Edgar Allan Poe had many enemies during his life–there is no questioning this—but only one man held the significant title of being Poe’s “bitterest enemy.” Was it Rufus Griswold, Poe’s literary executor, you may ask? No. Maybe, John Allan, Edgar’s foster father who butted heads with the poet until Allan’s death? Not quite. Who, you may inquire, was named Edgar Poe’s bitterest enemy? His own cousin, Neilson Poe.
Born with his twin sister, Amelia, to Jacob and Bridget Poe, in Baltimore on August 11, 1809, Neilson (pronounced “Nelson”) was grandson of George Poe Sr.(Frank 278, 281; Silverman 82; Thomas xxxviii, 6). Although there are no significant accounts of Neilson’s childhood, we know that at age eighteen he joined the staff of William Gwynn’s Baltimore Gazette and Daily Advertiser, beginning a three year apprenticeship as a journalist (Thomas xxxviii). Two years later, in 1829, made acquaintances with his second cousin, Edgar.
Later Neilson became the owner and editor of the Frederick Examiner, a semiweekly newspaper in Frederick, Maryland, where Edgar applied for a job in 1831 after Neilson had left. In 1834, Neilson acquired the Baltimore Chronicle, an influential Whig daily. The next year marked the beginning of the Neilson and Edgar rivalry (Thomas xxxviii).
In 1835, Edgar received word that Virginia Clemm, his future wife, was to be taken in by her cousin, Neilson and his wife, her half-sister, Josephine. This struck a deep chord in Edgar’s heart and he frantically pleaded with his Aunt, Maria Clemm, to not send Virginia to his second cousin’s residence, regarded Neilson as a rival for Virginia’s affection. He allegedly thought the plan was “cruel” and a betrayal that “wound[ed him] to the soul” (Frank 280, 281; World of Poe). Edgar went on to explain to Maria in his letter,
Oh think for me for I am incapable of thinking. Al[l of my] thoughts are occupied with the supposition that both you & she will prefer to go with N. [Neilson] Poe. I do sincerely believe that your comforts will for the present be secured — I cannot speak as regards your peace — your happiness. You have both tender hearts — and you will always have the reflection that my agony is more than I can bear — that you have driven me to the grave — for love like mine can never be gotten over. It is useless to disguise the truth that when Virginia goes with N. P. that I shall never behold her again — that is absolutely sure. Pity me, my dear Aunty, pity me. I have no one now to fly to. I am among strangers, and my wretchedness is more than I can bear. It is useless to expect advice from me — what can I say? Can I, in honour & in truth say — Virginia! do not go! — do not go where you can be comfortable & perhaps happy — and on the other hand can I calmly resign my — life itself. If she had truly loved me would she not have rejected the offer with scorn? Oh God have mercy on me! If she goes with N. P. what are you to do, my own Aunty? (You can read the rest of the letter here.)
Edgar won the dispute and successfully “saved” Virginia from their cousin Neilson. It is said Neilson had not known why Virginia and Maria turned down his offer until years later when he was shown, by Maria, the letter Edgar had written (World of Poe). Also, according to Kenneth Silverman in Edgar A. Poe: A Biography, Mournful and Never-Ending Remembrance, “…Neilson meant to rescue Muddy from her poverty, but he also reportedly hoped to prevent Virginia from marrying at so young an age, keeping open the possibility of her marriage to Edgar a few years later, if they both still desired it.” For some reason, Edgar believed he would never see Virginia again had she gone to stay with Neilson and Josephine (104).
The cousins did not keep in close contact after this. In 1833, Neilson’s daughter, Amelia Fitzgerald, was born. This particular Poe child, out of seven siblings, was significant in relaying information to Poe scholars later on in her life, giving information about Edgar to biographers, John Ingram and George Woodberry (Frank 278).
In the summer of 1838, Edgar contacted his cousin, imploring for financial assistance, to which Neilson declined. He, too, was having monetary issues during this time. He sold his Chronicle on December 2 of that next year, due to financial debt. In 1840, he left the business he had been practicing since eighteen and commenced the practice of law, where he remained the rest of his life (Thomas xxxviii). It is said Neilson corresponded with Edgar in August 1845 in one surviving letter, which, according to “The World of Poe” online,
…is very civil, but decidedly cool. He [Edgar] responded to his cousin’s evident friendly overtures with a bland courtesy, assenting that it was indeed a pity that their two families were estranged, but he showed no sincere desire to amend that situation. The letter also indicated that Neilson and his family were unaware that for the past three years, Virginia had been battling a hopeless illness (which Poe always mysteriously called “the accident”)–a striking sign of just how alienated they were from her life. (You can read this letter here.)
Edgar’s death four years later would come as a shock and blow to Neilson who, despite not being on the best of terms with his cousin throughout their lives, still maintained concern for Edgar during his dying days. When word reached him that his cousin was in the hospital, Neilson visited Edgar and, despite being considered “the little dog” by his writer cousin, sent a change of linens and called again the next day to check on Edgar (Silverman 434). Despite the efforts to help Edgar, Poe died and Neilson began preparing for the funeral. He attended Edgar’s funeral on October 8, 1849, and provided the hack and hearse (Thomas 848).
After his cousin’s death, and despite their rivalry (which, may have been more on Edgar’s part than Neilson’s) Neilson spoke well of his cousin with supportive comments. Going back to just after the release of Edgar’s 1829 volume, Neilson predicted that “Our name will be a great one yet,” because of Edgar’s writings (World of Poe; Silverman 82). Despite their quarreling at times, Neilson never seemed to hold such hatred against his cousin as one may perceive. In fact, Neilson attended Poe’s November 17, 1875 memorial tribute and eulogized him. He also paid for an Italian marble headstone; however, this was destroyed in an accident transporting it to the cemetery (Frank 281; Thomas xxxviii; Find A Grave). He also intended to write a memoir of his cousin in 1860, but it is said,
…[he] made some collection of facts, but never wrote anything. He belongs, so his friends say, to the class of dilatory men, who plan and never do…He talks very freely about his cousin. I have not found him reticent; but I do not think the Poes [sic] fully appreciate the genius of Edgar (Miller 52).
Despite this “unappreciative” nature, it seems Neilson did genuinely hold some reverence for his cousin.
The rest of Neilson’s life seems straightforward regarding his family and career. In 1878, he was appointed Chief Judge of the Orphans’ Court of Baltimore, a position he held until two months before his death, January 3, 1884. He had seven children living at the time of his death; two daughters and five sons (Thomas xxxviii). He also was, notably, the grandfather of the six Poe brothers who played football at Princeton University between 1882 and 1903 (Find A Grave). Neilson’s other notable achievements include being director of Chesapeake and Ohio Canal, as well as director of the Chesapeake and Ohio Railroad for a short time (Find A Grave). He was associated with the Baltimore Chronicle, and had accomplished being a journalist, publisher, editor and lawyer (Frank 281).
