and still more from international adaptations of the character. Below the neck, they are all quite similar.

This area hides traces of another very famous name. In 1998, a leading Leonardo da Vinci expert, Professor Carlo Pedretti of UCLA, re-attributed a terracotta angel inside the San Gennaro church from a “School of Verrocchio” classification to a genuine Leonardo da Vinci original. This re-attribution sparked an international news story, though not all experts were in agreement with Pedretti’s decision. For a short time afterward, the area was flooded with curious tourists and art historians.

There was never much human activity on the streets outside San Gennaro whenever we’ve visited (albeit never in summer), and the church with the angel stands only open on Sunday mornings. One Sunday, we stood outside and waited until the service was over. The church emptied quickly, and we entered the ancient building, where we found ourselves alone. Unlike the many angels in many media found throughout Italy, the San Gennaro angel now sits behind a fully enclosed plastic box (like the shield protecting the Pietà in the Vatican, installed after it was vandalized in 1972). It doesn’t seem quite right to see it like that. But then again, even what isn’t quite right in Italy often has a rather delightful, sometimes fanciful, and often unpredictable side. Like Pinocchio and Collodi, perhaps. But also like Portland, Maine. n September 2017 89

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Everyday Sommelier

What They Drank... …And what I saw.

Take a seat and share a glass with the glitterati.

By Ralph Hersom

Yoko

“find” a table, and the wait staff jumped to attention to meet their every demand. The Stones were regulars at the restaurant whenever they were in town. Unsurprisingly, they had a taste for fine wines. Ronnie Wood loved white Burgundy and red Bordeaux, so I introduced him to a 1992 Ramonet Batard-Montrachet ($400) and a 1982 Chateau Lynch-Bages ($500). Remember, these are 1990s prices! He enjoyed the Bordeaux paired with lamb so much that he insisted I bring another up to the suite after dinner.

I jumped in the private elevator, knocked on the door, and Keith Richards answered, looking exactly like Johnny Depp’s character in Pirates of the Caribbean.

Ronnie introduced me into the suite to decant the wine and describe the vintage to Richards. It was a memorable 20 minutes alone with members of one of the

graphic by megan dunlap

& Sean

t was the mid-1990s, the heyday of the Dot-Com boom and the era of expense-account dinners, when I found myself, age 26, the newly appointed Wine Director of Le Cirque 2000 restaurant in the legendary New York Palace Hotel. With an award-winning wine list of over 700 selections and an inventory of almost $2M, it was my dream gig. Every night we welcomed the who’s who of the world’s elite to the dining room. From rock stars to movie stars, presidents, sports figures, dignitaries, billionaires, and even royalty, I shared my wine expertise with them all.

I recall The Rolling Stones coming down from their Presidential Suite one night for a last-minute dinner. The maître d’ scrambled to

September 2017 91

The Day The World

T

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Stood Still

he weather in New York City on a bright Tuesday morning on September 11th, 2001, was magnificent, with just a hint of crispness to let you know fall was approaching. The night before at Le Cirque 2000 had been the usual “who’s who” of society. Bon Appetit magazine held a special event in one of the private dining rooms, attended by Bob Weir of the Grateful Dead and his publicist/biographer Dennis McNally. I was at the bar decanting (and occasionally sipping) an array of fine wines until well after one a.m. The selection amounted to around $21,000, including a bottle of 1961 Chateau Haut-Brion ($3,000). I can still recall that particular vintage–pure perfection. When I finally reached my apartment on the Upper West Side, it was after 2 a.m.

I awoke the next morning just before 9 a.m. to discover my life, like so many others, changed beyond repair. Watch-

Robert De Niro always sat at table 39 in the corner and out of the public eye. He favored Condrieu by Yves Cuilleron ($150), which paired perfectly with many of the fish and lobster dishes.

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

ing the TV images of the planes crashing into the North Tower of the World Trade Center, where I’d once worked as cellarmaster at Windows on the World on the 107th floor, had me in a state of utter shock. Cell phones weren’t working, and I was scheduled to work the lunch service at Le Cirque 2000, so I went about my day as usual. I hailed a taxi. I remember crossing 50th Street from Rockefeller Center, looking down Madison Avenue at the wave of people walking up the middle of the road and the plumes of smoke towering behind them. I arrived at the restaurant like everyone else, the shock and disbelief on our faces as we attempted to get ready for service. I vividly remember regular VIP Dr. Lucio Caputo, President of the International Trade Center, coming for lunch with his suit covered in dust. He somehow managed to get out of his office on the 89th floor. The weeks that followed the attack were a complete blur to me. I had worked with over half the people who died that day at Windows on the World. Each year, when they replay the news clips, I find myself back to that awful day, reliving those horrible events.

greatest rock ‘n’ roll bands of all time. Wood even invited me to an intimate show at the Roseland Ballroom the following night.

Hollywood heavyweight Robert De Niro was another regular visitor at Le Cirque. He always dined early and sat at table 39 in the corner and out of the public eye. I took care of him frequently over the course of seven years, and we chatted often about winemaking and grape-growing. He favored a French white made from the Viognier grape called Condrieu by Yves Cuilleron ($150), which paired perfectly with many of the fish and lobster dishes on the menu. He also enjoyed

a small production Pinot Noir from Merry Edwards in California ($100), and, if the mood for Italian struck, he chose reds from either Quintarelli or Dal Forno, priced from $200-$400. inner reservations, even for the world’s elite, were not always easy to come by.

