For the Poe Museum’s April 2014 Object of the Month, we have selected these candelabra which once belonged to the subject of three of Poe’s poems, “To M.L.S.,” “To Marie Louise,” and “The Beloved Physician.” In A June 1848 letter, Poe described her as “the ‘Beloved Physician,’… the truest, tenderest, of this world’s most womanly souls, and an angel to my forlorn and darkened nature.”
Marie Louise Shew
Born in 1821 in Henderson, New York, Marie Louise Barney was the daughter of a country doctor. By the time she was twelve, she started accompanying her father on medical rounds. At about age sixteen, she married Dr. Joel Shew. Mrs. Shew would study at the Jefferson County Institute before she and her husband opened a water cure clinic in their home in 1843. The following year she wrote the book Water-Cure for Ladies: A Popular Work on the Health, Diet, and Regimen of Females and Children, and the Prevention and Cure of Diseases; with a Full Account of the Processes of Water-Cure. In the years ahead, she would promote women’s health through exercise, good diet, fresh air, and abstinence from alcohol and tobacco.
The author and women’s health reformer Mary Gove Nichols (1810-1884) introduced Mrs. Shew to Edgar Allan Poe, whose wife was suffering from tuberculosis. According to Nichols’s account in the February 1863 issue of Sixpenny Magazine, “The autumn came, and Mrs. Poe sank rapidly in consumption…There was no clothing on the bed, which was only straw, but had a snow-white counterpane and sheets. The weather was cold, and the sick lady had the dreadful chills that accompanied the hectic fever of consumption. she lay on the straw bed, wrapped in her husband’s great coat, with a large tortoise-shell cat in her bosom…The coat and the cat were the sufferer’s only means of warmth, except as her husband held her hands and her mother her feet…As soon as I was made aware of these painful facts, I came to New York and enlisted the sympathies and services of a lady whose heart and hand were ever open to the poor and miserable. A feather bed and abundance of bed clothing and other comforts were the first fruits of my labor of love. The lady headed a private subscription, and carried them sixty dollars the next week. From the first day this kind lady saw the suffering family of the poet, she watched over them as a mother watches over her babe. She saw them often and ministered to the comfort of the dying and the living.”
The extent to which the Poes appreciated Mrs. Shew’s assistance is evident in Edgar Allan Poe’s letters to her. He wrote her on January 29, 1847, “Kindest–dearest friend–My poor Virginia still lives, although failing fast and now suffering much pain. May God grant her life until she sees you and thanks you once again! Her bosom is full to overflowing–like my own–with a boundless–inexpressible gratitude to you. Lest she may never see you more–she bids me say that she sends you her sweetest kiss of love and will die blessing you[.] But come–oh come to-morrow! Yes, I will be calm–everything you so nobly wish to see me. My mother sends you, also, her ‘warmest love and thanks.’”
Virginia Poe would succumb to tuberculosis the following day. According to Mrs. Shew’s account in a March 28, 1875 letter to John H. Ingram, “The day before Mrs. Poe died I left to make some arrangements for her comfort. She called me to her bedside, took a picture of her husband from under her pillow kissed it and gave it to me. She opened her work box and gave me the little jewel case I mentioned to you.”
After Mrs. Poe’s death, a portrait of her was painted while she still lay in bed. Some believe Mrs. Shew, an amateur artist, may have painted it because she is the only person present at the time of Mrs. Poe’s death who is known to have had any artistic training. Whether or not Mrs. Shew painted this important image is unknown, and the fact that she is not known to have mentioned the portrait in her many surviving accounts of Poe makes it unlikely.
A couple weeks after Virginia Poe’s death, on Valentine’s Day, Edgar Poe wrote the poem “To M.L.S.,” which would appear in the March 13, 1847 issue of the Home Journal.
OF all who hail thy presence as the morning —
Of all to whom thine absence is the night —
The blotting utterly from out high heaven
The sacred sun — of all who, weeping, bless thee
Hourly for hope — for life — ah! above all,
For the resurrection of deep-buried faith
In Truth — in Virtue — in Humanity —
Of all who, on Despair’s unhallowed bed
Lying down to die, have suddenly arisen
At thy soft-murmured words, “Let there be light!”
At the soft-murmured words that were fulfilled
In the seraphic glancing of thine eyes —
Of all who owe thee most — whose gratitude
Nearest resembles worship — oh, remember
The truest — the most fervently devoted,
And think that these weak lines are written by him —
By him who, as he pens them, thrills to think
His spirit is communing with an angel’s.