Whether now you see Neilson as Poe’s “bitterest enemy”, or believe that he was a misunderstood journalist and lawyer, Neilson Poe goes down as being one of the most curious Poe relatives. What made Edgar despise his cousin? Was it jealousy, greed, or a great misunderstanding leaving a stubborn Eddy loathing his cousin until his death? You decide!
Every object in the Poe Museum tells a story. Each artifact or piece of ephemera helps us interpret the story of Edgar Allan Poe’s life and influence. The July Object of the Month is no exception. The Cornwell Daguerreotype is a distinctly arresting image of Poe taken at a low point in the author’s life, four days after a suicide attempt. His fiancée Sarah Helen Whitman, who owned the original, which she named the “Ultima Thule” Daguerreotype, pronounced it “wonderful” and told Poe’s biographer John H. Ingram that it had been taken “after a wild distracted night . . . and all the stormy grandeur of that via Dolorosa had left its sullen shadow on his brow.” One of four copies made directly from the original plate, this tiny daguerreotype (an early type of photograph made on a light-sensitive silver-plated piece of copper) has long been one of the most important artifacts in the museum’s collection. The image serves as an especially poignant document of Poe’s brief and troubled life. (Click here to learn more about the circumstances under which it was taken.) But this is only the beginning of the daguerreotype’s story. If it had not been for one woman’s determination, the piece might never have entered the collection.
Our account begins in 1933, when the world was still mired in the Great Depression. Early that year, the United States unemployment rate peaked at 25%, a drought plagued the heartland, over 5,000 banks had failed, and hundreds of thousands of Americans were homeless, struggling for survival in makeshift shanty towns. The Poe Museum (then known as the Poe Shrine) was not immune to this global crisis. To conserve energy, the Museum closed all but one of its four buildings and turned off its oil burner. Instead it heated one room in the Old Stone House with a wood stove. Before a December board meeting, the Poe Shrine’s secretary Mary Gavin Traylor wrote the museum’s president, Richmond News Leader Editor and Pulitzer Prize-winning historian Dr. Douglas Southall Freeman, for permission to at least use the oil burner during the meeting. If not, she added, “we will rock along with the fourth of a cord of oak and pine blocks and the small load of kindling donated to us…”
To save money, Dr. Freeman instructed the museum’s hostesses to take off one month for every three months of work. His note ended “If things are not better in spring, we will have to reduce the force by one.”
A notation in the financial records reads, “Personnel has been reduced to one lady for five hours in the morning and one lady for five hours in the afternoon at very small wage but positively all that could be paid…There was a loss in the ‘nest egg’ for the endowment at the time of the bank failures. Have not had heat or a phone since the depression…”
In early 1933, just when the museum’s situation was at its bleakest, Christine Smith Rawson of Bradford, New Hampshire contacted Ms. Traylor at the Poe Museum. Rawson was in need of money and owned a rare daguerreotype she knew would be of interest to the museum. Though she admitted she had no idea how much the piece was worth, she offered it to the museum for $500. This is the equivalent of $8,895 in today’s dollars. At a time of bank failures and staggering unemployment, this seemed like an impossible sum, but Traylor believed the Poe Museum needed this artifact. Before she attempted to acquire it, however, she would need to learn more about the piece. In order to learn something about the provenance (or history) of the piece, she quizzed Rawson about what she knew of the plate’s origin. Rawson had received it from her uncle John Clarke Turner, who had been given it by a Dr. Cornwell of New London, Connecticut. More research revealed that Dr. Cornwell had been a poet who had published a number of poems in the Poet’s Corner of the New London Telegram, and that Turner was editor of the Poet’s Corner. Through this connection, the two writers became friends, so, shortly before his death, Cornwell gave his cherished daguerreotype to his friend.
That the daguerreotype had once been owned by Cornwell was also recorded by Edmund C. Stedman, who had borrowed it from him in 1880 to have it reproduced as a wood engraving by Timothy Cole. The engraving appeared as an illustration for an article about Poe in the May 20, 1880 issue of Scribner’s Monthly. A footnote in the article notes,
The frontispiece-portrait in the present number of SCRIBNER is reproduced, on an enlarged scale, from what is thought to be the last daguerreotype obtained of the poet. The editor is indebted to the kindness of Dr. H. S. Cornwell, of New London, for the use of this picture, and for the facts establishing its authenticity. It was taken by the late Mr. Masury, of Providence, R. I., and Mr. Cornwell makes it probable that Poe sat for it within a year or two of his death in 1849. The lines of the neck and chin are not so heavy as in the Bendann daguerreotype, but my comments on the latter otherwise apply to this picture. The unusual development of Poe’s forehead in the regions where the analytic and imaginative faculties are thought to hold their seat, is here shown as in no other likeness of the poet. Mr. Cornwell writes of it:
“The aspect is one of mental misery, bordering on wildness, disdain of human sympathy, and scornful intellectual superiority. There is also in it, I think, dread of imminent calamity, coupled with despair and defiance, as of a hunted soul at bay.”
Timothy Cole’s woodcut reproduction of the daguerreotype can be seen below.
During Traylor’s investigation, she learned that a biography of Cornwell, John Sylvester Cornwell, A Memoir by Ellen Morgan Frisbie, had been published in 1906. She was able to find a copy in the Library of Congress and took notes on any information relevant to her search. She found that Cornwell was born in 1831 and died on 1886. A passage on page two reads, “Our poet numbered among his friends, Sarah Helen Whitman, the brilliant woman who at one time was the fiancée of Poe and they frequently exchanged poems in the course of their correspondence.”
Sarah Helen Whitman
On page sixteen, she learned, “From 1873 to 1880, The New London Telegram enjoyed a reputation for printing very good poetry. The Poet’s Corner was under the supervision of John C. Turner and was frequently graced by Dr. Cornwell’s compositions.”
On the same page, she found another passage: “One of the Doctor’s most cherished possessions was an old daguerreotype of Edgar Allan Poe whom he so much admired. It is now the property of Mr. Turner, to whom it was presented by the poet some little time previous to his death.”
Once she had traced the ownership of the plate to Dr. Cornwell, she could only speculate on how he had acquired it. The fact that he had corresponded with Sarah Helen Whitman was an important clue because she had been the owner of the original plate from which this copy had been made. From Stedman’s footnote, she knew that Cornwell had acquired his daguerreotype in Providence, the city in which Whitman lived. It had even been made in the same studio that had taken the original. Because daguerreotypes were made directly on a light-sensitive plate without the use of a negative, copies were made by carefully photographing the original. Since Mrs. Whitman owned the original, she probably authorized the making of this copy. She is thought to have made the copy in the Pierpont Morgan library for her friend Caleb Fiske Harris and that she had the copy now in the Fales Library for one of her correspondents Sarah E. Robbins.