Yoko Ono was denied a table on a particularly busy night. A mutual friend from a major record label intervened, and I was able to secure a table for her and her son, Sean Lennon. After their meal, I gave Sean a kitchen tour, leading him into an adjacent dining room where Sir Elton John happened to be dining that night. His party was enjoying a fabulous bottle of 1982 Chateau Latour Bordeaux (Sir Elton no longer drank), costing in the region of $2,000. Sean strode over to him, saying “Hello, Uncle Elton!”

They hugged, spoke a bit, and then we returned to our tour. “He’s my Godfather,” Sean casually informed me. It’s a small world at the top.

Other moments of synchronicity come to mind. Kofi Annan, then-Secretary General of the United Nations, and his wife, Nane Maria, once enjoyed a fabulous meal of steak paired with a bottle of 1985 Sassicaia Italian red ($550). Sirio Maccioni, the owner of the restaurant, asked Annan to sign the exclusive guest book that was kept behind the maître d’s stand. “The Book” read like a roll call of the rich and famous.

The very next evening, Phil and Jill Lesh (of Grateful Dead fame) sat down for dinner.

I helped them choose a wonderful bottle of red Burgundy, a 1990 Mongeard Mugneret Grands Echezeaux, for Jill to enjoy (Phil had a liver transplant and no longer drank).

Like the Annans they had an excellent dinner and were asked to sign “The Book.” I handed it to Phil, who spotted Kofi Annan’s signature on the previous page. He signed underneath: “From one Peacemaker to the Next–Phil Lesh.” Lesh, like Ronnie Wood, was very generous and would leave me tickets backstage during his week-long runs of “Phil Lesh & Friends” at the Beacon Theater.

I’d run over after the dinner service to catch the second set almost every night. n Ralph Hersom is a sommelier and owner of RRH Cellars wine consultancy. He was formerly the Cellarmaster at Windows On The World and Wine Director of Le Cirque 2000 in NYC.

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Selected Exhibitions Selected Exhibitions 2017-2018

Through October 7, 2017 Kate Gilmore: InJune Your12Way - October 24, 2015

Points of View:

Kate Gilmore, Buster, 2011 video/installation, 7:45 minutes.

University of Southern Florida Contemporary Art Museum, Tampa, Florida

This exhibition features ten performances Kate Gilmore videos Photographs

by JaybyGould, Gary‘97--nine Green, performance-based David Maisel and and one live performance/sculptural installation, commissioned by the museum, that invites Shoshannah White audience participation.

Gilmore’s videos focusMaine on herself or several Viewing elements of the landscape fromwomen, differentwearing levels stereoof typical feminine clothing footwear persistently labor-intensive scale –and from great while distance to very performing close-up, diffi the cult, contemporary tasks within self-constructed spaces. In works that are provocative, entertaining, and sometime photographers in this exhibition explore different aspects of the humorous, Gilmore explores feminist themes, modern and contemporary art tropes, and relentinterrelationships between human populations and the natural world. less determination.

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

Through October 7, 2017

At Home and Abroad: the 26, 2016 June 12,Works 2015 from – March Marsden Hartley Memorial Collection Maine Collected

This exhibition features works by some of the many contemporary

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

Marsden Hartley began ended his remarkartistsand represented in the permanent collection who live in or are able life in Maine. connected Born in Lewiston in 1877, to Maine.

This exhibition includes work in most media after a lifetime of traveling, returned and in a he wide varietytoof themes and styles, many of which have not Maine, and died inbeen Ellsworth in 1944. on view in theDrawn museum previously. Maine Collected, and The from the museum’s renownofcollection of the Painter Maine are companion exhibitions of Director’s Cut: The artist’s works and Maine his personal collection Trail of at the Portland Museum of Art from May Art Museum objects, photographs, ephemera, and select 21 – September 13. loaned works, the exhibition explores aspects of and influences on Hartley’s itinerant life and November 6, 2015 – March 26, 2016 astonishing creativity, from his childhood in The View Out His Window (and in his mind’s eye): Photographs Lewiston, Maine to his year’s abroad.

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

by Jeffery Becton focuses on images of artist, from A photographer and image-maker who lives on Deer Isle, a rocky and anonymous toned photographs of forested island the coast of Maine, Jeffery Becton constructs October 27, 2017 – March 23, off 2018 Rona Pondick, 2007-12, Stainless steel 2/3, Edition of 3 + 1 AP him as aWallaby, young man to images taken images about his surroundings, from extraordinary sweeping coastal 24 x 44 3/8by x 10 7/8 inches.

Courtesy Galerie George Platt Lynes theoflast year Thaddaeus Ropac, London/Paris/ Rona Pondick and Robert Feintuch: views to internal life, both house interiors and the introspective Salzburg, Sonnabend Gallery, New York, Zevitas/Marcus Gallery, Los Angeles, of Hartley’s life.

Heads, Hands, Feet; Holding, and the artist. spaceSleeping, that enlivens one’s imagination.

Dreaming, Dying

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

Funded in part by the Friends of Bates Museum of Art

Marsden Hartley (American, 1877 - 1943) This exhibition brings together sculptures by Please visit the website for programming information and Oil updates Intellectual Niece, 1938 on canvas Rona Pondick and paintings by Robert Fein21 1/2 x 12 1/2 inches 2017 tuch. A couple since the mid-1970s, the artists Museum purchase, acquisition in progress share interests in making work that uses the body to pursue psychologically suggestive meanings. For many years, Pondick and Feintuch have each created work that focuses on using the body to pursue psychologically suggestive uses their self Project extensively The photography exhibitions aremeanings. part of Each the Maine Photo in their work, though neither makes traditional self-portraits.

Both believe that the body (mainephotoproject.org), a statewide photography collaborationspeaks in and both pay close2105. attention heads,Photo handsProject and feet.