Poe’s health declined dramatically after his wife’s death. In her letters, Shew claims to have “saved Mr. Poe’s life” by tending to him during this time. She continues, “I made my diagnosis & went to the great Dr. Mott with it. I told him that at best when he was well, Mr Poe’s pulse beat was only 10 regular beats after which it suspended or intermitted (as doctors say). I decided that in his best health, he had lesion on one side of the brain, and as he could not bear stimulants or tonics, without producing insanity, I did not feel much hope that he could be raised up from brain fever…”
In the poem, “Beloved Physician,” written in April of that year, Poe refers to Shew’s diagnosis. Although Poe was offered $20 for the poem, Mrs. Shew recalled that she “asked him to wait a little, and I gave him a check for $25, as everybody would know who it was about, and it was so very personal & complimentary, I dreaded the ordeal, as I was about to be married to a man who had old fashioned notions of woman & her sphere – (a foolish idea of mine born of my great love for this man -but which proved my great loss for I never amounted to anything afterwards, having lost all my individuality from that hour).” Unfortunately, the poem is lost, and the fragments that remain were recalled by Mrs. Shew years later.
The pulse beats ten and intermits;
God nerve the soul that ne’er forgets
In calm or storm, by night or day,
Its steady toil, its loyalty.
[. . . ]
[. . . ]
The pulse beats ten and intermits;
God shield the soul that ne’er forgets.
[. . . ]
[. . . ]
The pulse beats ten and intermits;
God guide the soul that ne’er forgets.
[. . . ]
[. . . ] so tired, so weary,
The soft head bows, the sweet eyes close,
The faithful heart yields to repose.
Later that year, Poe would write the poem “To Marie Louise,” which would appear in the March 1848 issue of Columbian Magazine.
NOT long ago, the writer of these lines,
In the mad pride of intellectuality,
Maintained “the power of words” — denied that ever
A thought arose within the human brain
Beyond the utterance of the human tongue;
And now, as if in mockery of that boast,
Two words — two foreign soft dissyllables —
Italian tones made only to be murmured
By angels dreaming in the moonlit “dew
That hangs like chains of pearl on Hermon hill” —
Have stirred from out the abysses of his heart,
Unthought-like thoughts that are the souls of thought,
Richer, far wilder, far diviner visions
Than even the seraph harper, Israfel,
Who has “the sweetest voice of all God’s creatures,”
Could hope to utter. And I ! my spells are broken.
The pen falls powerless from my shivering hand.
With thy dear name as text, though bidden by thee,
I cannot write — I cannot speak or think,
Alas! I cannot feel; for ’tis not feeling,
This standing motionless upon the golden
Threshold of the wide-open gate of dreams,
Gazing, entranced, adown the gorgeous vista,
And thrilling as I see upon the right,
Upon the left, and all the way along
Amid empurpled vapors, far away
To where the prospect terminates — thee only.
Poe’s health gradually recovered, and he was able to visit Shew at her home in Greenwich Village. According to Shew, Poe told her during such a visit, “I have to write a poem; I have no feeling, no sentiment, no inspiration.” After hearing some nearby church bells, Poe commented, “I so dislike the noise of bells to-night, I cannot write. I have no subject — I am exhausted.”
By Shew’s account, she “took up the pen, and, pretending to mimic his style, wrote, ‘The Bells, by E. A. Poe’; and then . . . ‘The Bells, the little silver Bells,’ Poe finishing off the stanza. She then suggested for the next verse, ‘The heavy iron ¬Bells’; and this Poe also expanded into a stanza. He next copied out the complete poem, and headed it, ‘By Mrs. M. L. Shew,’ remarking that it was her poem; as she had suggested and composed so much of it.” On the manuscript for the poem in the Harry Ransom Center in Texas, Poe has written Shew’s name as the author.
In a March 1929 letter in the Poe Museum’s files, Shew’s youngest sister, Elva P. Barney writes, “My sister also said to me Poe came to my home one Sunday evening seeming despondent saying he had nothing to write about, no subject, and while he sat there the various church bells were sending forth their tones she suggested–the Bells for a topic which he did.” The finished poem reads:
Hear the sledges with the bells —
What a world of merriment their melody foretells!
How they tinkle, tinkle, tinkle,
In the icy air of night!
While the stars that oversprinkle
All the Heavens, seem to twinkle
With a crystalline delight;
Keeping time, time, time,
In a sort of Runic rhyme,
To the tintinnabulation that so musically wells
From the bells, bells, bells, bells,
Bells, bells, bells —
From the jingling and the tinkling of the bells.
Hear the mellow wedding bells —
What a world of happiness their harmony foretells!
Through the balmy air of night
How they ring out their delight! —
From the molten-golden notes,
And all in tune,
What a liquid ditty floats
To the turtle-dove that listens, while she gloats
On the moon!
Oh, from out the sounding cells,
What a gush of euphony voluminously wells!