Given the exceptional quality and clarity of the image in Lawson’s daguerreotype, it was believed the plate was the original, but this was easily dismissed by comparing it with the other copies. Aside from the Robbins daguerreotype, they all have Poe’s part on the same side. At the time of production of the plate, the images in daguerreotypes were reversed. If Lawson’s plate had been the original, it would be a mirror image of the other copies.
Later investigations revealed that the pattern on the daguerreotype case was produced in limited quantities around 1853. If the case is original to the plate, this would support the plate being dated to before 1860, the year Sarah Helen Whitman’s daguerreotype, from which it was copied, disappeared from her home.
Having established the provenance of the piece as well as she could, Traylor decided to find out if $500 was a reasonable price to pay for it. She wrote to Brown University, the Pierpont Morgan Library, and other owners of Poe daguerreotypes to ask what they had paid for their pieces. When these institutions were unable to provide any useful information, she wrote University of Virginia professor and Poe authority Dr. James Southall Wilson for his opinion. He answered, “I would not pay more than three hundred dollars for the picture offered you and…I believe…such an offer would be accepted.”
Armed with this information, Traylor brought the matter to the Poe Museum’s board but was told that the museum simply did not have any money for the purchase. Seeing how passionate she was about not letting the institution miss the chance to acquire what she believed to be the most important of the very few daguerreotypes made of Poe, the board eventually authorized her to try to raise the $500 on her own.
Traylor started contacting her wealthy friends for donations. One of her typical fundraising letters expresses her passion about acquiring the plate:
Some time ago, a rare find was brought to the Shrine in the hope that we would buy it, the Board met and regretfully had to say “no fund,” much as they felt it was a splendid thing for us to acquire. I was so filled with the realization of its importance and determined that it should not escape the Shrine that I asked permission to try to get a number of subscribers to a fund, so that they as a group might present it to the Shrine…”
Within a few months, Traylor was able to get commitments totaling $290. Among the twenty donors were Granville Valentine with $25, John Stewart Bryan with $25, Ambassador Alexander Weddell with $50, Dr. Douglas Freeman with $15, and James Rindfleisch with $50. Among the many who found themselves unable to contribute was novelist Ellen Glasgow, who wrote, “It would be splendid if the Poe Shrine could buy this daguerreotype, and I regret that I am unable to contribute toward the purchase.”
When she wrote back to Lawson that she could not possibly pay more than $300 for the daguerreotype. Lawson responded by suggesting Traylor pay $300 up front and the final $200 in one year.
On May 15, 1933, Traylor answered,
The Shrine cannot, for the board on such things, distinctly said, as much as they would like to have it, they could not with financial circumstances such as they are, purchase it. The financial circumstances are worse than they were, for as I told you we lost heavily in the American Bank not opening its doors. The Shrine cannot take on any obligation. Then there is no one left to make you a note but me, and the Heavens in their high sky are not further away than such a possibility is far from me. Who could make a note, the group of people I have approached, have contributed $5 and $10 dollars each, each doing in doing that, all that he or she could feel able to do, there would be no chance of asking them to make a note. No one of them, at a time, when to eat and live is of so much more importance than a Poe Daguerreotype, would dream of being responsible for any $200 that might be collected, no individual is taking on responsibilities at this date either. To have a note made out to you is utterly out of the question. To carry on here at the Shrine with what we have is much more important, vital necessity and not in any manner to endanger that, is more important than to endanger that, is more important than to enhance the collection at this moment with no matter how interesting a Poe item, be it a manuscript, daguerreotype or piece of furniture. This is the situation as it exists today. Everybody has marveled that I have been able to get the promise of $300 to be given me…
After pointing out that the daguerreotype is a copy and, therefore, not as valuable as an original, Traylor continues,
I am anxious to have it, you should be able to readily see that. But $300 cash is the extent of my ability…You will not be able to get more elsewhere…Do please just let the group have it for the $300 I have the promise of and let it be presented to the Shrine. I feel you will never regret it, dear Mrs. Rawson…
On May 26, Rawson replied,
I have succumbed to your pleadings and enthusiasm and your unbounded interest in the Poe Shrine. I am going to let you have the picture for $300…Feeling happy that the picture is going to the Poe Shrine and thanking you for your great interest and help…
Now Traylor found herself faced with the task of collecting all the money that had been pledged. She rushed to collect the donation from Ambassador Weddell, who was about the leave the country. His donation alone amounted to one sixth of the total, so missing him before he left would have been the end of her effort. With Weddell and most of the other donors still able to fulfill their pledges, Traylor was able to purchase the plate in time it to go on display at the Poe Museum on October 7, the anniversary of Poe’s death. Thanks to Traylor’s vision and determination, the museum’s guests still able to see this important artifact at the Poe Museum.
The next time you visit the Poe Museum’s Enchanted Garden you might come upon this small plaque placed in memory of Mary Gavin Traylor.
The 2014 World Horror Grand Master is coming to Richmond. On Sunday, July 27 from 2-5 P.M., the Poe Museum in Richmond, Virginia is pleased to announce it will be hosting a talk by authors Brian Keene and Mary SanGiovanni. The authors will discuss how Poe has influenced the modern horror genre. Don’t miss this opportunities to learn how Poe inspired two of today’s best horror writers. Admission is included with Poe Museum general admission.
About the authors:
Brian Keene writes novels, comic books, short fiction, and occasional journalism for money. He is the author of over forty books, mostly in the horror, crime, and dark fantasy genres. His 2003 novel, The Rising, is often credited (along with Robert Kirkman’s The Walking Dead comic and Danny Boyle’s 28 Days Later film) with inspiring pop culture’s current interest in zombies. Keene’s novels have been translated into German, Spanish, Polish, Italian, French, Taiwanese, and many more. In addition to his own original work, Keene has written for media properties such as Doctor Who, Hellboy, Masters of the Universe, and Superman.
Several of Keene’s novels have been developed for film, including Ghoul, The Ties That Bind, and Fast Zombies Suck. Several more are in-development or under option. Keene also serves as Executive Producer for the independent film studio Drunken Tentacle Productions.
Keene also oversees Maelstrom, his own small press publishing imprint specializing in collectible limited editions, via Thunderstorm Books.