This is theand firstsupported exhibition tobypresent ThetoMaine is organized the in- a substantial body ofstitutions each of their work together.

Pondick and and Feintuch have exhibited extenof the Maine Curators’ Forum is generously sponsored sively in the U.S. and abroad.

Feintuch is Senior Lecturer in Arts and Visual Culture at Bates. 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.

Robert Feintuch, Another Assumption, 2014digital 19 x 23 3/4 inches.

Jeffery Becton, The Keeper’s House, 2008, montage realized as archival pigment print Polymer emulsion on honeycomb panel. Courtesy Sonnabend Gallery, New York, Funded in part by the Friends of Bates Museum of Art Zevitas/Marcus Gallery, Los Angeles, and the artist Please visit the website for programming information and updates

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.

L’Esprit de L’Escalier

Late 18th century: from French, from souvenir ‘remember,’ from Latin subvenire ‘occur to the mind.’

–Dictionary.com

Souvenir

The power of words can echo through history–for better or worse.

graphic by megan dunlap

J

e me souviens–I remember. A whisper of memory glimpsed on every Quebec license plate. For a French speaker, it’s an invitation to see yourself reflected in the public place. In the literary arts, past interpretations of Franco-Americans by New England writers have recently come under scrutiny. In question are the works of Kate Douglas Wiggin, Dorothy Canfield Fisher, Thornton Wilder, and Sarah Orne Jewett. Respectively, the authors’ writings examine class divides, eugenics, and portrayals of the French heritage people, whether unwelcoming or sympathetic, in the literature of New England–a collection of states with high percentages of French populations. In literature, words can become bridges or they can become walls. You can imagine my shock when I read a description of a New Hampshire town’s population of “Canuck families” as “beyond” and “across the tracks” in the 1938 play Our Town by Thornton Wilder. At the time, the force of the word “Canuck” with its meaning in the U.S. was like a concussion from an explosion– the word a surreptitious silencing of the

By Rhea Côté Robbi ns

French identity.

Author Dorothy Canfield Fisher recently came under criticism for her perceived support of the eugenics movement, which labels those of the Franco-American population as undesirable. Fisher writes unflatteringly of the French in her novels and plays, such as Tourists Accommodated, a play based in

“The force of the word ‘Canuck’ with its meaning in the U.S. was like a concussion from an explosion–the word a surreptitious silencing of the French identity.”

Vermont that calls for only the “right kind of people” to visit the state. Abenaki educator Judy Dow has called for the Vermont Department of Libraries to revoke the Dorothy Canfield Fisher Children’s Book Award. The decision was later tabled.

Elsewhere, Kate Douglas Wiggin, author of the popular children’s novel, Rebec-

ca of Sunnybrook Farm, writes disparagingly of the French population in her 1903 novel, Rose O’ the River. Wiggin’s stories were set in the fictional town of Riverboro, Maine, but fosters a very real sense of prejudice toward the Franco-American community. On the other side of the coin, South Berwick icon Sarah Orne Jewett writes with empathy on French culture in several of her short stories, including Little French Mary and Grey Mills of Farley.

What is the impact of these writings on the souvenir or collective memory? The literary fabric that forms the legacy of a particular geography is marked by either support or subtle prejudice by the words of authors. From our present-day perspective, it’s important to reexamine these sources and decide which are representative of the populations, and which do not accurately reflect the inherent diversity of a particular people. n Rhea Côté Robbins is the author of ‘down the Plains,’ and editor of Heliotrope-French Heritage Women Create, for which she won the Book Award for Anthology (Editors) at the Maine Literary Awards in 2017.

September 2017 95

Dining Guide Anthony’s Italian Kitchen, offers homemade Italian cooking using the freshest ingredients, featuring favorites such as pizza, pasta,and sandwiches. Voted “Best in Portland” for three years. Dinein and catering services on offer. Beer and wine available. Open 11-8 Mon. through Sat. 151 Middle St #5, Portland; and new location Cumberland County Courthouse, 205 Newbury St. anthonysitaliankitchen.com, 774-8668.

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

Bruno’s Voted Portland’s Best Italian Restaurant by Market Surveys of America, Bruno’s offers a delicious variety of classic Italian, American, and seafood dishes–and they make all of their pasta in-house. Great sandwiches, pizza, calzones, soups, chowders, and salads. Enjoy lunch or dinner in the dining room or the Tavern. Casual dining at its best. 33 Allen Ave., 878-9511.

Bull Feeney’s Authentic Irish pub & restaurant, serving delicious from-scratch sandwiches, steaks, seafood & hearty Irish fare, pouring local craft & premium imported brews, as well as Maine’s most extensive selection of single malt Scotch & Irish whiskeys. Live music five nights.

Open 7 days, 11:30 a.m.-1 a.m. Kitchen closes at 10 p.m. 375 Fore St., Old Port, 773-7210, bullfeeneys.com.

DiMillo’s Now through December, relax and enjoy Head Chef Melissa Bouchard’s masterful creations. Every day, she offers something new and delicious. Try our Early Dinner Specials, Monday-Friday or our wonderful Port Side Lounge, Portland’s getaway for grown-ups. Happy Hour includes special menu MondayFriday, 4-7 p.m. Open daily at 11 a.m., Commercial St., Old Port. Always FREE PARKING while aboard. 772-2216.

