You never know who you will meet at the Poe Museum. Since it opened in 1922, it has welcomed some of the world’s leading authors, artists, and actors. Thirty-nine years ago, in February 1975, the actor Vincent Price visited the Museum, where he was treated to a lunch in his honor. A horror film legend, Price starred in several adaptations of Poe’s works, including “The Pit and the Pendulum,” “The Fall of the House of Usher,” “The Masque of the Red Death,” and “Tales of Terror.”
The February 11, 1975 issue of the Richmond News Leader reported that, in addition to visiting the Poe Museum, Price gave a lecture and dramatic reading at the Women’s Club where he drew “loud applause for his readings of such Poe classics as ‘The Raven.’”
The reporter Joy Propert describes Price during his visit as “conservatively dressed in a dark suit, light blue shirt and a red and blue paisley tie.” Of his appearance, Propert adds, “Price has carefully waved gray hair and a small mustache that seem appropriate for a voice that can change instantly from dulcet to sinister tones.” Price is quoted as telling the Women’s Club, “I love playing the villain…It’s boring playing good men.”
When asked about Poe, Price tells the reporter, “He was born with a demon called genius, and his poems show an inner despair in much the same way as some contemporary art.”
The raven that appears in the above photo with Price is still at the Poe Museum.
In honor of Price’s 100th birthday in 2011, the Poe Museum hosted a special exhibit in honor of the man who introduced generations of audiences to Poe’s works through the medium of film.
Vincent Price Life Mask
Above is a life mask of Vincent Price from the Poe Museum’s collection. The Museum also holds several posters for Vincent Price’s Poe movies and related items like this Vincent Price figurine.
To give the public a better idea of the variety of artifacts and memorabilia that makes up the Poe Museum’s world renowned collection, we will be profiling a different object each month. Some of these objects may be long-time favorites like Poe’s bed or Poe’s vest, but others may be lesser known pieces that are rarely, if ever, displayed. When making the list of items to profile, we began by asking which pieces tell stories or reveal unknown aspects of Poe’s life or work. We then considered which objects we wish could receive more attention or more time on display. Finally, we wondered which would be the first item to be profiled.
It made perfect sense to begin with a little known object that nonetheless attracts, repulses, and intrigues many of the guests who see it. Our tour guides regularly point it out on their tours because it is small enough to go unnoticed but too important to miss.
Eliza White (ca.1820-1888) was the daughter of Poe’s employer, Thomas White, the owner of the Southern Literary Messenger. What little is known of Eliza White is a mixture of exaggeration, legend, and an occasional fact. Poe’s friend Susan Archer Talley Weiss wrote in her notoriously unreliable 1907 book Home Life of Poe, “When I was a girl I more than once heard of Eliza White and her love affair with Edgar Poe. ‘She was the sweetest girl that I ever knew,’ said a lady who had been her schoolmate; ‘a slender, graceful blonde, with deep blue eyes, who reminded you of the Watteau Shepherdesses upon fans. She was a great student, and very bright and intelligent. She was said to be engaged to Poe, but they never appeared anywhere together. It was soon broken off on account of his dissipation. I don’t think she ever got over it. She had many admirers, but is still unmarried.’”
Susan Archer Talley
According to Weiss, when Poe moved to Richmond in 1835 to work at the Southern Literary Messenger, “Mr. White, as a safeguard from the temptation to evil habits, received him as an inmate of his own home, where he immediately fell in love with the editor’s youngest daughter, ‘little Eliza,’ a lovely girl of eighteen [actually twenty-three]. It was said that the father, who idolized his daughter, and was also very fond of Poe, did not forbid the match, but made his consent conditional upon the young man’s remaining perfectly sober for a certain length of time. All was going well, and the couple were looked upon as engaged, when [Poe’s aunt] Mrs. Clemm, who kept a watchful eye upon her nephew, may have received information of the affair, and we have seen the result…Poe now, at once, plunged into the dissipation which was, according to general report, the occasion of Mr. White’s prohibition of his attentions to his daughter. It was she to whom the lines, ‘To Eliza,’ now included in Poe’s poems, were addressed.”