Keene’s work has been praised in such diverse places as The New York Times, The History Channel, The Howard Stern Show, CNN.com, Publisher’s Weekly, Media Bistro, Fangoria Magazine, and Rue Morgue Magazine. He has won numerous awards and honors, including the 2014 World Horror Grand Master Award, two Bram Stoker Awards, and a recognition from Whiteman A.F.B. (home of the B-2 Stealth Bomber) for his outreach to U.S. troops serving both overseas and abroad. A prolific public speaker, Keene has delivered talks at conventions, college campuses, theaters, and inside Central Intelligence Agency headquarters in Langley, VA. The father of two sons, Keene lives in rural Pennsylvania.
Mary SanGiovanni is the author of the novels THE HOLLOWER (nominated for the Bram Stoker Award), FOUND YOU, THE TRIUMVIRATE, THRALL, and CHAOS, and the novellas FOR EMMY, POSSESSING AMY, and THE FADING PLACE, as well as numerous short stories. Her fiction has appeared in periodicals and anthologies for the last decade. She has a Masters degree in Writing Popular Fiction from Seton Hill University, Pittsburgh, where she studied under Gary Braunbeck, Tom Monteleone, Mike Arnzen, and others. She is currently a member of The Authors Guild, The International Thriller Writers, and Penn Writers, and was previously an Active member in the Horror Writers Association.
Like many businesses, the Poe Museum was closed on July 4th for Independence Day. As we observe the anniversary of the signing of the Declaration of Independence, we might not realize that Poe would have celebrated the holiday, too.
At the time of Poe’s birth in 1809, only thirty-three years had passed since America had declared its independence from England. Such Founding Fathers as the author of the Declaration of Independence Thomas Jefferson and the nation’s second president John Adams were still alive. In fact, Poe would enter Jefferson’s University of Virginia while its founder was still residing at nearby Monticello. (Jefferson’s death occurred while Poe was at the University–on July 4.)
David Poe's Grave
The spirit of the American Revolution was ever present during Poe’s childhood. His grandfather, David Poe, Sr. had been honorary Quartermaster General of Baltimore during the Revolution and a friend of the Marquis de Lafayette. In Richmond, Poe would have attended Sunday services at Monumental Church with John Marshall, who had served in the Continental Army long before becoming Chief Justice of the United States Supreme Court. Poe would have also seen the “Virginia Giant” Peter Francisco, who fought the British with distinction at the Battle of Brandywine, the Battle of Germantown, the Battle of Stony Point, and other battles before witnessing Cornwallis’s surrender at Yorktown. Both Marshall and Francisco are buried at Richmond’s Shockoe Hill Cemetery along with Poe’s foster parents and a number of his friends. Another Revolutionary War hero living in Richmond during Poe’s time was the “Hero of Stony Point” Major James Gibbon.
When Poe was fifteen, he was honored to serve on the honor guard selected to escort the Marquis de Lafayette on the latter’s 1824 tour of Richmond. Poe must have known about the friendship between his grandfather (who had died in 1816) and the Frenchman. While in Baltimore during the same United States tour, Lafayette visited Poe’s grandfather’s grave. According to J. Thomas Scharf’s Chronicles of Baltimore (1874):
“The next day he [Lafayette] received visitors at the Exchange and dined with the corporation, &c., &c., and in the evening visited the Grand Lodge; after which he attended the splendid ball given in Holliday Street Theatre, which had been fitted up for the occasion. After the introduction of the surviving officers and soldiers of the Revolution who resided in and near Baltimore, to General Lafayette on Friday [October 8, 1824], he observed to one of the gentlemen near, ‘I have not seen among these my friendly and patriotic commissary, Mr. David Poe, who resided in Baltimore when I was here, and of his own very limited means supplied me with five hundred dollars to aid in clothing my troops, and whose wife, with her own hands, cut out five hundred pairs of pantaloons, and superintended the making of them for the use of my men.’ The General was informed that Mr. Poe was dead but that his widow [Elizabeth Cairnes Poe] was still living. He expressed an anxious wish to see her.
“The good old lady heard the intelligence with tears of joy, and the next day [October 9, 1824] visited the General, by whom she was received most affectionately; he spoke in grateful terms of the friendly assistance he had received from her and her husband: ‘Your husband,’ said he, pressing his hand on his breast, ‘was my friend, and the aid I received from you both was greatly beneficial to me and my troops.’ The effect of such an interview as this may be imagined but cannot be described. On the 11th General LaFayette left the city with an escort for Washington.”
Being surrounded by reminders of the American Revolution during his childhood might have influenced his decision to enlist in the United States Army when he was eighteen, but he hired a substitute to serve the remainder of enlistment after just two years.
Poe would have observed the anniversary of the signing of the Declaration of Independence during his lifetime. Celebrations of one kind or another had been taking place since 1776 when, on July 8, Philadelphians hearing a public reading of the Declaration of Independence started shooting into the air, lighting bonfires, and exploding fireworks (although the name Independence Day was not used until 1791). Before long, similar celebrations were being held throughout the young nation, and they increased in popularity after the War of 1812. By Poe’s time, Independence Day celebrations could include parades, cannon fire, bonfires, the ringing of bells, drinking, and fireworks, but the day did not become a national holiday until 1870. Unlike the Poe Museum’s employees, Poe worked on Independence Day. We know this because there are business letters written by him dated July 4.
The Poe Museum will reopen at 10 A.M. on July 5 and will be open its regular hours the rest of the weekend.
Many know Edgar Allan Poe, the esteemed poet and writer of horror and mystery fiction. Many are unaware; however, that Poe had an older brother, Henry, “The Pirate”. Nicknamed for his sailing expeditions, William Henry Leonard Poe (who went by Henry) was a sailor and a poet. Born January 30, 1807 in Boston, his parents were actors, David and Elizabeth Arnold Poe (Poe Forward’s Poe Blog). [Let it be noted that it is thought he was born between January 12 and February 22 based on Eliza and David Poe’s brief vacation from the stage during this time (Timoney).] After Henry’s birth, Eliza and David took a trip to Baltimore where they left Henry with his grandparents, Elizabeth Cairnes and General David Poe. Henry stayed with them during the rest of his parents’ brief careers and after their deaths, when he was four (Timoney). Henry did remain at his mother’s bedside as she was dying, however. He, according to Kenneth Silverman in Edgar A. Poe: A Biography, Mournful And Never-Ending Remembrance, recalled his mother saying a “long…last farewell”. Henry then received a lock of his mother’s hair (8).
Not a lot is known about Henry’s childhood, except for a few references from Henry’s Aunt Eliza, including a letter dated February 8, 1813 in which she states Henry “frequently speaks of his little brother [Edgar] and expressed a great desire to see him” (Timoney). This was written when Henry was only six years old. Because Edgar Poe’s foster family, the Allan family, was not interested in staying in contact with Henry and the Poe family, the brothers did not see a lot of each other, despite efforts made by the Poe family to maintain contact.
