Juni VanDyke: Untitled 2017. Pastel on Arches paper . Image size: 11”x11” . Paper size: 30”x22” ; Untitled 2020 . Pastel with collage on Arches paper . Image 11”x11” . Paper 30”x22”; Untitled 2021. Pastel on Arches paper . Image size: 11”x11” . Paper size: 30”x22”
Juni Van Dyke | Alternative Colors for Dark Times: An exhibition of paintings that gives rise to positive emotions, Jane Deering Gallery, 19 Pleasant Street , Gloucester, MA.
Opening Reception Oct. 2nd, 2-5pm
Both nature and music are driving forces in my art. And, as I work, these words by Spanish painter Joan Miro are never far away: “I try to apply colors like words that shape poems, like notes that shape music.”
It has been said that one can live in the dreariest corners of the world all the while performing color miracles on the dreariest of days. German artists Nolde and Kandinsky did just that during the dark impending doom of war suggesting color to be more a matter of preference for expression rather than allegiance to source. Perhaps, color for these courageous artists was embedded in a sense of optimism and hope despite all odds.
I am blessed to live here on Cape Ann where the geography and the light has informed my work for many years. The natural beauty of Cape Ann sweeping across granite; coastal views; hillside vistas is an ever present force in my work. On the way to my job in Gloucester, I travel over the Annisquam river bridge where the ocean below is an ever changing marvel of light and activity awaiting interpretation. Using abstract forms, I invite the viewer to experience my work without interruption of title. Energized by the interaction, I find viewer interpretation fascinating and exciting — valid without exception.
— Juni Van Dyke, October 2021
About the artist
Juni Van Dyke is a graduate of the School of the Museum of Fine Arts, Boston and holds an MAT from Tufts University. Since 1996, she has been the Director of the Arts Program at the Rose Baker Senior Center, Gloucester Massachusetts; under her direction, work created by the senior citizens has been exhibited in museums and public institutions in New England. She is the recipient of several awards and grants, including the St. Botolph Foundation Award, Boston; the Massachusetts Cultural Council Grant; and an honorary citation from the Massachusetts Senate for her outstanding contribution to the arts. VanDyke’s work is held in the permanent collection of the Cape Ann Museum, Gloucester, Massachusetts and in numerous private collections. Her work was selected by Room&Board for inclusion in its limited edition art series and is on view throughout the US in Room&Board locations. Van Dyke lives and works in Manchester, MA. This is her fifth solo show with the gallery .
Gallery hours: Friday & Saturday 1:00-5:00 . Sunday: 1:00-4:00 and by appointment @ 978-526-7248 junivandyke@yahoo.com
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To generate excitement and get the ball moving, a hallmark of the annual art auction is the group show featured in the lovely Matz Gallery, a remarkable main entrance venue. Temporary shows of work by living artists are rotated monthly. In Gloucester, Massachusetts, art at the threshold greets all library visitors. What a treat to walk though an art exhibit to enter a library! The library interior has boasted major bequests via philanthropists and local big wheels since the library’s namesake benefactor, Samuel Sawyer. Books, art, library and learning were essential and inseparable to the founders.
The contemporary Annual Art Auction group shows begin as silent auctions with starting bids set low (well below retail for some of the participating artists*) ahead of a LIVE event. The idea is the bidding will rise above opening reserves so that The Friends of the Sawyer Free Library Annual Art Auction fundraiser can be a success.
*scroll down for checklist and to view the lots
Preview | Silent Auction
DEADLINES APPROACHING – There’s still time to visit, enjoy, and leave a silent bid in person
During the month of September 2021, beautiful art works by 54 artists–which they’ve so generously donated to the Art Auction–were installed in the singular Matz Gallery. Casual, emerging and established creatives are united in their support of our local library. View the art in person. Take notes. You may recognize artists, neighborhoods, a favorite motif or medium. These auctions are a great opportunity for a first time original art buyer or for a collector that helps an artist with a first time sale.