For her 1906 article “Some Memories of Poe” in Bob Taylor’s Magazine, Tula D. Pendleton interviewed Ms. White’s cousin, Miss Bell Lynes, a niece of Thomas H. White. In the resulting article, Cummings reports that, “Eliza, the handsome young daughter of Mr. White, inspired Poe with great admiration, and it was said that he singed his wings at the candles of her shrine. ‘To Eliza’ is his tribute to this fair girl.”
The poem “To Eliza,” originally published in the Southern Literary Messenger under the title “Lines Written in an Album,” reads:
Eliza! — let thy generous heart
From its present pathway part not!
Being every thing which now thou art,
Be nothing which thou art not.
So with the world thy gentle ways —
Thy unassuming beauty —
And truth shall be a theme of praise
Forever — and love a duty.
Though this poem was likely dedicated to Eliza White at that time, Poe had already written it in the album of his cousin Eliza Herring. He would later dedicate the poem to Frances S. Osgood and publish it under yet another name.
Thomas W. White
Of the supposed love affair between Poe and Ms. White, Pendleton continues, “But Mr. White would hear none of Poe as a suitor for his daughter. Miss White rarely spoke of the poet. ‘But,’ said Miss Lynes, ‘Eliza never married…’ Miss Lynes remembers seeing Poe at a party at her ‘Uncle White’s’ house. He and the fair girl made such a handsome couple that all present remarked upon it. “Mr. Poe was the most enthusiastic dancer I ever saw,” said Miss Lynes, “although he remained cold and calm, showing his delight only in his eyes.”
Poe and White remained friends for the rest of his life. She even visited Poe while he was living in Fordham, New York. In an April 22, 1859 letter to Poe’s friend Sarah Helen Whitman, Poe’s mother-in-law Maria Clemm writes of Eliza White, “She passed many months with us at Fordham, before and after Virginia’s death, but he never felt or professed other than friendship for her.”
If Poe’s relationship with White was not romantic, the two certainly shared an affinity for poetry. White’s poems appeared a number of times in the pages of the Southern Literary Messenger. Here is a poem of hers in the December 1835 issue.
The first mention of this lock of Eliza White’s hair comes from the above mentioned article by Tula D. Pendleton. The author writes of Ms. White, “Her greatest physical charm was her beautiful hair. Miss Lynes showed me a long braid of exquisite texture and of a fairness so extreme that when laid upon her own silver head there was scarcely any perceptible difference of shade. This hair was cut from Eliza White’s head many years before her death, which occurred about ten years ago.”
Pendleton acquired the lock from Miss Lynes and donated it to the Poe Museum in 1922. The piece had not been displayed for several years when the present curator, having read about it in the old accessions book, decided to take it out of storage. As a poet and as a friend of Poe’s, Eliza White deserved to have her story told. In the absence of a surviving portrait of her (since her only known portrait was destroyed in a fire in the nineteenth century) this hair serves as a tangible link to this often overlooked figure in Poe’s life.
Among the little known treasures in the Poe Museum’s archives are four small pencil sketches of one of Edgar Allan Poe’s boyhood homes. The artist was a fourteen-year-old girl who would grow up to be an important poet. Sally Bruce Kinsolving was born in Richmond in 1876 and would have executed the drawings shortly before the house was demolished in 1890. The house in the drawings is the mansion known as Moldavia, an imposing structure that once stood at the corner of 5th and Main Streets in Richmond. Moldavia was named after its first owners, Molly and David Randolph, who built it in 1800. Poe was sixteen when he moved into the house with his foster parents John and Frances Allan. Poe lived there until he went to the University of Virginia in 1826 and would have stayed there during his visits to Richmond in 1827 (after leaving the University) and 1829 (after his foster mother’s funeral). After Poe’s 1831 expulsion from the United States Military Academy at West Point, Poe was no longer welcome in the home, which by then housed John Allan and his second wife, Louisa G. Allan. She lived there until her death in 1881, and the building was demolished in 1890. Although this Richmond landmark has been lost, the Poe Museum preserves several objects the Allans owned while living in Moldavia, including artwork, salt cellars, and furniture.