In 1816, General David Poe died and Henry, who was nine, was sent to live with his father’s friend, Henry Didier. Didier was a law student with David Poe Jr. before David took up acting (Timoney). According to Thomas Mabbott in Edgar Allan Poe: Complete Poems, Henry Didier was, in fact, Henry’s godfather (515).
Before the age of 20, in 1827, Henry became a sailor and travelled the world. He served aboard the Frigate USS Macedonian in South America, the Mediterranean, Europe, the West Indies, the near East and possibly Russia. He namely visited Montevideo, South America, which he wrote an account of in February of 1827 and published in the North American. He also published in the Saturday Evening Post and the Baltimore Minerva and Emerald on returning to Baltimore, where he moved in with his aunt, grandmother, and cousin—the Clemm family. In 1829, he took up a job with Didier (Timoney).
It is said Henry was writing poetry as early as 1826. During this time, he fell in love with a woman named Rosa Durham. Not much is known about their love affair, except that, based on few poems, their engagement did not end well (Mabbott 516). These poems include “I’ve lov’d thee” and “To R.” (Allen 47, 48).
Regardless of the unfortunate end to their relationship, Henry remained preoccupied with writing. It should be noted that, when publishing in local newspapers, he would include Edgar’s poems and reprint them under his name (World of Poe).
Henry did not stop thinking of his brother during the time between his childhood and his arrival back in the States, and he soon was able to see his brother on multiple occasions. In 1825, Edgar took Henry to visit Sarah Elmira Royster. Elmira recalled Henry “as having been in the Navy or Merchant Marine because he ‘was dressed in a uniform that seemed to be that of a midshipman’” (Timoney). It is believed Henry’s short story “The Pirate” was based on Edgar and Elmira’s tryst and broken engagement (World of Poe).
Henry and Edgar continued to see one another in 1827, 1829 and 1831 (Mabbott 516). After being released from the army in 1831, Edgar moved in with Henry and the Clemm family.
Edgar nursed Henry during the last days of Henry’s life, and it is believed Henry passed away, if not in the same room as Edgar, but perhaps in the same bed as Edgar (Timoney). Henry died August 1 in 1831 at the age of 24 (Poe Forward’s Poe Blog). His cause of death is thought to have been from tuberculosis, however, cholera and alcohol have been taken into account. Alcoholism certainly may have been a major factor because Henry was a hard drinker the last two years of his life (Poe Forward’s Poe Blog).
Henry is buried in the churchyard of Westminster Hall and Burying Ground of the First Presbyterian Church in Baltimore, in the same family plot as his grandfather, General David Poe (Poe Forward Poe’s Blog). Interestingly, in the announcement of his death in a Baltimore newspaper, his surname was incorrectly given as “Pope” (World of Poe).
Grave of David Poe Sr.
Except for a few accounts, not much is known of Henry except for a few accounts. According to Frederick S. Frank and Anthony Magistrale of The Poe Encyclopedia, “There are temperamental resemblances between the brothers. Henry was ‘a thin, dark eyed young man who…shared Edgar’s dreamy Romanticism, morbid melancholy, wild streak and weakness for liquor’ but lacked his brother’s ‘compelling genius’” (281). It was reported in The Poe Log by Dwight Thomas and David K. Jackson, that Frederick William Thomas, a novelist, journalist, lawyer and friend of Henry’s in 1828, stated upon meeting Henry,
I was intimate with Poe’s brother in Baltimore during the year 1828. He was a slim, feeble young man, with dark inexpressive eyes, and his forehead had nothing like the expansion of his brother’s. His manners were fastidious. We visited lady acquaintances together, and he wrote Byron poetry in albums, which had little originality. He recited in private and was proud of his oratorical powers. He often deplored the early death of his mother, but pretended not to know what had become of his father. I was told by a lawyer intimate with the family that his father had deserted his mother in New York. Both his parents had visited Baltimore when he was a child, and they sent money from Boston to pay for his support. (Pgs 87-88, 295)
Thomas, in another account, stated he and Henry had been “rather rivals in a love affair” (Mabbott 515). In yet another account, Richard Henry Stoddard, a critic and poet of the nineteenth century, said “he was handsome and talented, but of irregular habits because of which his fiancée (Durham) dismissed him” (Mabbott 516). Finally, a Mrs. Jane Miller of the Mackenzie family (Rosalie Poe’s adopted family) had these statements to make about Henry:
All that I know about him is that he came to Duncan Lodge to visit when he was a young man. My grandmother told me that until he came there, Aunt Rose scarcely knew she was an adopted child. She had grown right up with my mother and the other children. At the time Henry Poe visited Duncan Lodge my grandmother was getting Aunt Mary ready to go away to school–to New York. And Henry talked to Aunt Rose about it and told her they were doing more for Aunt Mary because she was their real daughter and that Aunt Rose must look out for her rights–she must see to it that they gave her as many advantages as they gave their own children–they had adopted her. Henry Poe’s visit embittered Aunt Rose.
Amongst these recollections of Henry is evidence he and Edgar shared traits which would hint at more of Henry’s character as well. According to Janel Timoney,
Henry and Edgar seem to have shared many similar personality traits. They are described as being of a ‘similar poetically-inclined and somewhat melancholy temperament.’ Their health is also similar. Henry, even earlier than Edgar, shows a predilection for poor health (Allen 24). Their father, who died a death ‘hastened by a taint of alcoholism hereditary in the family,’ seems to have passed the alcoholism along to his sons. Henry was described as the ‘wayward’ son and not long before his death, Edgar wrote of his brother to John Allan saying that Henry was ‘entirely given up to drink and unable to help himself’ (Thomas xxxviii). Edgar would later develop alcohol problems of his own.
Henry continued to affect Edgar after his death, and his death is said to have played a major role in contributing to Edgar’s melancholy nature and his writing. An alias Edgar Poe used was Henri Le Rennet, a French version of Henry’s name. It is said Henry most likely inspired August Barnard in, The Narrative of Arthur Gordon Pym of Nantucket. It is even theorized he was the main personage of Lenore in Poe’s poems (Poe Forward’s Poe Blog).
Although Henry did not have an extensive past to draw information from, nor did he live a long life, he still remains a curious subject for Poe scholars and fans alike. And who knows? Henry may have gone on to be a famous poet and writer just like his younger brother.
You can visit the following link to view a piece in our collection here at the Poe Museum:
Last Thursday, the Poe Museum unveiled its most recent major acquisition, the plaster model for Virginia’s first life-sized statue of Edgar Allan Poe, Charles Rudy’s sculpture now on display at the Virginia Capitol.