How it swells!
How it dwells
On the future! — how it tells
Of the rapture that impels
To the swinging and the ringing
Of the bells, bells, bells —
Of the bells, bells, bells, bells,
Bells, bells, bells —
To the rhyming and the chiming of the bells!
Hear the loud alarum bells —
What a tale of terror, now, their turbulency tells!
In the startled ear of Night
How they scream out their affright!
Too much horrified to speak,
They can only shriek, shriek,
Out of tune,
In a clamorous appealing to the mercy of the fire,
In a mad expostulation with the deaf and frantic fire
Leaping higher, higher, higher,
With a desperate desire,
And a resolute endeavour
Now — now to sit, or never,
By the side of the pale-faced moon.
Oh, the bells, bells, bells!
What a tale their terror tells
How they clang, and clash, and roar!
What a horror they outpour
On the bosom of the palpitating air!
Yet the ear, it fully knows,
By the twanging
And the clanging,
How the danger ebbs and flows;
Yes, the ear distinctly tells,
In the jangling
And the wrangling,
How the danger sinks and swells,
By the sinking or the swelling in the anger of the bells —
Of the bells —
Of the bells, bells, bells, bells,
Bells, bells, bells —
In the clamor and the clangor of the bells!
Hear the tolling of the bells —
What a world of solemn thought their monody compels!
In the silence of the night,
How we shiver with affright
At the melancholy menace of their tone!
For every sound that floats
From the rust within their throats
Is a groan.
And the people — ah, the people —
They that dwell up in the steeple,
And who, tolling, tolling, tolling,
In that muffled monotone,
Feel a glory in so rolling
On the human heart a stone —
They are neither man nor woman —
They are neither brute nor human —
They are Ghouls: —
And their king it is who tolls: —
And he rolls, rolls, rolls,
A Pæan from the bells!
And his merry bosom swells
With the Pæan of the bells!
And he dances and he yells;
Keeping time, time, time,
In a sort of Runic rhyme,
To the Pæan of the bells —
Of the bells: —
Keeping time, time, time,
In a sort of Runic rhyme,
To the throbbing of the bells —
Of the bells, bells, bells —
To the sobbing of the bells: —
Keeping time, time, time,
As he knells, knells, knells,
In a happy Runic rhyme,
To the rolling of the bells —
Of the bells, bells, bells: —
To the tolling of the bells —
Of the bells, bells, bells, bells,
Bells, bells, bells —
To the moaning and the groaning of the bells.
About the time Poe wrote, “The Bells,” Shew was gradually withdrawing from him. By June she would write him to say she could not see him again. She explained her decision in a February 16, 1875 letter to Ingram. “Mr. Hopkins [a theological student and close friend of Mrs. Shew’s] was a great admirer of Mr. Poe, and often met him at my house, but when the question of pantheism came up, you see he thought him either insane or a hopeless infadel [sic], and . . . he would tell the story of that dreadful night when they took him home to Fordham, Mr. Poe reciting, ‘some unheard of jargon with glorious pathos — or deadly hate’ . . . . Of course I felt he was lost, either way.”
A couple weeks before Shew cut off contact with Poe, her confidant Hopkins read the manuscript for Poe’s book Eureka and wrote the author to voice his objections over the closing paragraphs. In a May 15, 1848 letter to Poe, he writes, “But this is not all. You know well that the great body of Christians regard pantheism as a damnable heresy, if not worse. Such a brand would be a blight upon your book, which not even your genius could efface, and your great discovery would at once be ranked by the majority among the vain dreams of skepticism and the empty chimaeras of infidelity. If published as it now stands, I should myself be compelled to attack that part of it, for I could not in conscience do otherwise.”
Poe answered Shew’s letter, “Can it be true Louise that you have the idea fixed in your mind to desert your unhappy and unfortunate friend and patient. . . . I have read over your letter again, and again, and can not make it possible with any degree of certainty, that you wrote it in your right mind (I know you did not without tears of anguish and regret) . . . . Oh Louise how many sorrows are before you, your ingenuous and sympathetic nature, will be constantly wounded in contact with the hollow heartless world, and for me alas! unless some true and tender and pure womanly love saves me, I shall hardly last a year longer, alone!”
Recalling a recent visit by Shew and Hopkins, Poe continues, “I heard your voice as you passed out of my sight leaving me with the Parson, ‘The man of God, The servant of the most High.’ He stood smiling and bowing at the madman Poe! But, that I had invited him to my house, I would have rushed out into Gods light and freedom!”
Poe died the following year, at the age of forty, on October 7, 1849. His mother-in-law Maria Clemm sold the household items before leaving the cottage in which she, Poe, and his wife had lived. According to the Watertown Daily’s Old Houses of the North Country series, Mrs. Shew assisted Mrs. Clemm by buying some of this furniture and other items and moving them to her father’s home, the Barney homestead in Henderson Township.