Sally Bruce Kinsolving (1876-1962) published her first book of poetry, Depths and Shallows in 1921. This was followed by David and Bathsheba and Other Poems (1922), Grey Heather (1930), and Many Waters (1942). She was a member of the Poetry Society of America and a founder of the Poetry Society of Maryland. Kinsolving was also a member of Phi Beta Kappa Associates, the Academy of American Poets, the Catholic Poetry Society of America, the Baltimore Museum of Art, the Gallery of Living Catholic Authors, and the Edgar Allan Poe Society of Baltimore. Kinsolving donated her drawings of Moldavia to the Poe Museum in 1922, the year the Museum opened.
These faint pencil sketches reveal close-up views of elements of the mansion that have not necessarily recorded in the few surviving photographs of the structure. This is why they are an important resource for those researching the Richmond that Poe knew during his childhood. For an artist so young, Kinsolving has done a masterful job of capturing the subtle nuances of light and shadow in images that appear to emerge from the tan paper. In order to make the drawings more visible online, we have adjusted the contrast and enlarged the scans before posting them here, but we hope you can still appreciate the beauty of these little known gems of the Poe Museum’s collection. The captions are the artist’s.
“Cornice at the Back of the House”
“Back Basement Door”
Here is a photograph of the same portico for comparison.
If you think 2014 has been cold, you should see this picture of Getrude Stein (1874-1946) taken during her February 7, 1935 visit to the Poe Museum.
The poet spent a few days in Richmond during her six-month tour of the United States in 1934-35. While in the River City, she was entertained at the home of Richmond novelist Ellen Glasgow, gave a lecture about English Literature at the University of Richmond, and was given a reception by the board of the Poe Foundation in the Poe Museum’s Tea House (now its Exhibits Building).
Stein’s friend, the photographer and writer Carl Van Vechten (1880-1964), took these photos of her at the Poe Museum. Each photograph is autographed by both Stein and Van Vechten, and Stein wrote captions. Here are the images with their captions.
“To the Poe Foundation with much pleasure”
“For the Poe Shrine and open”
“For the Poe Shrine [illegible]”
This is the same hitching post, in a different location, today.
Stein and Van Vechten are just two of the important literary and cultural figures who have visited the Poe Museum over the past ninety-two years. Others include H.P. Lovecraft, Henry Miller, and Salvador Dali.
Last weekend, Victoria Campbell of Holman Middle School in Glen Allen, Virginia donated an original work of art she made entitled “El dios de los muertos” to the Poe Museum. The artist had visited the Museum the previous week and was inspired to base her school project on the works of Edgar Allan Poe. Her mixed media artwork includes images of Poe and ravens in addition to a sculpted inkwell and quill pen. We would like to thank Victoria for her donation. The Poe Museum is thrilled, not only at receiving such a beautiful work of art, but also at seeing how Poe’s works continue to inspire readers of all ages. We hope teachers will continue to inspire students like Victoria by sharing with them the works of Edgar Allan Poe.
As a service to teachers, the Poe Museum provides an Educator Information Packet accessible here, or you can download the entire packet here. Information about bringing your class to the Poe Museum can be found here. Please contact us at email@example.com or 888-21-EAPOE for more information.
If you love visual art and the works of Edgar Allan Poe, be sure to check out our upcoming exhibit Deep into that Darkness peering, an exploration of Poe’s works through visual art by ten of the world’s leading artists running from April 24 until June 22, or you can sign up for a painting workshop in the Poe Museum’s legendary Enchanted Garden with Charles Philip Brooks on April 27. You can see our upcoming event and exhibit schedule here.