Leave a bid and/or try again when the auction moves on line October 1-5. The highest September bid will be the beginning reserve for the online auction October 1 – 5, 2021.
Immediately followed by ONLINE AUCTION: October 1-5, 2021
Signs of the times – Covid 19 precautions and greater access have spurred the LIVE auction to move online. Visit www.sawyerfreelibrary.org October 1-5, 2021
Bonus- The art is framed and ready to take home and hang after the online auction concludes.
2021 participating ARTISTS | preview lots
Support our local artists and Friends of the Sawyer Free Library
Lot #, Artist Name, Title, Minimum opening bid
Mary Rhinelander McCarl, Blue China Basket of Flowers, $100
Katherine Coakley, Half Moon Beach, $200
Ray Crane, Survivor (Paint Factory), $300
Roy McCauley, Goin’ Fishing, $100
Carole Loiacono, Gloucester Mooring, $150
Fred Kepler, The Gardener, $100
Nancy Alimansky, The Red Sail, $95
Nancy Molvig, Wash Day in Farnesse, $250
Mary Rhinelander, Eastern Point Lighthouse, $75
Isabelle K. Brown, Schooner Thomas E. Lannon, $100
Brenda Malloy, A Way Through, $50
James G. Watson, Lynx and Adventure of Pavillion Beach, $100
Jeff Weaver, Striper Fisherman, $400
Karen Fitzgerald, Breezy Day, $75
Marion Hall, Back Shore from Half Moon Beach, $100
David P. Curtis, Summer Afternoon, $150
Cynthia Asaro
Charlotte Roberts, Morning – Little River, $100
Ted Bidwell, Low Tide, $100
Joy Halsted, America the Beautiful, $300
Deanie Johnson, Autumn Marsh, $200
Sandra Herdman, Hideaway Cove, $40
Cynthia Dunaway, It’s Never Too Late, $200
Patricia McCarthy, Our Lady of Good Voyage, $100
Melissa Alibertie, Summer on the Annisquam River, $100
Dina Gomery, The Red Barn, $200
Pamela Burke, Good Harbor Sunrise, $40
Sheila Farren Billings, Safe Harbor, $100
Ann Mechen Ziergiebel, Dusk Ipswich Bay, $225
Peter Tysver, Summer Sailing, $100
Coco BeRkman, Dog Dog Dog, $80
Susan W. Daly, Pink Sky, $100
Jane Wolf, Wingaersheek Storm, $75
Patricia Doran, Sunset in Magnolia, $1000
Alyce Wherren, Sea and Shore, $95
Michael Cangemi, The Shore, $95
Susan M. Funk, Red Tractor, $150
Michael DeCosimo, Autumn Leaves, $185
Nancy Caplan, Morning Light, $195
Jerry Ackerman, The Pantry Family, $120
Linda Lea Bertrand, Pepperil Cove, $200
Shirley Hamilton, Lanes Cove Shack, $300
Anita Beloff, Becky’s Flowers, $90
Lynda Goldberg, Sunflowers in Provence, $150
Curtis Wilcox, After Life, $40
Barbara Kremer, View from Plum Cove Beach, $175
Phyllis Feld, Marsh Grasses, $100
Jeffrey Marshall, Taking Inventory (Hiltz), $100
Jessica “Jess” Semenaro, Rocks on Seaweed, $30
Olga Hayes, Rudbeckia, $75
James Formichella, Tokyo Racing, $70
Daryl Jackson, Turbine, $30
Ann Lafferty, Rip Tide, $125
Roger Martin, Dig In, $100
NOTE NEW DAYS/HOURS at Sawyer Free Library: M-W 8-6; Th 10-7; F-S 10-5
Face masks required.