In 1850, Shew and her husband divorced, and she married Dr. Roland Houghton. In the 1870s, she corresponded with Poe’s English biographer, John Henry Ingram, providing him much information about Poe’s final years and his wife’s death. She died in 1877 at the age of fifty-five. Her young daughter Mary Houghton Overton, moved to the Barney home in Henderson, taking with her much of the artwork and furniture from Shew’s New York home. Here she lived with Shew’s father and youngest sister Elva Barney.
Still living in the Barney home in 1929, Ms. Barney was a member of Richmond’s Edgar Allan Poe Museum. Among the treasures in the home were a Duncan Phyfe sofa used by Poe when he visited Shew’s Greenwich Village home, autographed biographies of Poe, and the “Poe candelabra.” Barney would soon sell the latter to the Poe Museum for $200.
The September 21, 1929 issue of The Times carried an article by Margaret Blakely about the Barney Homestead in Henderson where Barney and Overton were living. “Not long ago, a visitor to the Henderson farmhouse would have noticed immediately upon entering the home, a painting of ‘M.L.S.’ hanging over the fireplace, a pair of graceful Sheffield plate candelabra standing at either side of the portrait. These candelabra were long known in the family as the ‘Poe candelabra,’ and it is believed Mrs. Shew purchased them at the time of Virginia Clemm’s illness in order to assist the poverty-stricken family. Now these candelabra are gone for they were recently sold to the Edgar Allen [sic] Poe shrine of Richmond of which Mrs. Overton is a member…”
Based on their style, these candelabra probably date to the first decade of the nineteenth century. Just how they came into Shew’s possession is not known for certain. The accounts quoted above mention that Shew could have bought them from Poe to assist him financially during his wife’s illness or that Shew bought them from Poe’s mother-in-law after his death. It is also possible that neither of these accounts is accurate. Another legend relates that Poe wrote his poem “The Bells” under their light, but, like most of the stories told about Poe, this is difficult to verify. Given what seem to be exaggerations in some of her accounts of the author’s life, Poe biographers tend to classify Shew as a less than completely reliable source. What is known for certain about her is that she played an important role in Poe’s life before and after his wife’s death.
Today, the two candelabra are on display in the Poe Museum’s Elizabeth Arnold Poe Memorial Building where their gleaming silver recalls the opulence of Shew’s home as Poe would have known it. They also help tell the story of Poe’s relationship with Marie Louise Shew, the composition of a classic poem “The Bells,” and the controversy surrounding his last book Eureka.
Virginia’s first literary museum, the Poe Shrine (now the Edgar Allan Poe Museum) opened in 1922 with a weekend of events held in its newly planted Enchanted Garden. Two years later, the Poe Shrine commissioned the London firm Raphael Tuck and Sons, Publishers to the King and Queen, to immortalize the Garden in a series of post cards. The artist S. Shelton produced the series pictured here.
Enchanted Garden and Old Stone House of the Edgar Allan Poe Shrine, Richmond, VA in April
Enchanted Garden and Old Stone House of the Edgar Allan Poe Shrine in June
The Loggia and Enchanted Garden. The Edgar Allan Poe Shrine, Richmond VA
A number of letters between the Poe Shrine and Raphael Tuck and Sons attest to the level of accuracy and detail expected by the Shrine’s board. In addition to containing several photographs of the site, the board’s letters stressed the importance of such details as the names and colors of the flowers as well as the “atmosphere and charm of this quaint little garden.”
Today, as the Garden Club of Virginia begins its historic restoration of the Enchanted Garden, the landscape architects Rieley & Associates have found these prints especially useful in their planning. While the Museum owns several black-and-white photos of the original garden—and even a card catalog of the first plantings—Shelton’s paintings show the color schemes and provide a more complete idea of the founders’ intentions.
Ninety years after Shelton painted these pictures, the Poe Museum has grown to encompass three more buildings to house Poe artifacts, the Enchanted Garden is still the heart of the complex. In about a month, the spring flowers will be in bloom, and the Garden Club’s restoration will be well underway. Pay the Poe Museum a visit or check this blog for the latest updates. If you are an artist and are inspired by these post cards to paint or draw your own pictures of the Enchanted Garden this spring, you will not want to miss out on our upcoming exhibit Painting the Enchanted Garden. Click here to learn more about this opportunity.
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.
That is why the Poe Museum’s first Object of the Month is a lock of Eliza White’s hair.
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.”
For more information, visit bit.ly/jcarling PoeMuseum.org and follow us on Twitter and Facebook.
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.