Kickstarter project has goal of $60,000 in 45 days
Richmond, Va. – Today the Edgar Allan Poe Museum launched a campaign to raise $60,000 through Kickstarter to preserve, prepare and publish a book of James Carlings’ original illustrations for “The Raven.” Dating to the 1880s, these original illustrations were named one of “Virginia’s Top 10 Most Endangered Artifacts” by the Virginia Association of Museums. Donations will be received until November 15 through the Kickstarter website (bit.ly/jcarling). If the entire $60,000 is not raised, the Poe Museum will receive no funding from the campaign.
“The Carling illustrations are a true piece of Poe history and have been an important part of the museum since the 1930s,” said Chris Semtner, curator, Edgar Allan Poe Museum. “For 40 years these illustrations were a fixture in the museum’s Raven Room and now due to their deteriorating condition, we are unable to display them.”
If the goal is met, the funds will be used to prepare and publish a book containing all 43 of Carlings’ original illustrations. In addition, a portion of the funds will be used to carefully conserve each illustration and create a traveling exhibit. Semtner explained that the existing paper on which the illustrations were drawn is glued to acidic cardboard causing it to darken and deteriorate.
The artist, James Carling, is the earliest and first “pavement artist” whose life has been fully documented. His illustrations for “The Raven” are his largest body of work and only known set of illustrations. Carling billed himself as the “fastest drawer in the world” and the “lightning caricaturist.”
“The Poe Museum has been given the responsibility to preserve, promote and publish Carlings’ masterpiece,” says Semtner. “We have reached out through Kickstarter to raise the money to publish these pieces in full color, promote them by creating exhibits to travel to museums and to preserve them for the enjoyment of future generations.”
On October 5 at 1 P.M., the Poe Museum will receive the largest gift in its history, a house. The house just happens to be the oldest in Richmond, the Old Stone House. Though we are not exactly certain when it was built, dendrochronology (testing of the tree rings in wood) dates the floorboards to 1754. For over ninety years, the Poe Museum has occupied the house, which remains the property of Preservation Virginia, formerly known as the Association for the Preservation of Virginia Antiquities, while the other three buildings in the Poe Museum complex belong to the Poe Foundation.
The history of the Old Stone House is a colorful one. From the 1740s until 1911, the property was owned by the Ege family, who were among the first residents of the city. In 1781, one of the residents, Elizabeth Ege Welsh, supposedly saw Benedict Arnold invade and set fire to Richmond from the house. By the 1840s, the house appears in guide books for visitors to the city. Around 1881, the house was rented to R. L. Potter, “The Wheelbarrow Man,” who used it to exhibit an assortment of unusual objects he had collected while pushing a wheelbarrow from New York to California and back. One account says he even displayed a live bear in one of the rooms. In 1894, the house was known as Washington’s Headquarters Antiquarium and Relic Museum, which published a guide book to perpetuate some tall tales about how the house had been built by Powhatan, used as a courthouse by Patrick Henry, and used as George Washington’s headquarters during the American Revolution (though Washington never actually set foot in the city during that war). Some old postcards show the house with a large “Washington’s Headquarters” sign hanging next to the front door.
In 1913, the Ege family lost the property, and Granville Valentine purchased the building to save it from destruction. Valentine, in turn, donated it to the Association for the Preservation of Virginia Antiquities, who tried to find someone to rent it. A renter who had intended to use it as an antique store left because the property was being vandalized. Then Archer Jones, owner of the Duplex Envelope Company, approached the APVA with the idea of using the house as a museum of Colonial history. Jones and his wife soon met the Poe collector James Whitty, who wanted to reconstruct the recently demolished office of the Southern Literary Messenger in the junk yard behind the house. In 1921, that idea evolved into using the Messenger bricks and granite to make a Poe Memorial garden in the yard and using the locks, lumber, and hinges from the Messenger building to restore the Old Stone House. The House was then furnished with furniture from Richmond buildings in which Poe lived or worked. In the early years, the APVA charged the Poe Foundation rent for the property, but it eventually allowed the museum to use the house rent-free.