Retired Philadelphia physician Dr. George Edward Barksdale commissioned this statue for the Virginia State Capitol in Richmond in 1956 because the Commonwealth of Virginia did not have any life-sized statues honoring the author. From this plaster model, a bronze cast was made at a cost of $9,500. After Dr. Barksdale donated the statue to the Commonwealth of Virginia, it was sent to a warehouse until the General Assembly approved a location for it on Capitol Square. In January 1958, the approved an appropriation of $2,500 for the installation, and the sculpture was finally installed on January 30, 1959 and dedicated on the 110th anniversary of Poe’s death—October 7, 1959.
The sculptor, Charles Rudy, studied at the Pennsylvania Academy of the Fine Arts before traveling to Europe to continue his training. Among his many public commissions are the bas relief portraits of Benjamin Franklin on Philadelphia’s Benjamin Franklin Bridge and the war memorial outside Franklin Field at the University of Pennsylvania. He also created the monumental sculptures of Jefferson Davis, Robert E. Lee, and Stonewall Jackson on the side of Stone Mountain in Georgia.
The original base for the statue was found in a landfill in the 1970s and is now on display in front of the Poe Museum. The Poe Museum’s new statue is a gift from the James A. Michener Art Museum in Honor of Lorraine Rudy.
Rudy’s plaster statue debuted at the Poe Museum as part of the new exhibit Poe 3D, which features the works of other celebrated sculptors including George Julian Zolnay and Edmund T. Quinn. The exhibit continues until October 19.
Rosalie Mackenzie Poe, née Rosalie Poe, was the estranged sister of Edgar Allan Poe. Rosalie, born approximately December 1810 in Norfolk, Virginia, was the last of Elizabeth Arnold Poe’s children (Mabbott 520). There is debate who her father is, because David Poe, Eliza’s husband, had abandoned the family around the time Rosalie would have been conceived. There is speculation that John Howard Payne, a prominent fellow actor of the time, was Rosalie’s father; however these rumors remain as such—merely rumors. There is evidence that Eliza and Payne were both acting on the same stage around this time (Bloomfield). There is even compromising evidence which fell into the hands of John Allan, Edgar Poe’s “foster” father, who then wrote to Henry Poe, Edgar and Rosalie’s older brother, in a November 1824 letter explaining Rosalie only being a half sister to the Poe brothers:
God may yet bless him [i.e. young Edgar] & you & that Success may crown all your endeavors & between you your poor Sister Rosalie may not suffer. At least She is half your Sister & God forbid my dear Henry that We should visit upon the living the Errors & frailties of the dead (Velella).
It is also speculated Joseph Gallego of Richmond was Rosalie’s father, or at least had a deep connection with her, as he bequeathed her $2000 in his will, the remaining $8000 going to the Mackenzie family (World of Poe).
John Hamilton Mackenzie
After Eliza Poe’s death in 1811, the Poe children were separated and Rosalie was taken into the care of William Mackenzie and his wife of Richmond. She was not formally adopted, and it is speculated whether the family accepted her warmly or treated her poorly. Growing up, Rosalie was described as being degenerative, dull, backwards, and never progressing beyond the developmental age of twelve:
Edgar developed into a brilliant youth, as much noted for physical beauty, strength and activity, as for intellect and genius. Rosalie, as though some mysterious blight had fallen upon her, gradually drooped and faded into a languid, dull and uninteresting girlhood — apathetic in disposition and weak in body and mind…Her figure, naturally delicate and well-formed, drooped as lacking strength for its own support, her hands generally hanging listlessly at her side. Her eyes, dark gray, like those wonderful spiritual ones of her brother, were weak, dull and expressive only of utter vacuity. She was accustomed to sit for long intervals gazing upon vacancy, and when aroused, would answer to an inquiry: ‘ I wasn’t thinking at all; I was asleep with my eyes open.’…She looked indeed as she often said that she felt, “but half alive…” (Weiss).
A much younger looking Rosalie Poe. Previously shown at the Poe House in Baltimore, MD.
She, despite these reported developmental hindrances, earned a living by teaching writing for nine years (Sova). It should be noted that the Poe children’s nurse, at the time of Eliza’s failing health, explained she would dip bread soaked in gin and give it to the children, as well as occasionally give them other liquors. Although this was not uncommon at the time, because alcohol was used as a method for quieting upset children, it may explain Rosalie’s stunted developmental process and intellectual growth. It is rumored that Laudanum also was given to the young children (Weiss).
As the youngest sibling of the three Poe children, Rosalie looked up to her older brother Edgar, greatly admiring him and often boasting about his works and his talent, despite the two not being close. she attended her brother’s readings and lectures, and it is said she was disruptive and even sat upon his lap while he gave a reading of “The Raven”:
Once, when he was reciting ‘The Raven’ by popular demand at a gathering, Rosalie came up and sat on his lap at a point in the poem that pretty much equated her presence there with the birds above the ‘chamber door.’ The guests loved it. Poe was tolerant and quipped that he’d take her along next time to act out the part of the raven (Bloomfield).
According to Thomas Ollive Mabbott in Complete Poems, allegedly she dressed in an unfashionable manner and embarrassed the older Poe (521). If there were any similarities between the two, it was their shared fondness of flowers (Weiss).
John Hamilton Mackenzie in his older years.
After the Civil War and her brother Edgar’s death, the effects were devastating on the Mackenzie family and caused them to split, leaving Rosalie to fend for herself. Rosalie’s “foster” mother had passed in 1865, and John Hamilton Mackenzie, Rosalie’s “foster” brother, had lost Rosalie’s $2000 inheritance (Semtner 112). In the last years of her life, Rosalie wandered the streets and often forged her brother’s signature for autographs which she attempted to sell. She also attempted to sell furniture, claiming the pieces were “Poe artifacts” (World of Poe). Rosalie thrived solely on the charity of others, having been rejected by her cousin Neilson in Baltimore (Weiss). She had been unable to provide the money required to take out letters of administration to receive her brother Edgar’s inheritance, so she did not received what was supposed to be left to her (Mabbott 571). She was admitted to Epiphany Church Home in Washington D.C. and died there July 21st, 1874; she was 68. It is said she died due to inflammation of the stomach (World of Poe). It is also speculated she passed from “debility,” or physical weakness (Mabbott 520). Something notable about her death is that her tombstone marks her year of birth as 1812, one year after her mother’s death (World of Poe). This date was allegedly taken from the date of her christening, which would imply she was christened in 1812 (Mabbott 520).
The tragic story of Rosalie Poe is one to note when embarking on Poe studies. It must be mentioned she once stated the following in regard to writing, “I often feel as if I could write poetry. I have it all in my head, but somehow can’t get it clear enough to write down” (Weiss). There is certainly a possibility Rosalie might have been a successful writer, much like her brother Edgar, and certainly like their older brother Henry who, too, possessed the creative talent. Had she been given greater fortune in life, Rosalie’s strange, sad, and upsetting story may have turned out differently. It seems, however, each Poe child was touched with the curse of poverty and despair.