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Cape Ann Symphony Musicians UnleashedConcert Series Returns LIVE On Sunday, October 3, 2021
AUTUMN AWAKENING at The Gloucester Unitarian Universalist Church
Cape Ann Symphony proudly announces Autumn Awakening, a Musicians Unleashed Concert, at 3:00 pm on Sunday, October 3, 2021 at the Gloucester Unitarian Universalist Church, 10 Church Street, Gloucester, MA. Musicians Unleashed is a series of musical events featuring Cape Ann Symphony musicians performing in a variety of intimate settings on Cape Ann and beyond. CAS launched the popular series to an overwhelmingly enthusiastic audience response in 2019. The ticket price for Autumn Awakening is $40. Call CAS at 978-281-0543 or go to www.capeannsymphony.org to purchase tickets. In accordance with the CAS Covid Safety Policy, all concert attendees will be required to show proof of Covid 19 vaccination or to present documentation of a negative test within 72 hours prior to the event and will be required to wear a mask during the performance.
Autumn Awakening is a chamber music concert featuring music written for flute, oboe, clarinet and strings in various combinations and performed by seven CAS musicians at the Gloucester Unitarian Universalist Church. An historic meetinghouse founded in 1779, the church was the first Universalist congregation in the United States. Built in 1806, the building was created in a perfect “shoe box” design which gives it ideal acoustics. CAS Music Director Yoichi Udagawa programmed a varied selection of music written by a mix of well known and lesser known composers from all over the world. Maestro Udagawa and the musicians will introduce each piece of music to offer audiences insight and little known facts about the composers and their music.
Maestro Udagawa looks forward to these intimate Musicians Unleashed concerts, “ The Cape Ann Symphony is made up of extraordinary musicians, and we are thrilled to be able to highlight them! This concert will feature our principal flute, oboe and clarinet as well as some of our outstanding string players. We tried to make this concert a mixture of different composers as well as combination of instruments, and I’m sure the audience will enjoy this concert very much.” The musicians performing in Autumn Awakening are Stephanie Stathos, flute; Izumi Sakamoto, oboe; Bill Kirkley, clarinet; Oksana Gorokhovskiy, violin; Olga Kradenova, violin; Anna Stromer, viola, and Johnny Mok, cello. The concert program includes Salem, MA born and raised composer Arthur Foote’s Scherzo for Flute and String Quartet;Britishcomposer Malcolm Arnold’s Divertimento for Flute, Oboe and Clarinet; Austrian composer Wolfgang Amadeus Mozart’s Oboe Quartet; German composer Johannes Brahms’ Clarinet Quintet, 1st Movement; and Czech composer Antonin Dvorak’s American String Quartet, 4th Movement.
Salem native composer Arthur Foote, known for his chamber music, art music and choral music, was also a musician and a teacher. “When thinking about the program for the concert, we wanted to include music by a ”local”,” explains Udagawa, “and this charming piece by Arthur Foote fit the bill perfectly! We have an amazing tradition of musicians, writers and artists who worked right here in our area, and left great works for all of us to enjoy. And Gloucester’s Unitarian Universalist Church is a perfect venue for Foote’s music with his strong ties to the Unitarian Church.” Foote’s father, Caleb Foote, was the owner and editor of the Salem Gazette and his mother, Mary Wilder Foote, was a devout Unitarian. Arthur Foote began composing while studying harmony at the newly formed New England Conservatory in 1867. He then went on to study music at Harvard University where he received a Bachelor of Arts and the very first Master of Arts degree in Music awarded by an American university according to Foote’s Faculty Papers at New England Conservatory .
Arthur Foote was a leading member of a group of composers known as the Boston Six or the Second New England School. Together, the Six: John Knowles Paine, Horatio Parker, George Chadwick, Edward MacDowell, Amy Beach, and Arthur Foote wrote the first substantial body of “American” classical music.“In his time Foote was considered to be the ‘Dean of American Composers'” points out Maestro Udagawa.