Kon Asian Bistro Steakhouse & Sushi Bar serves Asian cuisine with modern flair. Japanese, Sushi, Thai, Chinese, or hibachi tables. Private party rooms accommodates groups from business meetings to birthday parties. Choose fresh, delicious items prepared before your table. Family friendly; open Mon.Thurs. 11:30 a.m.-10 p.m., Fri. to 11 p.m., Sat. 1 p.m-11 p.m., Sun. 11:30 a.m.-9:30 p.m. 874-0000, konasianbistrome.com.

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

Hurricane Restaurant New England cuisine with an international twist. Local produce and seafood, full bar, award-winning wine list, in-house dessert chef. Nurturing the seacoast palate for over 25 years.

Good restaurants come and go. Great restaurants get better and better. Lunch and dinner seven days a week. Bar menu always available. Reservations suggested.

29 Dock Square, Kennebunkport, Maine.

207-967-9111, hurricanerestaurant.com

Restaurant Review

Longfellow’s Heart The new kid on the block brings South-of-the-border flavor to Longfellow Square.

from top: Corey Templeton; meaghan maurice

A

t long last, the empty restaurant storefront on Longfellow Square that was the original home of Petite Jacqueline has come back to life. El Corazon, the popular downtown food truck, has gone brick-and-mortar with a friendly, lively café in this choice spot.

We take a table near the huge front window, with a nice view of Portland’s patronsaint poet’s statue. The drink menu offers bottled brews, including Mexican beers like Dos Equis, for $4 to $5. Wines by the glass are $7 to $9. Our friendly waitress delivers our choices, a glass of Ramon Bilbao Albarino ($9) and a pint glass of El Corazon’s house margarita ($8), pleasingly fruity and free of any sugary bar-mix flavor. As if our minds were read, a complimentary basket of freshly fried tortilla chips and a jaunty little three-legged molcajete of house-made salsa appear before us.

El Corazon’s chef, Joseph Urtuzuastegui, is from Arizona, and the menu pays homage to his mother Rosa, who taught him

By Claire Z. Cramer

to cook the hearty dishes he grew up with.

The menu contains many greatest hits like quesadillas and queso fundido. Wafting kitchen aromas are wonderful, and we are ready to go with the flow.

We start with an appetizer platter ($9.95) of two beef and two chicken taquitos and two beef and two chicken chimichangas, served with guacamole, pico de gallo sauce, housemade crema, and topped

with “Chihuahua cheese,” which is crumbly and mild, like cotija. The crispy taquitos are rolled into skinny cigars, making them a cinch to eat with our fingers after dipping.

Heat can be amped via the bottles of Tapatio and Valentina hot sauces on the table.

The chimis, also petite and cut in half, are juicier and a bit more exciting than the taquitos, but maybe that’s just us.

At this point, we realize we’ve just assembled a perfect little bargain happy hour on our table.

We try another appetizer, the coctelas de marisco, or “Portland’s own” seafood cocktail ($10.95). This is a gazpacho-like mixture of fresh tomatoes, red onion, jalapeños, and lime juice, into which chopped scallop, shrimp, and squid are mixed.

It’s served in a glass cylinder and prettily garnished with shrimp, a couple of lobster September 2017 97

Dining Guide

Thai Tapas 4-6pm

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 5 p.m. Catering always available. 337 Cumberland Ave. 7729232, mariasrestaurant.com.

O.Dans Restaurant, Sebago’s newest friendly farm-to-table restaurant in the heart of Sebago. Great local beer & food selection. Open 6 days a week, Tues.-Fri 4 p.m. to close; Sat.-Sun. 12 p.m. to close; closed on Mon. Happy Hour specials, Tues.-Sat. Live music from local talent, every Fri.- Sat. 46 Sebago Road, Sebago 787-5124 ODansSebago.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, 12 p.m. - 10 p.m. 181 Port Rd., Kennebunk, 967-5544, pedrosmaine.com.

Portland Lobster Company Picture yourself choosing from our full menu including “Maine’s Best Lobster Roll,” lobster dinners, steamers, fried claims, chowder, and more before stopping by our outdoor bar for an ice-cold locally brewed beer or a glass of fine wine. Then take a seat on our deck overlooking the gorgeous Portland Harbor and relax while listening to daily live music.

180 Commercial Street, 775-2112 portlandlobstercompany.com Restaurante El Corazon Mexican food from the heart. Authentic family recipes passed down through generations. We serve large and small plates and an “oversized tequila selection.” Try Portland’s own “Marisco”– a Mexican seafood cocktail of shrimp, bay scallops, clams, octopus, and, of course, Maine lobster.

Open lunch and dinner, Tues.-Sat. 11:00 a.m.-9:00 p.m., 190 State St. Portland. elcorazonportland.com, 536-1354

Rivalries Sports Pub & Grill Now with two fun and comfortable upscale sports bar locations. Known for great casual pub food, Rivalries’ menu has something for everyone. And, with 30+ HD TVs and every major pro and college sports package, you won’t miss a game! Located at 11 Cotton Street in Portland’s Old Port (7746044) and 2 Hat Trick Drive, Falmouth (747-4020), rivalriesmaine.com Solo Italiano Traditional northern Italian cuisine mixes Maine freshness with Genovese flavor from international chef Paolo Laboa. Enjoy the crudo bar or the daily changing menu. Included in Food & Wine Magazine’s 2016 “What to Do in Portland, ME.” Open daily 5 p.m–10 p.m.

100 Commercial Street Portland, 780-0227, soloitalianorestaurant.com 9 8 p o r t l a n d m o n t h ly m a g a z i n e

Restaurant Review claws, and slices of avocado. It comes with saltines, but you’ll stick with the tortilla chips for scooping the refreshing, piquant tomato mixture.

