The Facts behind “The Facts in the Case of M. Valdemar”
Now showing until December 31 at the Edgar Allan Poe Museum in Richmond is an intriguing exhibit devoted to Poe’s short story “The Facts in the Case of M. Valdemar,” a tale of the power of mesmerism to suspend the process of death. Made possible by a loan of items from the collection of James Vacca, Mesmerized: The Facts in the Case of M. Valdemar explores the popularity of mesmerism in Poe’s time and belief among his contemporaries that this gruesome story might be true.
Mesmerism in the Nineteenth Century
Mesmerism, originally called animal magnetism, was developed by German physician and astronomer Franz Anton Mesmer (1734 – 1815) who theorized that a natural energetic transference occurred between all living creatures. Though he failed to receive scientific recognition for his theories, Mesmer believed this force could have healing properties.
While experiments in mesmerism abounded from 1780 until 1850, many quack mesmerists staged performances and published sensationalized accounts of their powers. By Poe’s time, in the 1840s, some practitioners even believed that mesmerized people could demonstrate clairvoyant abilities. The November 18, 1843 issue of the New York Brother Johnathon carried the following notice:
ANIMAL MAGNETISM! — A series of experiments are now going forward in different parts of this Country, with different subjects, by different magnetisers — wholly ignorant of what others are doing — and by people who have not direct communication with one another; all of which go to prove that the Moon is inhabited — that the people have a written language — and make war. The most miraculous coincidences have happened. We are quite serious.
Poe and Mesmerism
“The Facts in the Case of M. Valdemar” was Poe’s third tale on the subject of mesmerism. “A Tales of the Ragged Mountains” (1844) and “Mesmeric Revelation” (1844) also dealt with the theme. The latter would be the first of Poe’s tales translated into French by the poet and critic Charles Baudelaire. The French Romantic painter Eugene Delacroix declared the story “a bizarre and profound piece of writing which throws you into a state of contemplation.”
In addition to his fictionalized accounts of the controversial pseudoscience, Poe also wrote reviews of other authors’ books on the subject. In the April 5, 1845 issue of the Broadway Journal, Poe called Chauncey Hare Townshend’s book Facts in Mesmerism (London, 1840) “one of the most truly profound and philosophical works of the day — a work to be valued properly only in a day to come.” How seriously Poe actually regarded mesmerism is debatable. In some works, he poked fun at the mesmerist Andrew Jackson Davis, who gave a number of public demonstrations in New York while Poe was living there.
Poe’s writings about mesmerism caused some of his contemporaries to believe he had special knowledge of the subject. Mary Hill Hewitt wrote in an 1846 letter to Poe’s future fiancée Sarah Helen Whitman, “People seem to think there is something uncanny about him, and the strangest stories are told, what is more, believed, about his mesmeric experiences, at the mention of which he always smiles.”
“The Facts in the Case of M. Valdemar” was not Poe’s first hoax. In 1838, he published The Narrative of Arthur Gordon Pym, an account of a trip to Antarctica, thought to be true by English readers. Six years later, in 1844, he convinced New Yorkers that scientists had successfully crossed the Atlantic Ocean in a hot air steering balloon in a story now known as “The Balloon Hoax.”
The Balloon Hoax
Also dealing with the theme of mesmerism, Poe’s story “Mesmeric Revelation” was so realistic it was reprinted in the November 29, 1845 issue of the London Popular Record of Modern Science.
The Public’s Response
“The Facts in the Case of M. Valdemar” was rejected by at least one magazine before the American Review printed it in its December 1845 issue. Within months, the story was reprinted in The Broadway Journal (New York), Spirit of the Times (Philadelphia), Sunday Times (London), the Morning Post (London), the Popular Record of Modern Science (London), and the Boston Museum. The following year it was published as a pamphlet in London. Although many readers believed “Valdemar” to be a true story, the editor of the New York Herald wrote, “whoever thought it a veracious recital must have the bump of Faith large, very large indeed.”
To this, Poe answered in the Broadway Journal,
For our parts we find it difficult to understand how any dispassionate transcendentalist can doubt the facts as we state them; they are by no means so incredible as the marvels which are hourly narrated, and believed, on the topic of Mesmerism. Why cannot a man’s death be postponed indefinitely by Mesmerism? Why cannot a man talk after he is dead? Why? — Why? — that is the question; and as soon as the Tribune has answered it to our satisfaction we will talk to it farther.