Arthur Foote was the organist and Choirmaster at the First Unitarian Church in Boston for 32 years, taught piano in his own studio for over 50 years and served on the faculty of New England Conservatory for 16 years, teaching piano and piano pedagogy. Foote helped edit Hymns of the Church Universal in 1890, and collaborated in the writing of Hymns for Church and Home, prepared for the American Unitarian Association in 1896 according to Unitarian Universalist History & Heritage Society
Ticket prices for Autumn Awakening are $40. Call Cape Ann Symphony at 978-281-0543 or go to www.capeannsymphony.org for tickets. In accordance with the CAS Covid Safety Policy, all concert attendees will be required to show proof of Covid 19 vaccination or to present documentation of a negative test within 72 hours prior to the event and will be required to wear a mask during the performance.
Courtesy photos attached: Photo 1: Bill Kirkley, Clarinet Photo 2: Stephanie Stathos, Flute Photo 3: Johnny Mok, Cello Photo 4: Izumi Sakamoto, Oboe Photo 5: Anna Stromer, Viola Photo 6: Oksana Gorokhovskiy, Violin Photo 7: Olga Kradenova, Violin Photo 8: Salem’s Arthur Foote, Composer Photo 9: CAS Music Director Yoichi Udagawa
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I saw them that same day on Long Beach, September 6, 2021. I only saw seven, and one was a piece rather than whole, so I can’t confirm hundreds were there.
The one in the photo with the sneaker was the largest I observed. They were hard to miss. Four were in proximity at that spot. On the other side of the beach, one group of kids scooped up a sample with a sand shovel, running back to the furthest Gloucester end to show their parents.
The two times I’ve seen lions mane on any beach, I was wrong. If these were lion’s mane this will be the third time they’ve looked like a different jellyfish to me. The beached jellyfish on Long Beach this week looked a bit like pictures I’ve seen of mauve stingers.
Everyone has been remarking how warm the water’s been, and these deposits followed Hurricane Ida. Storms bring in unusual gifts from the sea.
Looking forward to a marine educator helping us learn more!
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marvelous photojournalist, Leslie Jones, Boston Public Library collection (date of this Labor Day photo featuring female telephone operators is unknown-circa 1917-34. Any guesses? Amazing despite WWI and the Spanish Flu epidemic that they would need to strike–and won–in 1919.)
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This week from Jane Deering news of the final summer show of 2021:
Capping the summer season of exhibitions @ Jane Deering Gallery is The Cyanotype …. and the end-of-summer blues. The gallery will host an Open House Saturday September 4th from 1:00-5:00pm at 19 Pleasant Street in Gloucester.
Artists Elizabeth Awalt and Tom Fels celebrate the luscious range of blue produced by unique cyanotypes and pay tribute to both Anna Atkins (long associated with the medium) and French photographer Charles Aubry. Fels’s work will also include several images related to Cape Ann.
THE CYANOTYPE
How often we think of Anna Atkins, the 19th-C botanist and photographer, when talking of cyanotypes. Atkins is strongly associated with the medium. Photographs of British Algae: Cyanotype Impressions, which Atkins privately published in 1843, has long been considered the first book illustrated with photographic images, cyanotype photograms of seaweed. I am delighted to bring to light a different algae, Elizabeth Awalt’s cyanotypes of dried kelp which the artist found in the cold, nutrient-rich waters near her summer studio in Maine. Akin to her paintings, Awalt’s cyanotypes ‘express her connection, curiosity, and concern for the natural world.
Tom Fels, of Vermont, first learned about cyanotypes through his work as a curator and writer with 19th century photographs. Fels writes ‘In my attempt to capture some shadows on my home, I realized that cyanotypes were the right medium to employ…The appeal of the cyanotype comes in part from its color, which viewers often find spiritual and relaxing, as well as its ability to capture the nuances of movement inherent in working with living plants. Its interest to me was also in the process, which is fairly simple and can be done mostly outdoors.” His series Homage to Aubry is inspired by the still lifes of the French photographer Charles Aubry.