We are rapidly approaching critical mass. Portions here suggest Mama Rosa never let anyone leave her table hungry. But how to resist chicken enchiladas with mole sauce ($11.95), especially after our waitress has let on that enchiladas are among her favorite things on the menu?

T

wo corn tortillas filled with shredded chicken and cheese are sauced in a mole that tastes deeply of spices and chiles. Garnishes of queso fresco and crema offer a nice contrast. And, of course, there are beans–served puréed and refried– and yellow rice.

With the entrée, we try a vino verde ($7) and a glass of the house white sangria, made with prickly pear syrup and steeped with jalapeño for a little kick ($6). It’s pretty and pink and garnished with lime, as bright and cheery a cocktail you’ll ever meet.

The menu, which is quite comprehensive, includes among other things a chili relleno–one of the few vegetarian options ($11.95), tacos (from $10.95), and sopas and tamales (each from $11.95) served as dinners with beans and rice and garnishes.

El Corazon’s tag line is “Mexican food from the heart,” and that it is. It’s also a good value for your dine-out dollar. This cheery little cafe predates the age of hipster small plates and artisanal whatnot in the friendliest possible way. n

Oceanfront Lodging, Dining & Gatherings Marine Room, Ocean Terrace and The Porch Live Music thursday, friday & saturday 5-7pm Dining noon - 9:30 pm

El Corazon, 190 State St., Portland. Tues.- Sat., 11 a.m.–10 p.m.; Sun. 9 a.m.- 9 p.m. 536-1354

Scratch-made Nice People Totally Authentic ll Feeney’s u B portland’s pub 773.7210 375 Fore Street in the old Port Facebook.com/bullFeeneyS @bullFeeneyS

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House of the Month

E. B. White’s

Web

Lovers of Charlotte’s Web who believe the E.B. White House has just one story to tell may be surprised.

from top: anna gallant carter; inset: courtesy downeast properties

T

his fall, with its crisp lines, black shutters, white clapboards, and gnarl of apple tree, the E.B. White House in North Brooklin can be yours for $3.7M. The sellers, summer residents Robert and Mary Gallant, are the former owners of a bracelet of 40 Gallant-Belk department stores based in Charlotte, NC. In 1986, a year after White died, the Gallants bought this soaring 44-acre saltwater farm from his son Joel White, the naval architect who owned Brooklin Boat Yard. That same year, the E.B. White House, with its classic restraint, 2,080 feet of coastline, and understated elegance, was listed on the National Register of Historic Places.

It was a spectacularly public epitaph for a writer who fetishized privacy. And it’s your first clue to unraveling the mystery of why this property has intentionally not been listed on the Maine Multiple Listings.

Early Days The People of the Dawn were the first to

By Colin W. Sarg en t

civilize this part of Vacationland embraced

by Blue Hill Bay. Like the Manhattans of New York, the Penobscots loved to party– the clamshell heaps they left behind are testimony to their veneration for this land–including the grand picnic spot with endless views they called Naskeag.

Fast-forward to 1795, when Capt. Richard Allen–a housewright who likely knew his way around a fast ship–built this postRevolutionary frame house for the first of its owners, William Allen Holden. In those days, this area was called Sedgwick. In 1849, the town of Port Watson was incorporated. But the name Port Watson didn’t

stick–it was changed to Brooklin barely weeks later. A quick line edit (because, well, there was a brook and a boundary).

Arrivistes Elwyn Brooks White (1899-1985) grew up loving Maine–from his boyhood, his family had summered at Belgrade Lakes. While studying at Cornell, he spent a concurrent hitch in the Army before graduating in 1921. By 1929, he was a budding New Yorker contributor who was falling for the magazine’s fiction editor, Katharine Angell. She divorced her husband and married White that same year. While Maine was never a hideaway, it clearly beckoned. Scandal?

“Whatever,” Roger Angell, her oldest son, has recalled of the romance between his mother and stepfather, whom he would later come to admire.

In 1930, the Whites had a son, Joel White, the future wooden boat designer.

In 1933, the young family of four (Roger was 13, Joel 3) bought this house in North September 2017 101

House of the Month

The many apple trees that fill the property include Northern Spy, Victoria Sweet, and Rhode Island Greening varietals, according to seller Mary Gallant.

Brooklin as a summer getaway. By the end of 1937, they’d ‘winterized.’ In 1938, the Whites moved to Allen’s Cove year-round.

lotte’s Web could be sexy. In a New Yorker reverie, Roger Angell has provided a striking example from One Man’s Meat:

A Flash of White’s Talent How many lovely stories did E.B. White write in this house? Many of his essays for Harpers during the late 1930s and early 1940s were made (or at least polished) here and published as One Man’s Meat in 1942. No doubt the North Brooklin house was darkened then with blackout shades as World War II raged and enemy U-boats hunted for freighters off the coast.

“Both of my grandparents participated in plane-spotting watches at one of the local schoolhouses, but to my knowledge there were no patrols from the property,” says his granddaughter and literary executor, Martha White.

Who knew that in the privacy of his thoughts, with World War II jamming the newsreels, the future author of Char-

“The air grew still and the pond cracked and creaked under our skates…The trails of ice led off into the woods, and the little fires burned along the shore. It was enough, that spring, to remember what a girl’s hand felt like, suddenly ungloved in winter.”

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

Snowbound Wonders prung from White’s imagination in Maine, the classic children’s novel Stuart Little captured readers in 1945. Charlotte’s Web, also ‘made in Maine,’ delighted a mass audience when it hit the bookstands on October 15, 1952. In fact, it anticipated the publishing phenomena of the 21st century.