Poe’s statement cannot, however, be taken entirely seriously since he frequently ridiculed the Transcendentalists. When asked by a London pharmacist if “Valdemar” was true, Poe responded, “‘Hoax’ is precisely the word suited to M. Valdemar’s case . . . The article . . . is now circulating in France. Some few persons believe it — but I do not — and don’t you.”
Poe was so amused by the receipt of a letter from a believer in the story’s veracity that he printed it in the Broadway Journal:
Collection of James Vacca
The story’s popularity was such that he reprinted it in the Broadway Journal, adding the following note:
In London, the story was reprinted as a true account of the powers of mesmerism, and the London publisher Short and Little issued it as a pamphlet, Mesmerism in Articulo Mortis in 1846.
Collection of James Vacca
Collection of James Vacca
At least one British poet was not a fan of “Valdemar,” Elizabeth Barrett (the future Elizabeth Barrett Browning) sent Robert Browning a copy of the story and wrote:
I send you besides a most frightful extract from an American magazine sent to me yesterday…no, the day before…on the subject of mesmerism—& you are to understand, if you please, that the Mr. Edgar Poe who stands committed in it, is my dedicator…whose dedication I forgot, by the way, with the rest—so, while I am sending, you shall have his poems with his mesmeric experience & decide whether the outrageous compliment to me EBB or the experiment on M. Vandeleur [sic] goes furthest to prove him mad.
Collection of James Vacca
Thanks in part to Poe’s story, the Spiritualist movement associated mesmerism with communication with the dead and used it for that purpose. One of Poe’s fiancées, Sarah Helen Whitman, was a devout Spiritualist who held séances while in a mesmeric trance.
Over time, popularity of both Spiritualism and mesmerism declined. The meaning of the word mesmerism has also evolved. In 1843, the Scottish physician James Braid proposed the term hypnosis, which is now the usual meaning of word mesmerism.
Poe’s use of realistic and scientifically based details made “The Facts in the Case of M. Valdemar” an early and influential example of modern science fiction. The story’s gruesome conclusion in which the mesmerized patient suddenly “rots” into “a nearly liquid mass of loathsome — of detestable putridity” has been an inspiration to modern horror writers concerned with shock and gore. Since Poe’s time, the story has been reprinted countless times and translated into several languages. It has been adapted to comics and movies, most notably the 1963 Roger Corman film Tales of Terror starring Vincent Price and the 2002 black comedy The Mesmerist starring Neil Patrick Harris.
Vincent Price as Valdemar
Mesmerized: The Facts in the Case of M. Valdemar will be on display on the first floor gallery of the Poe Museum’s Exhibits Building until December 31, 2014. On display on the second floor galleries of the Exhibits Building are The Halloween Gang Presents: The Black Cat (until December 31) and The Raven Room. The Poe Museum’s other three buildings contain permanent exhibits of the Museum’s renowned collection of Edgar Allan Poe personal belongings and memorabilia.
After more than a decade, the Poe Museum reopened its Raven Room last Halloween night in a new gallery space. The exhibit features the Raven illustrations of James Carling, who attempted to illustrate the entire poem line-by-line. Since the Poe Museum first acquired the original artwork in the 1930s, the drawings were on continuous display in a specially devoted gallery known as the Raven Room.
At first, the Raven Room was located in the Museum’s Elizabeth Arnold Poe Memorial Building (pictured above), but it was later moved to a blood-red room on the second floor of the Tea House (now known as the Exhibits Building). After the original artwork was replaced with reproductions in the 1970s, the Raven Room stayed on exhibit until about 2003 when it was replaced by a changing exhibit gallery.
This year, the Museum converted a storage area into a new Raven Room (pictured above) complete with it famously red walls. Much as they were in the earlier incarnations of the exhibit, the drawings are hung side-by-side around the room so that visitors may follow the illustrations chronologically. In this installation, however, only ten drawings at a time will be displayed. In this way, seventy-five percent of the precious artworks will be protected from the light at any given time. This measure will help ensure they survive for future generations to enjoy.
The complete set of illustrations will soon be available in a book (pictured below) to be released in the near future. Check our online store for the latest updates.