Gallery hours: Friday & Saturday 1-5pm; Sunday 1-4pm and by appointment at 917-902-4359 and info@janedeeringgallery.com.
ELIZABETH AWALT
Elizabeth Awalt grew up in Baltimore, Maryland and moved to Boston to attend Boston College. As an undergraduate, she studied Fine Arts at Boston College where she returned to teach and became a tenured professor. She received her MFA degree at the University of Pennsylvania, followed by several fellowships including the Fine Arts Work Center in Provincetown, Yaddo, and MacDowell and the Millay Colony. She has been the recipient of both a Massachusetts Artists Fellowship in Painting and an Individual Artist Grant in Painting from the National Endowment of the Arts. Awalt’s work is in numerous public and private collections in the US and abroad. The artist maintains a studio in Concord Massachusetts and northern Maine.
TOM FELS
Tom Fels, independent curator and writer specializing in American culture, photography, and art, has worked as consultant and guest curator to a number of museums, including the Canadian Centre for Architecture and the J. Paul Getty Museum. In 1986 he was named a Chester Dale Fellow of the Metropolitan Museum of Art, and in 1998-9 a Fletcher Jones Foundation Fellow of the Huntington Library. He has organized more than fifty exhibitions, and is the author of numerous catalogs, articles, and books including Sotheby’s Guide to Photographs (1998), and more recently works on contemporary American history. His large cyanotypes are represented in several museum and private collections, including the collection of the Museum of Fine Arts, Boston. Fels lives and works in southern Vermont. In 2013 he was writer-in-residence at the Gloucester Writers Center. Since 2014 he has shown with the Jane Deering Gallery.
from the release
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Maha Jabba, owner and chef at Markouk Bread, and crew create flavorful and delicious Mediterranean everyday eats at their location on 338 Main Street, in Gloucester, MA, near houses that inspired artist Edward Hopper, and famed public stairs and Crow’s Nest featured in books, art and cinema. Their popular and traditional dishes highlight Lebanese cuisine. Customers can eat standing or sitting–inside and out; most people opt for grab & go. Customers may find it helpful to call ahead (they sell out), and find it easier parking across the street.
“If only you could cook like his mom.” Fun fact: As a longtime fan favorite at Cape Ann Farmers Market and Main Street events, people are familiar with Jabba’s everyday gourmet and dazzling saj-grill meals. What they may not know is when her son played for GHS sports (eventually soccer co-captain), those lucky athletes had the best team dinners ever at their house, enjoying classic comfort dishes and other specialties. She can cook everything!
The little summer gardens of Gloucester grow and grow. Gardener poets show us not only “who loves the flowers, but whom the flowers love,” an axiom my grandmother was fond of.
In praise of deft spade and artful tending, virtual blue ribbons for making a garden of their world and a crowd of joyous color all around us. [Centennial, Prospect, Tolman, Hovey, Rocky Neck, Bass Ave and Rockport Rd.] photos: C. Ryan August 2021
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August 2021 – Splash! Enjoy photographs of Grimdrops jazzy hometown portrait off the Elm Street side of Action, Inc. **new** Harbor Village apartment building in downtown Gloucester, Massachusetts. The large scale commission heralds Gloucester’s upcoming 400th celebration in 2023. The artist was born and raised in East Gloucester.
Hopefully NSCDSC will consider commissioning an extra add on for Grimdrops so the artist can extend his characterful water motif ideas straight to the top (and maybe add a gal for history! His vibrant notes brought Virginia Lee Burton Mike Mulligan Mary Ann and folly cove pattern references readily to mind). Come winter the mural might be visible from Chestnut Street. Bonus: if it’s topped off it will be visible year round from that vantage.
Gloucester Mural Map | Public Art
Grimdrops mural is on the map! Gloucester murals | Public art Gloucester, Massachusetts.