You can view historical objects and artifacts pertaining to Rosalie Poe and the Mackenzie family at the Poe Museum in Richmond, Virginia, as well as in the Manuscripts Collection: Edgar Allan Poe collection at the Harry Ransom Center at the University of Texas at Austin.
Home of William Mackenzie
One night a theater critic answered his door to find an actor so angry over a review that he threatened the critic. The actor was a twenty-three year old David Poe, Jr. (1784-?), future father of Edgar Allan Poe. That review is the Poe Museum’s Object of the Month for June.
Although little is known of David Poe’s life, most of what is documented concerns his acting career. Several museums and libraries, including the Poe Museum, hold important collections of newspapers containing notices of his performances in major East Coast cities. These documents provide information about his whereabouts and his uneven acting ability. (In September 1809, the reviewer for The Ramblers’ Magazine and New-York Theatrical Register wrote that David Poe “was never destined for the high walks of the drama; — a footman is the extent of what he ought to attempt: and if by accident like that of this evening he is compelled to walk without his sphere, it would bespeak more of sense in him to read the part than attempt to act it; — his person, voice, and non-expression of countenance, all combine to stamp him — poh! et praeterea nihil.”)
Concerning David Poe’s personal life, we know he was born in 1784 in Baltimore, to David Poe, Sr., who had been an honorary Quartermaster General of Baltimore during the American Revolution as well as a personal friend of the Revolutionary War General Lafayette. David Poe, Sr. had gone deep into debt during the Revolution, but his son intended to rise out of that poverty by becoming a lawyer. Then David Poe, Jr. saw the English-born actress Eliza Hopkins (1787-1811) (pictured below) perform on the Baltimore stage and, according to legend, was so smitten with the young married young woman that he gave up the study of law take up the precarious existence of an actor. After her husband died, David married Eliza in Richmond in 1806, and the couple had three children, William Henry Leonard (1807-1831), Edgar (1809-1849), and Rosalie (1810-1874).
The couple moved to Boston in 1806. Judging by the variety of roles David and Eliza performed, they were both popular with the public, but Eliza, in particular, was a crowd favorite. She specialized in comedic roles, especially tomboys and other children. One of these characters was a young boy named Little Pickle in the farce The Spoiled Child. She had been playing the part since 1796, when she was nine years old, but, as she entered her twenties, she was beginning to get a little old for the part.
The Poe Museum’s Object of the Month, The Polyanthos, was a Boston magazine edited by Joseph T. Buckingham (1779-1861) (pictured above), who also wrote the theater reviews. One of his pithy notices (pictured below) of David Poe reads, “From Mr. Poe’s Barnwell we expected little satisfaction, and of course we were not disappointed.”
Buckingham gives Eliza Poe a more favorable notice (pictured below) for her performance as Jenny in John Vanbrugh’s play The Provoked Husband. He writes, “Miss Jenny by Mrs. Poe was well. The hoyden is Mrs. Poe’s forte.”
Although she had built her reputation playing comedies, Mrs. Poe worked to prove herself in more serious roles. When she he played Cordelia in William Shakespeare’s tragedy King Lear. Buckingham did not think she was up for the part. His notice in The Polyanthos reads, “We know not which is more laughable, the absurd, preposterous conduct of the managers in giving the character of Cordelia to a lady who is so totally inadequate to its representation: or to the ridiculous vanity which prompted her to accept it…Mrs. Poe as Cordelia, has once received our approbation, and has again deserved it. But we notwithstanding prefer her comedy.”
The reviewer for Columbian Centinel also thought Mrs. Poe better suited for comedies when he wrote, “Of Mrs. Poe in Cordelia we would speak with the strictest delicacy and tenderness. Her amiable timidity evidently betrayed her own apprehension, that she had wandered from the sphere of her appropriate talent; while her lovely gentleness pleaded strongly for protection against the rigid justice of criticism. She was so obviously exiled from her own element by the mere humor of authority that we cannot in charity attempt any analysis of her performance.” He at least added, “Mrs. Poe had one credit and that of no mean value—she did not mutilate the language of Shakespeare.”
The Emerald’s theater critic wrote, “Cordelia by Mrs. Poe, was interesting but the part was not suited to her voice.” Despite the critics’ opinions, the play was a hit. She was soon cast as Ariel in Shakespeare’s The Tempest.
The same season, Buckingham wrote the review that would prompt an angry visit from David Poe. Eliza Poe had been working hard to outgrow the juvenile roles that had made her famous, but she was asked to play on March 4, 1807 Little Pickle in The Spoiled Child, a part she had outgrown years earlier. Not only was the twenty-year-old Eliza playing a child, but the child just happened to be a boy. In the pages of The Polyanthos, Buckingham indelicately pointed out the inappropriateness of the casting by writing, “Mrs. Poe was a very green Little Pickle. We never knew before that the Spoiled Child belonged to that class of being termed hermaphroditical, as the uncouthness of his costume seemed to indicate.”
This joke at his wife’s expense drove David Poe to action. According to Buckingham’s much later account in his 1852 book Personal Memoirs and Recollections of Editorial Life, “The theatrical criticisms are all my own. Some of them are severe, but I am not aware that any were unjust. The players, however, at least some of them, were of a different opinion. One of them, during a representation of Sheridan’s farce, — The Critic — paid off the score, by invoking the mercy of the editor of the Polyanthos! Mr. Poe — the father of the late Edgar A. Poe, — took offence at a remark on his wife’s acting, and called at my house to chastise my impertinence, but went away without effecting his purpose. Both he and his wife were performers of considerable merit, but somewhat vain of their personal accomplishments.”
Whether David Poe had wanted to challenge the critic or merely to argue with him, he left without achieving his goal. David and Eliza Poe would continue to perform on the Boston stage for a couple more years, and their second son Edgar was born there on January 19, 1809. A few months later, David made another one of his nocturnal visits, this time to his cousin George Poe, Jr., who would write about it in a letter dated March 6, 1809:
[David Poe] did not behave so well. One evening he came out to our house — having seen one of our servants…he had me called out to the door where he told me the most awful moment of his life was arrived, begged me to come and see him the next day at 11 o’clock at the Mansion house, [s]aid he came not to beg, & with a tragedy stride walked off after I had without reflection promised I would call — in obedience to my promise I went there the next day but found him not nor did I hear of him until yesterday, when a dirty little boy came to the door & said a man down at the tavern desired him to bring that paper and fetch back the answer — it is only necessary for me to copy the note here that you may see the impertinence it contains
Sir, You promised me on your honor to meet me at the Mansion house on the 23d — I promise you on my word of honor that if you will lend me 30, 20, 15 or even 10$ I will remit it to you immediately on my arrival in Baltimore. Be assured I will keep my promise at least as well as you did yours and that nothing but extreem [sic] distress would have forc’d me to make this application — Your answer by the bearer will prove whether I yet have “favour in your eyes” or whether I am to be despised by (as I understand) a rich relation because when a wild boy I join’d a profession which I then thought and now think an honorable one. But which I would most willingly quit tomorrow if it gave satisfaction to your family provided I could do any thing else that would give bread to mine — Yr. politeness will no doubt enduce you to answer this note from Yrs &c