This exhibit and the accompanying book were made possible by the generous support of Dr. George W. Poe Jr., Avery Brooks, Mark Cummins, Cecelia Faigin, Rolf-Thomas Happe, Lynda Locke, Michael O’Farrell, John O’Sullivan, Kay Purcell , Ashley Woessner, and Kristopher Woofter.
Artwork by Rachel Livingston
From September 25 until December 31, 2014, the Poe Museum in Richmond, Virginia will host an exhibit of new artwork inspired by Edgar Allan Poe’s classic terror tale “The Black Cat.” The artists in the exhibit are members of the Halloween Gang, a collective of local artists and students that formed in order to showcase Richmond’s “spookier” side as well as to move art outside the gallery. According to the Halloween Gang’s spokesperson Caleb Smith, “Our Mission is TO FRIGHTEN! But also to cause mischief and mayhem in a world that has lost all of the things that go bump in the night along with our imaginations.” Among their recent projects was a surprise performance piece last fall at the Anderson Gallery at Virginia Commonwealth University. Participating artists include Caleb Smith, Nick Fagan, Rellie Brewer, Harrison Stewart, Joel Webber, James McPherson, Grace Huddleston, Jordon Fust, Rachel Livingston, and Skyler Thompson.
The exhibit The Halloween Gang Presents “The Black Cat” will open during the Poe Museum’s September Unhappy Hour on Thursday, September 25 from 6-9 P.M. with live music by The Embalmers.
Mathew Brady was perhaps the leading American photographer of the nineteenth century. Among the prominent figures who sat for his studio are eighteen United States Presidents including Abraham Lincoln. It has long been known that the Mathew Brady Studio sold copies of a “Brady Photo” of Poe in the early 1860s, but now a previously unpublished Brady photo of Poe’s mother-in-law Maria Clemm has been found and will soon be on public display for the first time.
From September 25 until November 30, 2014, the Edgar Allan Poe Museum in Richmond, Virginia will exhibit a newly discovered photograph of Edgar Allan Poe’s mother-in-law from the studio of famed nineteenth century photographer Mathew Brady (1822-1896), best known for his iconic photographs of Abraham Lincoln and his documentation of Civil War battlefields. This is only the third image of Poe’s aunt/mother-in-law Maria Poe Clemm to come to light. Although Edgar Allan Poe’s face is well-known through photographs and paintings made during his lifetime, there are very few surviving images of the two people closest to him—his wife and mother-in-law. Maria Clemm helped support Poe by helping sell his poems and by taking on sewing work for extra money. Poe paid tribute to her in his poem “To My Mother.” After Poe’s death, Clemm depended upon the charity of Poe’s many admirers. Charles Dickens is among those who contributed to her care.
Newly Discovered Image
Stephen Montgomery, the owner of the photograph, an albumen print carte de visite, found the previously unpublished image in an album of nineteenth century photographs and contacted the Poe Museum to help him verify the discovery. The logo of the Mathew Brady studio is printed on the back of the photo with the words “Maria Clemm/ Edgar Allen [sic] Poe Aunt” written in pencil above it. Although the image was previously unknown to scholars, it bears a remarkable resemblance to the two other known photographs of Maria Clemm, one of which is in the collection of the Poe Museum. The newly identified image will be displayed alongside the Poe Museum’s fully authenticated photograph for comparison.
Authentic Images of Maria Clemm and the Newly Discovered Image
Face of 1868 Photo Superimposed Over Face of Montgomery Photo
For this exhibition, Montgomery has also loaned the Poe Museum two other photographs—Matthew Brady’s photograph of Poe (a retouched version of an 1848 photograph taken by another photographer sold from Brady’s studio in the early 1860s) and an albumen print photograph of the daguerreotype taken of Poe in Richmond a few weeks before his death.
Brady Photo of Poe
Now one of the most valuable books in American literature, this humble volume could have easily ended up in a trash heap or floating down the Hudson River along with several other copies. Ben Hardin, Jr. (1784-1852), the first owner of this first edition of Poe’s third book Poems, scrawled abusive language on the end pages. Ben Hardin, Jr. was a Kentucky lawyer who had likely received the book from his son John Pendleton Hardin (1810-1842, Class of 1832, resigned 1832), one of Poe’s fellow cadets at the United States Military Academy at West Point. John Hardin would have been one of the 131 out of the 232 cadets who contributed $1.25 toward the work’s publication in April 1831. Fewer than 1,000 copies were printed, and, judging by the cadets’ response to the book, it is not surprising that only about twenty survive. (Some of those cadets are said to have thrown their copies into the river in disgust.)