Ninety-one years after the Poe Museum opened, the Old Stone House is still visited by guests from around the world, and the exterior of the house remains virtually unchanged from its appearance recorded in nineteenth century photos. Thanks to Preservation Virginia, this beautiful remnant of Richmond’s Colonial past will finally become a true part of the Poe Museum. The museum has no plans for changes to the structure, which will be protected from significant alterations by an easement with the Virginia Department of Historic Resources.
To learn more about the Old Stone House, please visit the Poe Museum or read the forthcoming book about the house by Rosemarie Mitchell.
Most the Poe Museum’s holdings never go on display. In addition to its museum collection of Edgar Allan Poe artifacts and memorabilia, the Poe Museum also holds an extensive group of objects in its reference library. This study collection features thousands of books, articles, videos, and audio recordings exploring Poe’s life and influence. Accessible by appointment, the reference library is a rich source of information compiled over the past nine decades for the benefit of students and researchers. As would be expected, the collection contains several volumes of scholarly works of biography and criticism, but there are also numerous photographs, drawings, and prints of Poe, the people he knew, and the places he lived, worked, and visited. There are also manuscripts, letters, illustrations, advertisements, facsimiles, and rare documents.
While the Poe Museum’s library is a great place to look for scholarly works and materials on Poe and his oeuvre, it also documents the evolution of other authors’ and artists’ responses to Poe. That is why one will find several works of fiction inspired by Poe here. These vary from novels featuring Poe as a character (like The Pale Blue Eye by Louis Bayard and An Unpardonable Crime by Andrew Taylor) to ones with Poe-inspired elements (like Kelly Creagh’s teen romance Nevermore and Linda Fairstein’s mystery thriller Entombed). There are even historical novels focusing on Poe’s life. Among these are John May’s Poe and Fanny and Barbara Moore’s The Fever Called Living.
Other novels focus on the lives of those he knew. Harriet Davis’s Elmira tells the story of Poe’s first fiancée Elmira Royster Shelton while Lenore Hart’s The Raven’s Bride gives Poe’s wife’s perspective. Poe’s mysterious death is the subject of novels including Matthew Pearl’s The Poe Shadow and Frank Lovelock’s Lenore. The Poe Museum is featured in the short story “Murder at the Poe Shrine” by Nedra Tyre. Obsessive Poe collecting is the theme of Robert Bloch’s “The Man who Collected Poe.” Poe has inspired other authors to write sequels to his works. In 1897, Jules Verne wrote The Sphinx of the Ice Fields (also known as An Antarctic Mystery) as a sequel to Poe’s The Narrative of Arthur Gordon Pym. More recently, Clive Barker wrote “New Murders in the Rue Morgue,” a sequel to “The Murders in the Rue Morgue.”
Poe’s works have also been reimagined in music, plays, and an opera. Then there are the comics. Richard Corben’s masterful interpretations of Poe’s stories and poems into comics are among the best to date, but Berni Wrightson, Michael Golden, and others have also produced great adaptations. Let us not forget to mention MAD Magazine’s parody of “The Raven” and the Scooby Doo mystery “Cravin’ the Raven.” Then there are entire series like Jason Asala’s Poe and Dwight Macpherson’s The Surreal Adventures of Edgar Allan Poo. In the 2003 series Batman Nevermore, Poe joins forces with the Dark Knight to fight crime, but Poe had already battled evildoers alongside the “World’s Smallest Superhero” The Atom back in 1950.
The study collection abounds in illustrated editions of Poe’s works by artists including Dore, Dulac, Clarke, and Robinson. More recent illustrated editions have been produced by artists including Mark Summers (this edition has a preface by Neil Gaiman), Greg Hildebrandt, and Gris Grimly.
If you would like to visit the study collection for research purposes, simply contact the curator to schedule an appointment.
The Poe Museum has just launched its first i-phone app, an interactive guided tour of the Poe Museum complex and collections that can be run on iPhones, iPads and iPods that have iOS 6+. Whether users visit the museum in person or remotely through this app, they will have an opportunity to explore Poe’s life and literary career through 29 objects in the museum’s world renowned collection. Guests of the museum can use the app as an audio guide featuring museum maps, photos of the artifacts, readings of Poe’s poems and letters, as well as extra information about each object’s provenance and significance.