D. POE JR.
To this impertinent note it is hardly necessary to tell you my answer — it merely went to assure him that he [need] not look to me for any countenance or support more especially after having written me such a letter as that and thus for the f[uture] I desired to hear not from or of him — so adieu to Davy —
In spite of the desperate tone of his letter, David Poe, Jr. did not give up the acting profession at the time. He continued to keep up a busy schedule of performances, and his reviews were gradually improving. Eliza Poe was winning over audiences with her mature dramatic performances by the time the growing family moved to New York in 1809. The then twenty-two year old actress even played Little Pickle again.
David Poe’s last notice, in the October 20, 1809 issue of The Ramblers’ Magazine, reads, “It was not until the curtain was ready to rise that the audience was informed that, owing to the sudden indisposition of Mr. Robertson and Mr. Poe, the Castle Spectre was necessarily substituted for Grieving’s a Folly.” His whereabouts after his “sudden indisposition” are unknown. He seems to have abandoned his wife and children sometime between then and July 26, 1811 when a letter in the Norfolk Herald reported that Eliza Poe had been “left alone, the only support of herself and several small children — Friendless and unprotected…” The place and time of David’s death are unknown, but a number of different dates and locations appear in Poe family records and elsewhere.
Poe’s mother continued to win over audiences until her death in Richmond at the age of twenty-four in 1811. Though Poe could barely remember his mother, he grew up bearing the stigma of having been the son of an actress, a disreputable profession at the time. Even his foster father John Allan referred to Poe in a letter as “that devil actress’s son.” Poe, however, was proud of his mother’s accomplishments and wrote in the July 19, 1845 issue of the Broadway Journal, “The writer of this article is himself the son of an actress — has invariably made it his boast– and no earl was ever prouder of his earldom than he of his descent from a woman who, although well born, hesitated not to consecrate to the drama her brief career of genius and of beauty.”
The Polyanthos ceased publication in 1814, but J.T. Buckingham continued to edit other literary magazines including The New-England Magazine. In 1833, he received a letter from a young writer named Edgar Allan Poe which reads,
I send you an original tale in hope of your accepting it for the N. E. Magazine. It is one of a number of similar pieces which I have contemplated publishing under the title of ‘Eleven Tales of the Arabesque‘. They are supposed to be read at table by the eleven members of a literary club, and are followed by the remarks of the company upon each. These remarks are intended as a burlesque upon criticism. In the whole, originality more than any thing else has been attempted. I have said this much with a view of offering you the entire M.S. If you like the specimen which I have sent I will forward the rest at your suggestion — but if you decide upon publishing all the tales, it would not be proper to print the one I now send until it can be printed in its place with the others. It is however optional with you either to accept them all, or publish ‘Epimanes’ and reject the rest — if indeed you do not reject them altogether.
Buckingham must not have thought much more of Edgar Poe’s story than he did of Edgar’s father’s acting. He declined to publish “Epimanes,” which would not appear in print until the Southern Literary Messenger published it three years later. Edgar Poe probably never knew how Buckingham had insulted his mother and incurred the wrath of his father. Today the Poe Museum’s issues of The Polyanthos serve as evidence of the acting talent of Poe’s mother and of the fiery temper of his father.
The Edgar Allan Poe Museum has recently acquired a life-sized statue of Edgar Allan Poe produced in 1957 by the artist Charles Rudy. The sculpture, which depicts a seated Poe holding a pen and paper, is Rudy’s plaster model for the bronze statue now in the Virginia State Capitol Square. This is the first full-length sculpture to enter the Poe Museum. The piece is a gift from the James A. Michener Art Museum in Honor of Lorraine Rudy.
According to Poe Museum Curator Chris Semtner, “This is a major addition to the Museum’s collection not only because it is one of a few full-length life-sized statues of Poe available but also because it is the model for the first public statue of Poe in the Commonwealth of Virginia. The Poe Museum’s founders attempted to fund the creation of a Poe statue in Richmond, Virginia in 1906, but it was not until Philadelphia physician George Edward Barksdale commissioned this statue in 1957 that Richmond received its own Poe statue. Now visitors to the city will be able to see both the finished bronze and the plaster model.”
The Poe Museum is currently conserving the statue (which arrived in thirteen pieces) in preparation for its first public exhibition in the exhibit Poe 3-D, which will run from June 26 to October 19, 2014. The exhibit will also feature busts of Poe by George Julian Zolnay, Edmund Quinn, and others.
The exhibit will open on June 26 from 6 to 9 P.M. during the Poe Museum’s monthly Unhappy Hour, which features live music by Lost Dreads, performances, and refreshments.
Join the Poe Museum and seventy-five of the Richmond area’s best arts and cultural organizations at the annual Arts and Culture Xpo at the Greater Richmond Convention Center. Here are the details:
4th Annual Arts & Culture Xpo
Saturday, June 28th – 10 to 4pm
Greater Richmond Convention Center
In the heart of the Richmond Arts and Cultural District
The Arts & Culture Xpo spotlights the Richmond region’s non-profit arts and culture organizations. It is a gathering for anyone who values arts and culture in our community!
The Arts & Culture Xpo is an explosion of the arts, history, science, and family fun for the Richmond Region – all under one roof on one day.
The day features:
* FREE admission
* A variety of stage performances throughout the day highlighting local arts and culture organizations including musical, visual art, theatrical, historical and dance.
* Hands-on learning activities including art demos, cultural interactions, and more!
* Opportunities to interact with diverse local arts and culture organization. The list of 2014 exhibitors is available HERE.
* Opportunities to take advantage of Xpo-only discounts on memberships, classes, tickets, subscriptions, performances, education programs and more.
* NEW FOR 2014:
TA DA! – Exhibitors will be unveiling – only at the Xpo – new products, programs, their upcoming season, new exhibitions – just about anything!
People’s Choice Award – While at the Xpo, guests will have an opportunity to vote for their favorite exhibitor. Winning exhibitor receives $1,000.
Group Art Project — Xpo attendees will have an opportunity to participate in a surprise on-site project that spans and represents the impact of arts and culture throughout the Richmond Region.
Directions and parking information available here.
Need more information about the Arts & Culture Xpo? Click here or contact Caron Sterling 804.340.5282 or firstname.lastname@example.org