Dedication Page of Poems
One of the cadets, Allan B. Magruder, later recalled, “[The book] was a miserable production mechanically, bound in green boards and printed on inferior paper, evidently gotten up on the cheapest scale. The subscription was not fully paid until the book was delivered, and I remember a general expression of indignation at the inferior quality and condition of the book.”
Another cadet, Thomas W. Gibson, added, “The book was received with a general expression of disgust. It was a puny volume, of about fifty pages, bound in boards and badly printed on coarse paper, and worse than all, it contained not one of the squibs and satires upon which his reputation at the Academy had been built up.”
Ben Hardin, Jr., the owner of the Poe Museum’s copy, wrote on the front page, “This book is a damn cheat. All that fills 124 pages could have been compiled in 36.” Beneath this, someone wrote “lie.” Below that is written, “Calliope [the Greek muse of epic poetry] is a cheat/ any how–.”
What little critical notice the book attracted was not overwhelmingly favorable, either. In the May 7, 1831 issue of the New-York Mirror, the reviewer (probably George P. Morris), complains that Poe’s poetry is incomprehensible:
The poetry of this little volume has a plausible air of imagination, inconsistent with the general indefinitiveness of the ideas. Every think in the language betokens poetic inspiration, but it rather resembles the leaves of the sybil when scattered by the wind. The annexed lines, which close a short poem, entitled the “Doomed City,” are less incomprehensible than most in the book, although the meaning is by no means perfectly clear…It sometimes happens that poetry, at first sight unintelligible, is discovered, upon a repeated and more careful examination, to be fraught with the treasure of thought and fancy. The “Rime of the Ancient Mariner” belongs to this class; but we cannot flatter Mr. Poe with any similar hopes respecting his own composition, although it occasionally sparkles with a true poetic expression, and sometimes a conflict of ¬beauty and nonsense takes place, in which the latter seems to have the best of it. It is indeed encumbered by numerous obscurities, which we should be pleased to see either very much brightened or entirely expunged. What is the meaning of this?
In anticipation that the meaning of his poetry would confound some critics, Poe wrote in the volume’s introduction,
Poetry, above all things, is a beautiful painting whose tints, to minute inspection, are confusion worse confounded, but start boldly out to the cursory glance of the connoisseur…A poem, in my opinion, is opposed to a work of science by having, for its immediate object, pleasure, not truth; to romance, by having for its object an indefinite instead of a definite pleasure, being a poem only so far as this object is attained; romance presenting perceptible images with definite, poetry with indefinite sensations, to which end music is an essential, since the comprehension of sweet sound is our most indefinite conception. Music, when combined with a pleasurable idea, is poetry; music without the idea is simply music; the idea without the music is prose from its very definitiveness.
By the time Poems was released in April 1831, Poe was living in New York after having been expelled from West Point in February. Even though Poe was no longer at the academy, he remained the subject of the cadets’ scorn and ridicule for some time after his departure. As Gibson recalled, “For months afterward quotations from Poe formed the standing material for jests in the corps, and his reputation for genius went down at once to zero. I doubt if even the ‘Raven’ of his after-years ever entirely effaced from the minds of his class the impression received from that volume.”
After the commercial failure of Poems, Poe still considered himself primarily a poet and continued to write poetry, but he would not publish another volume of his poetry for fourteen years when he issued The Raven and Other Poems in 1845.
Listing from Chamberlain Catalog
The Poe Museum’s copy of Poems eventually entered the collection of scientist Jacob Chester Chamberlain (1860-1905) who worked in Thomas Edison’s laboratory during the early 1880s and contributed to Edison’s pioneering work with electric lighting. The book was #706 in the auction of Chamberlain’s collection on February 16, 1909 at the Anderson Auction Company in New York when the formerly $1.25 book sold for $315. The piece next entered the library of book collector Walter Thomas Wallace of South Orange, New Jersey. He sold his collection at auction on March 22-24 at the American Art Galleries in New York. This time, the book sold for only $140. The next owner was the California psychologist John Wooster Robertson, whose special interest in Poe led him to compile a bibliography of Poe first printings and to write the book Edgar A. Poe: A Psychopathic Study. Robertson donated Poems, along with the rest of his large collection of Poe first editions, to the Poe Museum in 1927.