Such is Charlotte’s Web’s renown that in

S

The Charlotte Subculture But was Charlotte’s Web really Harry Potter before Harry Potter? To this day, countless Charlotte’s Web enthusiasts travel great distances to peer over the hedges at the source of their beloved novel’s inspiration. Some of them even talk their way inside the big red gate. On one occasion, a blogger insisted she have her picture taken in E.B. White’s waterfront writing shack–in exactly the same position where the photographer Jill Krementz, wife of Kurt Vonnegut, once snapped the rigid image of E.B. White himself.

In 1977, Katharine White died of congestive heart failure at 84. E.B. White suffered from Alzheimer’s Disease and followed her eight years later at 86. They rest side-by-side in Brooklin Cemetery.

Privacy Once Removed The Gallants knew what they were getting into. This farm brings them into direct contact with well intended Charlotte’s Web enthusiasts countless times: “I do feel the overwhelming majority are channeling

photos by anna gallant carter

2017 at press time, it still commands No. 269 among all hardcover books at Amazon.

By comparison, the first novel in t he Harry Potter Series, Harry Potter and the Sorcerer’s Stone, is No. 2,518 in hardcover books.

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L

ately I have been missing my stepfather, Andy White, who keeps excusing himself while he steps out of the room to get something from his study or heads out the back kitchen door, on his way to the barn again. He’ll be right back. I can hear the sound of that gray door—the steps there lead down into the fragrant connecting woodshed—as the lift-latch clicks shut…

“In my mind, this is at his place in North Brooklin, Maine, and he’s almost still around.

I see his plaid button-down shirt and tweed jacket, and his good evening moccasins. One hand is holding a cigarette tentatively—he’ll smoke it halfway down and then stub it out— and he turns in his chair to put his Martini back on the Swedish side table to his right.

It must be about dinnertime. What were we talking about, just now?”

–White’s stepson Roger Angell in “Andy,” The New Yorker

Charlotte’s Web,” Mary says. “I tell them, ‘I’m so glad you love Charlotte’s Web. I hope when you grow up, you will read some of his other works.’ I’m always disappointed when that’s the only story they’re interested in, because E.B. White was so much more than that. On the other hand, don’t undersell it. Harry Potter is a good analogy, and it encourages reading.

“Someone told me the other day there are generations of little girls who’ve become vegetarians because of Charlotte’s Web. In particular they refuse to eat…bacon!”

Divine Guidance Sensitive to the shyness of the dead, White family members continue to invoke their famous relative’s dread of personal exposure.

Ever in the New Yorker, Roger Angell has in recent years let slip the revelation of his stepfather’s “even passing up an invitation in 1963 to go to Washington and receive the Presidential Medal of Freedom from Lyndon Johnson; the deed was consummated instead by a stand-in, Maine’s Senator Edmund Muskie, in the office 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

of the president of Colby College. ‘Andy’ also skipped his wife’s private burial in the Brooklin Cemetery, in July, 1977. None of us in the family expected otherwise or held this against him. And when his own memorial came, eight years later, I took the chance to remark, “If Andy White could be with us today he would not be with us today.”

Which gives rise to the question, at what point does a lust for privacy become a narcissistic act in a public figure? When I call Roger Angell on the phone at his 1261 Madison Avenue digs in Manhattan, he replies, “I don’t want to talk about E.B. White’s house in Maine. I’m sorry.” [Click.]

Well, now I have a Roger Angell story!

If nothing else, it’s a masterwork of brevity. Which is something his stepfather, E. B. White, who edited The Elements of Style, might admire.

Still to the notion of privacy once removed, when we contact E. B. White’s literary executrix Martha White, Joel White’s daughter, she writes:

“W

hat I would offer by way of comment on the sale of the former E.B. White property is that the Gallants have been very good stewards for three decades and we are assured that they are seeking equally good owners to see that the 1700s house and property will remain under good care.

My grandfather expressly did not want the place to ever become a museum or commercial entity bearing his name, or a place of pilgrimages, but rather to continue as a private property and, in the best of all possible scenarios, as a viable privately owned farm. That is what we hope, as well. Anyone who knew or has read E.B. White knows that he did not believe that writers

should have to be public celebrities. We encourage his many fans, instead, to find him in his books, or canoe the lakes that he loved, or sail Penobscot Bay or other coastal waters, or ride a train, or write a Letter to the Editor.”

Let’s Go Inside Real estate exec Martha Dischinger of Downeast Properties is thoughtfully aware of this home’s elements of style, and she knows how to guide us through with sensitivity and charm. There’s a “living room with a fireplace, dining room with a beam ceiling and fireplace, a kitchen renovated in the taste of the period. There’s a full bath on the first floor,” along with “a large enclosed and winterized porch with beautiful views of Harriman Point, which is now owned by Blue Hill Heritage Trust and will never be developed. The mountains of Acadia can be seen from the house and property. There are two first-floor rooms with fireplaces serving as offices for Mr. and Mrs. Gallant. There’s a ‘woodshed’ leading from the kitchen to the Barn, which is a lovely sitting room with doors on both ends to enjoy the sea breezes off the fields. Upstairs includes 5 bedrooms, 2.5 baths, and two additional fireplaces.” The estate includes “a guest house that contains a large second-floor bedroom and a kitchen and bath.” Entry is through “one of the gardens. There’s a brick terrace off the sun room as well. The property contains three ponds and a lovely drive or walk to the shore where the small house/ cabin sits in its original condition where E.B. White would sit and do his writing with his small writing table still in place.”

Whenever he wrote in his little ocean shack, White had a farmhand carry his clunky Underwood typewriter out to the water, then back to his study in the main house when he was finished.

Once he was asked why he did this.