Per reader request, over the next few days I’ll be reposting mini chapter excerpts — primarily illustrations– from a longer read about the evolution of outhouses and public utilities specific to Gloucester, Massachusetts, Privy to Privy History, on Good Morning Gloucester June 6, 2021.
Catherine Ryan, Aug. 2021
Gloucester housing stock (and hotels) included luxury homes with bathrooms and water closets as well as modest solutions. Rough outhouses were common, too. Can you spot the outhouses downtown and in East Gloucester?
(Reminder about the photographs: you can pinch and zoom to enlarge and right click for descriptions. Some media offer the option to “increase file size”.)
Then (below the garden) | Now
Gloucester – Victorian Age outhouses
1930 – 1941 American outhouses – cross county photos
photographs outhouses across America – Library of Congress
Cincinnati row houses with backyard outhouses, 1930s
privy plant pre cast base, Missouri, by Lee Russell, 1938
Placing concrete in form for privy slab, MN, by Shipman, 1941, Library of Congress (collection FSA Office of War Info)
South family’s shaker style privy, Harvard, Worcester County, MA 1930s
General Israel Putnam Privy, Brooklyn, CT after storm
Arlington, MA, Walker Evans 1930s
Privy Monterey, Delaware, circa 847
Washington DC “slum” privy, Carl Mydans, 1935
“old six hole privy, Wiggins Tavern”, Northampton, MA, Lee Russell, 1939
photographs Indoor bathrooms residential and public – New York Public Library
Cincinnati backyard outhouses
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Per reader request, over the next few days I’ll be reposting mini chapter excerpts — primarily illustrations– from a longer read about the evolution of outhouses and public utilities specific to Gloucester, Massachusetts, Privy to Privy History, on Good Morning Gloucester June 6, 2021.
‘Gloucester Outhouses in American Paintings’ copied below is “Excerpt 1” (stay tuned for some more Cape Ann Museum additions); Excerpt 2 will focus on early 20th century photographs; future excerpts might highlight some of the history mentions such as the bathroom fixtures at the Crane estate; and so on.
Catherine Ryan, Aug. 2021
EDWARD HOPPER – gloucester outhouses
Edward Hopper included outhouses in numerous Gloucester vistas. Hopper depicted buildings and worked with watercolor and gouache long before his renowned first sell out show of Gloucester images in the 1920s.
Illustrations: Reminder- You can pinch and zoom to enlarge (and select “full size” image if that option shows)
Whitney Museum estimates circa 1903
The Whitney Museum of American Art has the largest collection of Edward Hopper art. This small watercolor study the museum dates circa 1900 contains germs of his later work. There is an elusive building, or nestled buildings, front and center. Strong shadows are emphasized. Is the shed attached or not? An entrance, a ticket booth, an outhouse? Is that a circus tent flag squiggle? The pencil line beyond the vertical street light (or railroad signal) might be a train track. Further right, there’s a red dab. Perhaps another structure. The window with yellow has a barn vibe. I did think about the scene in Butch Cassidy and the Sundance Kid when Katherine Ross looks down from a hay loft to catch the ‘Paul Newman riding a bike for the Raindrops Keep Falling on My Head’ show.
early Stuart Davis – Gloucester outhouses
Gloucester Outhouses in American Art
Selection of Gloucester scenes with outhouses by various artists: Dennis Miller Bunker; Charles Burchfield; James Jeffrey Grant; Emil Gruppe; Max Kuehne; William Lester Stevens; Paul Bough Travis; and Louise Woodroofe. Stay tuned for more.
1938 NYC – Masterful Mabel Dwight
MABEL DWIGHT, 1938
Leave it to Mabel Dwight for a humorous and original take, Backyard, 1938 WPA/FAP lithograph.
Below – New York City images (collection, NYPL) for comparison of the flip view. More photographs featured in Excerpt 2.