Listing from Wallace Catalog
Although some readers in Poe’s time could not appreciate it, Poems is now considered one of Poe’s most important collections. Among the soon-to-be classic poems first printed in this volume are early versions of Poe’s classics “To Helen,” “Lenore” (under its original title “A Paean”) and “Israfel.” Poe’s biographer Arthur Hobson Quinn summed up the significance of the book as follows:
If the volume of 1829 [Al Aaraaf, Tamerlane, and Minor Poems] contained poetry unlike any that had as yet appeared in the United States, the volume of 1831 gave us in “To Helen,” “Israfel,” “The Doomed City,” “The Valley Nis” and “Irene,” poetry of a kind that had not yet been written in the English language.
The Poe Museum is fortunate Ben Hardin, Jr. decide not to discard his copy of Poems. Thanks to collectors like Robertson, Wallace, and Chamberlain, the book has been preserved for future generations to study and enjoy. That is why this first edition of Poems is the Poe Museum’s Object of the Month.
Walter Wallace Bookplate in Poems
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.
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.
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.
Painting by Chris Ludke
If you have visited the Poe Museum in Richmond recently, you might have noticed artists busily working at their easels throughout the garden. Over the course of the past month, these artists have been painting, sketching, and photographing the Poe Museum’s legendary Enchanted Garden for the a new exhibit and fundraiser opening next week on May 22 at the Museum. Painting the Enchanted Garden will feature new artwork by artists including Brenda Bickerstaff-Stanley, Randall Graham, Linda Hollett-Bazouzi, Julia Lesnichy, Chris Ludke, Jean Miller, Mac Paulett, Mary Pedini, Jamie Phillips, Carol Mathews Ray, Christaphora Robeers, and Mike Steele.
Since the paintings are still being produced for inclusion in the show, we have only been able to share with the public photographs of the artists at work in our garden. Now, however, we are beginning to receive the finished works. The above painting by Chris Ludke features a view of the garden as seen between the Elizabeth Arnold Poe Memorial Building and the garden wall. The below watercolor and collage by Carol Mathews Ray capture the effect of mid-day sunlight in the Enchanted Garden. If you look closely at the collage, you will also see that the artist has included a clipping of the verses of Poe’s poem “To One in Paradise” that inspired the garden plan.
While I was writing this post, Mary Pedini dropped off her painting pictured below, which she entitled “The Fountain.”
Below are more photographs of works in progress. You can be among the first to see and purchase the finished works at the May Unhappy Hour on May 22 from 6-9 P.M. The event will feature live music by Lost Boys, games, a cash bar, and a talk by Morwenna Rae, the Curator of Dr. Johnson’s House in London.
In honor of the Garden Club of Virginia’s upcoming restoration of the Edgar Allan Poe Museum’s legendary Enchanted Garden, the Poe Museum has invited artists to paint, photograph, and sketch the garden for an upcoming exhibit Painting the Enchanted Garden, which will open on Thursday, May 22 and continue until July 20. While countless artists have illustrated Poe’s melancholy poetry and tales of terror, few have represented Poe’s works celebrating the beauty of landscape gardens, and this will be the first exhibit focusing on the living garden designed in 1921 as a recreation of the gardens described in Poe’s stories and poems. The exhibit will feature new artwork by Brenda Bickerstaff-Stanley, Randall Graham, Linda Hollett-Bazouzi, Julia Lesnichy, Chris Ludke, Jean Miller, Mac Paulett, Mary Pedini, Jamie Phillips, Christaphora Robeers, and Mike Steele.
About the Poe Museum’s Enchanted Garden
Master of the Macabre. Inventor of the Detective Story. Gardener? Yes, Edgar Allan Poe loved gardens and wrote about them in both poetry and prose. The Poe Museum in Richmond, Virginia modeled its garden after those Poe described in his works and even went so far as to plant most of the flowers Poe mentions in his works. Many of the bricks in the garden paths and walls were salvaged from the buildings in which Poe lived and worked. This year, the Garden Club of Virginia is restoring the Museum’s 93-year-old Enchanted Garden to its original beauty, and you can witness the transformation.