The Tour has been developed on the MustSee mobile audio guide application. The MustSee app is free to use and can be downloaded from iTunes here. The Poe Museum Self Guided Tour costs 99 cents as an in-app purchase. To get to the audio guide, download the MustSee app and then come back here and tap on the big logo on this page.
The MustSee platform is a mobile guide community platform where organizations and individuals can create guides and set their own price. It includes an iOS application and a website where creators can design and upload their own personalized guides. Current guide developers — including museums, cultural institutions, tour guides and travel companies as well as cultural enthusiasts — are able to create interactive art and travel guides with the MustSee app. App users can find guides created by either professionally, like the Poe Museum’s, or by other users with common interests. Guides are based on the places and items located there and may include audio, text, photos and links to web pages or videos. Guide users can download them directly to their device and can interact with the community of like-minded users by commenting, adding photos, rating and sharing on their email, Facebook and Twitter.
“Many museums have trouble being found by their respective audiences. MustSee provides the Poe Museum to be able to easily create an interactive, audio guide tour for their visitors while exposing the guide to a bigger audience of culture and literary learners,” said John Soppe, CEO of Areté Media, producers of MustSee. “We are providing a free platform to help those institutions and individuals create high quality experiences that will enrich the lives for the MustSee audience.” The price of the app is shared by Apple, the Poe Museum, and MustSee.
If you do not have an i-phone or i-pad, you can still download our audio tour here.
The Poe Museum is regularly contacted by Poe family members looking for information about their relationship to Edgar Allan Poe. Although, the Museum’s main focus is Edgar Allan Poe, but its archives do contain some material related to his extended family. Among the pieces concerning Poe’s genealogy, George Poe, Jr.’s bible and the typescript of The Poe Family of Maryland are the most informative. These documents from the museum’s collection may not be of use to everyone seeking Poe genealogical information, but we hope they will be of interest to both Poe family members and the general public. You can read the documents by clicking on the links below.
The first piece is a Poe family that originally belonged to George Poe, Jr. (1778-1864). George’s father was Edgar’s grandfather’s brother, which means George and Edgar Poe’s father, David Poe, Jr., were first cousins. George Poe, Jr. was a successful banker, and both Edgar Poe and his father asked him for loans. George rejected a 1809 request from Poe’s father but did send Edgar Poe $100 in 1836 in order to help Edgar‘s mother-in-law open a boardinghouse.
This is a picture of George Poe, Sr. (1744-1823) and his wife Catherine Poe (1742-1806).
The most interesting feature of this bible is the family history contained on the pages seen here. Notice the diagram of a Poe family burial plot at Westminster Burying Grounds in Baltimore. Edgar was buried in the same cemetery but in a different plot—that of his paternal grandfather David Poe, Sr. In 1875, Edgar’s remains were moved to their present location near the cemetery gate.
This following link takes you to a PDF of the pages of Poe family births and deaths from the bible:
The next piece reproduced here is a typescript entitled The Poe Family of Maryland. It was given to the Poe Museum in 1930 by the granddaughter of Edgar Poe’s cousin Amelia Poe, twin sister of Neilson Poe (1809-1888). Edgar called Nielson his “worst enemy in the world.” Before Edgar married his cousin Virginia Clemm, Neilson, who was married to Virginia’s half-sister Josephine Emily Clemm, offered to take Virginia into his own home to see that she was properly educated.
Here is a fine photograph of Neilson Poe’s father Jacob Poe, brother of George Poe, Jr.
The link below takes you to a PDF of the typsecript:
The above images were pasted onto pages of the typescript. Also included was this photograph of a pastel portrait of Edgar Allan Poe. Notice it is copyrighted 1893. That is the year Neilson Poe’s daughter Amelia Poe requested that the original 1868 pastel by Oscar Halling (then in the possession of Neilson’s son John Prentiss Poe) be photographed in order to sell the photos at the 1893 Chicago World’s Fair.