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According to the Boston Globe article from 1904, Delia Tudor was the first summer resident of the North Shore, who went to Nahant in 1820. It took until 1840 for arrivals in Beverly.
Mostly the article covers Swampscott, Nahant, Manchester and Gloucester tony neighborhood of Magnolia.
Longfellow (his home in Nahant burned by the time of the article) and Hawthorne (Swampscott) were here visiting the North Shore. “To the North Shore also came Lowell and Daniel Webster–despite his fondness for the South shore–Charles Sumner and Rufus Choate. The list, in fact, of masters of the mind who have worked, played and rested along the North Shore is a very long one.”
Excerpt about Magnolia | Gloucester
“Kettle Cove, Magnolia, which took its early name from the formation of the coast, joins Manchester. It is one of the most beautiful spots of the beautiful North shore, and , like many other localities thereabouts, has a witch legend connected with its history. Kettle Cove was settled in 1645, and was under the jurisdiction of Salem. in 1838 there were 14 houses in the cove, and a small schoolhouse, which was used for religious purposes whenever a minister chanced to come that way. it was here that the artist Hunt established his studio, and old barn, calling it the Hulks. In this vine covered studio some of his most famous pictures were painted including, The Headsman, Tom in a Felt Hat, and Gloucester Harbor. Near here is Rafe’s Chasm, where one may find an iron cross marking the place where Martha Marlon a young girl was drowned many years ago…
“The fashionable world has found these shores, and handsome summer homes now rise at every vantage point.”
“A Part of Manchester Shore, Near Magnolia” also known as Rafe’s Chasm
The Oldest House at Kettle Cove, Manchester, built in 1700
The Dana House, Magnolia
photos: Coolidge Point, Kettle Cove vista; Rafe’s Chasm by Falt; William Morris Hunt (1824-1879)- paintings mentioned in article and Willow Cottage. A Boston painter who studied with Millet, Hunt held plein air art classes –in Magnolia –in 1876. (old Kettle Cove village became ‘Magnolia’.) He transformed the barn into his studio in 1877.
“The barn was two stories in height, the lower portion being occupied by the van, a phaeton and a dog-cart, as well as by stalls for two or three horses. The upper room was known as the ” barracks,” and half a dozen cot-beds were ranged around the sides, as seats by day and beds by night.”
“The scenery combined much sketching material in a little space. In addition to a small beach there was a rocky shore of much boldness, and the cliffs were surmounted by well-wooded groves. One of its charms was a willow-road of rare picturesqueness, and there was a graceful variety of hill and dale. The fishermen at their work, the simple cottage folk, and a few artists were the only people to be seen. In less than ten years the place became a fashionable resort, and its artistic interest was gone.”
Helen Mary Knowlton, Hunt biography,1899
Willow Road, Magnolia, circa 1910 (Library of Congress)Brothers (2 of 4): Richard Morris Hunt portrait (artist, renowned architect), and probably portrait of his famous older brother, William Morris Hunt (Library of Congress). Richard helped with the Hulk design.Pine Woods, Magnolia (MFA, Boston)
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“This item was specifically selected for virtual display during the summer months because from the mid-1800s and into the 1900s Magnolia was a vacation destination for Bostonians and other New England and New York residents. This map was published in 1887, so it depicts Magnolia in its relatively early days of development. “
Annisquam Village Hall and Rosemarie Hinkle to the rescue!
read all about it
“Then – due to circumstances beyond her control our planned solo flutist had to cancel.To the rescue: Rosemarie Hinkle, principal flutist for the Melrose and Quincy Symphony Orchestras.
The hall’s acoustics were brilliant.
Rosemarie was brilliant.
The musicians were brilliant.
A few comments heard after each performance: “What an incredible sound!” “This was a fantastic performance. I’m so glad I came.” “We can’t wait for the symphony’s concerts to return.”
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Good Morning Gloucester 