Like a true Mainer, he knew how to answer: Otherwise, he’d have had to buy two typewriters.

In the main house, “[my grandfather and grandmother] each had a downstairs office to either side of the front door of the house, separated by the front hallway and stairs,” Martha White says. “The telephone lived in a dark closet off Katharine’s office and was rarely used. [My grandfather’s] office had nautical charts for wallpaper,

from top: jill krementz from The writer’s image; courtesy downeast properties

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House of the Month but they are no longer there. He also had a grand piano in his office. Cornell University library has many of his desk items (in addition to his archives), including a manual typewriter and a marmalade jar that he used to hold his pencils. Accounts of how much of his writing he did at the boathouse are often exaggerated, although he did go there with a portable typewriter, on occasion, in mild weather.”

But the real soul of the house seems elsewhere to a visitor. It’s as if Dischinger has saved it for last: “Adjoining the kitchen, there’s a sitting room with the original black cook stove used by the Whites.” unphotographable…

But you’re my favorite work of art he stove is so evocative, so endearing, that Anna Gallant Carter, the sellers’ daughter and a talented photographer, says, “I’ve never even attempted to shoot it. It’s just to be felt. A photograph could never do it justice.” Why? Because when she sees the stove, she engages with it across time, and not just with the visual sense. “My parents used to make us blueberry pancakes there.” How can you snap a picture of an unforgettable fragrance? “Up above, in the ceiling, there’s a hole where the heat can pass through to upstairs.” Imagine waking to the warmth, and the aura, of blueberry pancakes at this ocean farm, in Anna’s case after her first visit after graduating from University of North Carolina, Chapel Hill.

“It’s just a black iron stove,” but it’s also “my brothers, my children, my parents, friends.”

Because she loves horses, she’s taken bewitching photos of the barn. “I like being in the barn. I grew up with horses. I’ve spent a lot of time on farms. To be in that barn, my imagination goes wild. While it’s empty just now, their presence is there.”

At the mouth of the barn is the rope swing that stars in Charlotte’s Web. “I’ve photographed it and swung on it. It’s a quick up and down!”

T

“For a second you seemed to be falling to the barn floor far below, but then suddenly the rope would begin to catch you, and you would sail through the barn door going a mile a minute, with the wind whistling in your eyes and ears and hair.”

–From Charlotte’s Web

The Wooden Boat Connection Regarding the late Joel White (1930-1997), boat designer, who grew up in this house and crafted exquisitely spare wooden boats the way his father wrote stories: “Mr. White was born in Mount Vernon, N.Y., the son of the essayist and author E. B. White and his wife, Katharine, who was fiction editor of The New Yorker. The family moved to a farm in North Brooklin, Me., in the mid-1930s, and the son became immersed in a lifelong love of sailing Maine’s coastal waters. He built a 19-foot boat named Martha, in honor of his daughter, that his father sailed after adding his own touch–carved dolphins, four on each side of the bow, decorated in gold.” –The New York Times

Stepping from the barn, “I enjoy seeing evidence of fences,” Anna says, where she can sense the ghosts of livestock on either side. “I like to follow the beautiful walkway that goes to the shore.”

Then the Cove lifts its curtain: “You see Mt. Desert, which is absolutely beautiful.

I think of sunsets and how the stones lift with light under the water–the water is so clear, and the stones are so pretty when the setting sun plays off the rocks. Then there’s the dock. Beyond that, you see deeper into the cove, which is all woods.”

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nna has a dreamy career in Charlotte, North Carolina, “translating English into Spanish, and Spanish back into English.” Like E.B. White, “I am about words all day long.” There’s a pause.

“This is my parents’ house, not mine.”

Suddenly I feel an impulse to ask her, a visitor for three decades, a figure for all of us, “What do you call this house when you visit?” I’m looking for a fresh narrative that addresses this second, right now.

I hope she won’t call it the E.B. White house. It’s the only hope a new buyer will have, because each of us deserves to be more than a custodian.

“We’ve had it for 30 years now. These are our memories now. I call it Maine. When we talk about it, say, on the telephone, we say, ‘When are you going to Maine?’”

She’s silent for a moment.

“If we’re in Maine, we call it home.” n Taxes are $16,341.84.

Ireland’s Crystal & Crafts 558 C ongress s treet , P ortland | 207 773-5832 September 2017 107

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RANGELEY LAKE 208 Shore Drive - Yr Round Cottage That Was Fully Renovated In 2006, 4 Beds, 2 Baths, Flat LawnTo Crystal ClearWaterWith PrivateDock,ShortWalkToOquossocVillage, Finished Basement W/Hot Tub. $399,000

KENNEBAGO LAKE 32 Grants Camps Road - 10 Feet From The Waters Edge OnThe Big Lake, ShortWalkTo Dinner At Grants Camps! 1 BrW/Loft, 1 Bath, Very PrivateW/1.37 Acres Of Owned Land & 305’ Frontage. $365,000

James L Eastlack, Owner Broker

207-670-5058 | JLEastlack@gmail.com

Margery Jamison, Real Estate Broker

207-670-7350 | CCINN1@myfairpoint.net

Carolyn Smith, Real Estate Broker

207-491-5800 | carolyn@morton-furbish.com

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L E G E N D A RY

Fiction

Patience Boston

By Michael Ki mball

T

he town of York, Maine, claims two notorious characters from its past: Patience Boston and Reverend Joseph Moody.

In 1735, Patience Boston was a 23-year-old Native American servant sentenced to hang for drowning her master’s grandson in a well.

Joseph Moody was the Puritan preacher who ministered to her for seven months, until she gave birth and could be hanged. Two years later, Moody would succumb to a profound breakdown and spend his remaining years stalking the town shrouded under a black veil. Today, southern Mainers remember the haunted preacher only as “Handkerchief Moody.”

This excerpt from Kimball’s play portrays the Joseph Moody of his early journals, as an earnest young preacher trying to reconcile earthly and heavenly turmoil in the anxious peacetime following witch trials and Indian raids.

[York Jail Interior. Dusk. Late Winter 1735]

A dungeon in dim lantern light. Moody, in his hat and overcoat, sits against the chimney. Patience sits at his feet wrapped in her blanket.

MOODY: I have never known an Indian.

I find it strange.

PATIENCE: I am strange.

MOODY: Strange–to have lived amongst you.

All my life. And never call one friend.

PATIENCE: Myself, I’ve known only one

or two.

MOODY: (waking) Yes! PATIENCE: Your father says she is a patient wife. Your Lucy.

MOODY: Oh, more than patient. Tolerant, I

would say. Exceedingly tolerant of my absences, my absentmindedness.

PATIENCE: She makes you a good partner then.

MOODY: Oh yes. Industrious, thrifty–a sea-

soned negotiator in all matters. An inventive cook and seamstress. Attentive mother to our children. At times she seems to delight in their company.

MOODY: Indians?

PATIENCE: And yours?

PATIENCE: Servants. Vagrants.

Jail-mates. I do know your people. Quite well.

MOODY: My company? She–tolerates. We enjoy, if I may say, an agreeable marriage, though she’d be the first to attest to my imperfections.

MOODY: Your opinion of us must not be high.

PATIENCE: I have no opinion, Mr.

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think, but I’ve since lost sight of her, except the night she died. She caught the smallpox and was laid by the fire, and I made my way to her on the hearth, though I was admonished not to. When I touched the droplets on her forehead, her face filled with light, and she sneezed. I saw the spirit jump out of her and spin up above the flames, then fly away with the sparks to heaven. Then she was still. (Moody has dozed off.) Your Lucy. May I ask, is she—

Moody. I know that you stand with my Lord Jesus, and I’ve never had a greater love for anyone.

MOODY: Jesus. Yes. (His eyes

will close.)

PATIENCE: I did love my mother, I

PATIENCE: My husband seemed to delight in mine.

MOODY: Your company?

PATIENCE: Imperfections. Fool.

Till I took it out of him.

MOODY: In what way?

September 2017 117

Fiction PATIENCE: Fought him, opposed him, abused him in my drink.

MOODY: Forgive me. In what way did– PATIENCE: Betrayed him.

MOODY: In what way did he delight? In you.

Not in intimate terms, of course.

PATIENCE: Gazing.

MOODY: Gazing.

PATIENCE: Stupidly.

MOODY: At you?

PATIENCE: At nothing.

MOODY: At you. Not nothing. Your beauty.

Your–

Patience beats her fists on herself and starts pacing. Moody gets to his feet.

MOODY: I apologize. I meant only to say that

your husband–as you suggested–must have taken great delight. In you.

PATIENCE: He did not know me!

MOODY: How could he not? He was your husband.

PATIENCE: He knew nothing of me! Not as

you do.

MOODY: I do not. I am sorry, Miss Boston…

though what little I do know does not comport with the darkness you hold over yourself.

PATIENCE: I am wretched and demonic, as you do know!

MOODY: I know you confessed to be so, yet

that is not how I find you.

She stands in the corner, her back to him. He will open the window shutter and look out through the bars.

MOODY: I do myself recall the condition

of gazing…when one is all but helpless to look away.

PATIENCE: Your Lucy?

MOODY: What? No. Though she is hand-

some and strong. No, but–No, when I was younger and, oh, not so freighted down with all this. And that.

PATIENCE: Who was it, if not your Lucy?

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

MOODY: Oh dear, now it’s dark, and I should

start walking.

PATIENCE: Then it can’t get darker. Wait for the moon.

MOODY: If the moon ever shows. The sky so

heavy tonight. (Patience closes the shutter.

He’ll return to his chair.)

PATIENCE: Pray, Parson, what was she like?

MOODY: Oh, a girl, just a–well, a cousin, ac-

tually. As a child, my constant companion.

But inevitably, of course, a young lady, and I a young man returned from Harvard after three years away and–I did gaze. Speechless, degreed in divinity and a stammering, gazing fool. Like your husband, I suppose, though I never was hers. And so– And so the years gather up and here we are.

PATIENCE: “Behold, he standeth behind our wall, he looketh forth at the windows, shewing himself through the lattice.”

MOODY: You know Solomon as well as I. PATIENCE: Did you not ask for her hand?

Forgive me.

MOODY: Oh, I did ask–foolishly. Blurted

out–in front of my father. (His eyes close again.) She claimed–also in my father’s presence–that she loved a captain more, as well she should, a capable man.

PATIENCE: Then she’s the fool.

MOODY: Hardly a fool. Sir William Pepper-

ell. He gave her a fine home. She gave him children. I see them about town. They belong to my father’s parish.

PATIENCE: Do you still gaze?

MOODY: Hm? Oh, no. No. (beat) Unless I forget myself.

(855) 912-8130

He smiles. His eyes remain closed. Patience studies him.

PATIENCE: (softly) Parson? Mr. Moody?

He’s asleep. She covers him with her blanket, then sits at his feet and leans against his leg.

PATIENCE: (whispers) Joseph. n Patience Boston, Michael Kimball’s colonial crime drama, will premiere at The Players’ Ring Theater in Portsmouth, NH, September 15 through October 1. http://playersring.org September 2017 119

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