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Fitz Henry Lane
HISTORICAL ARCHIVE • CATALOGUE RAISONNÉ • EDUCATIONAL RESOURCE
An online project under the direction of the CAPE ANN MUSEUM
An online project under the direction of the CAPE ANN MUSEUM
Catalog entry
inv. 258
Twilight on the Kennebec
1849 Oil on canvas 20 x 30 1/4 in. (50.8 x 76.8 cm) No inscription found
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Provenance (Information known to date; research ongoing.)
W.H. Wheeler, Lynn, Massachusetts, 1849
Mrs. Francis W. Hatch, Castine, Maine
Peabody Essex Museum, Salem, Mass., 2014
Exhibition History
American Art Union, New York, New York, 1849., no. 344, Twilight on the Kennebec.
DeCordova Museum, Lincoln, Massachusetts, Fitz Hugh Lane: The First Major Exhibition, March 20–April 17, 1966., no. 27.
Traveled to: Colby College Art Museum, Waterville, Maine, 30–6, 1966.
Traveled to: Colby College Art Museum, Waterville, Maine, 30–6, 1966.
John Wilmerding, William A. Farnsworth Library and Art Museum, Rockland, Maine, Fitz Hugh Lane 1804-1805, July 12–September 15, 1974., no. 18.
Published References
Sharf, Frederic Alan. "Fitz Hugh Lane: Visits to the Maine Coast, 1848–55." Essex Institute Historical Collections 98 (April 1962)., p. 113. ⇒ includes text
The American Neptune, Pictorial Supplement VII: A Selection of Marine Paintings by Fitz Hugh Lane, 1804–1865. Salem, MA: The American Neptune, 1965., plate XVII, no. 97. ⇒ includes text
Wilmerding, John. Fitz Hugh Lane: The First Major Exhibition. Lincoln, MA: De Cordova Museum; in association with Colby College Art Museum, 1966., no. 27. ⇒ includes text
Wilmerding, John. Fitz Hugh Lane. New York: Praeger, 1971., no. 35.
Fitz Hugh Lane 1804-1865. Rockland, ME: William A. Farnsworth Library and Art Museum, 1974., no. 18.
Wilmerding, John, ed. American Light: The Luminist Movement, 1850–1875. Washington, DC: National Gallery of Art, 1980., pp. 16, 90, 111, 121.
Wilmerding, John. Paintings by Fitz Hugh Lane. Washington, DC: National Gallery of Art; in association with Harry N. Abrams, 1988., fig. 1, p.118; fig. 4, p.132.
Wilmerding, John. "Fitz Hugh Lane." The Artist's Mount Desert: American Painters on the Maine Coast. Princeton, NJ: Princeton University Press, 1994, pp. 45–67., p.46. ⇒ includes text
Kelly, Franklin. American Masters from Bingham to Eakins: The John Wilmerding Collection. Washington, DC: National Gallery of Art; in association with Lund Humphries, 2004., p. 117.
Wilmerding, John. Fitz Henry Lane. Gloucester, MA: Cape Ann Historical Association, 2005. Reprint of Fitz Hugh Lane, by John Wilmerding. New York: Praeger, 1971. Includes new information regarding the artist's name., ill. 35, text, pp. 47-48.
Wilmderding, John. "The Identities of Mr. Nathaniel Rogers." Maine Boats, Homes & Harbors 97, no. 20 (Winter 2008). Includes excerpts from Fitz Henry Lane and Mary Blood Mellen: Old Mysteries and New Discoveries, by John Wilmerding. New York: Spanierman Gallery, 2007., p. 53. ⇒ includes text
Maine Sublime: Frederic Edwin Church's Landscapes of Mount Desert and Mount Katahdin. Hudson, NY: Olana Partnership; in association with Cornell University Press, 2012., p. 21.
Slifkin, Robert. "Fitz Henry Lane and the Compromised Landscape, 1848–1865." American Art 27, no. 3 (Fall 2013). View on Stable URL: www.jstor.org », ill., p. 68, text, pp.66–67. ⇒ includes text
Commentary
Twilight on the Kennebec is one of two Lane paintings that are particularly informative about lumber brigs as opposed to lumber schooners, which were a more common craft. View of Southwest Harbor, Maine: Entrance to Somes Sound, 1852 (inv. 260) depicts the loading of a lumber brig—they were actually half brigs—while anchored in Southwest Harbor, Maine.
This is one of Lane’s earliest depictions of Maine. It is not a coastal scene but shows the lower Kennebec River, a tidal river from its mouth to as far north as Augusta. Five miles above Bath, it turns westward through a narrow strait, The Chops, and enters Merrymeeting Bay before resuming its northward course. Just east and south of The Chops, the Kennebec widens, creating an archipelago with a cluster of then-forested islands of variable size, some very small. North of the largest—Lines Island—is one of the smallest, lying a few hundred yards from the east riverbank. This seems the likeliest setting for Lane’s painting, looking westward to a small wooded island which obscures West Chops Point. At the right margin is seen a northbound steamer as it passes through the rough water which gave The Chops its name.
In Lane’s painting, the tide has ebbed, and a half brig (or lumber brig, in this instance) lies grounded in the shallow water. Her sails are hanging in the gear—partially hoisted—with the square sails clewed-up and hanging in loose bights. Maine’s cool, summer night air will bring on a heavy morning dew that will soak the sails, leading to mildew unless they are partially set—as depicted—so the canvas can ventilate and dry.
In the painting’s right foreground, a log raft lies aground on the riverbank with a small boat (probably the brig’s yawl boat) alongside. When the tide is rising, the raft will be loaded with milled lumber (boards) and floated over to the brig (with the aid of poles and the yawl boat) for loading. As in View of Southwest Harbor, Maine: Entrance to Somes Sound, 1852 (inv. 260), the brig’s hold will be loaded through a bow port, the boards being too long to be passed down through the hatch on deck.
Once the hold is filled, raft-loads of lumber will be brought alongside and carefully stowed on deck. All deck space, rail to rail, from main mast to fore mast, will be carefully stacked with lumber to a height of six feet or more. Due to its exposed location, the deck load must be secured with boards and lashings to prevent shifting and loss of cargo in heavy weather.
In the island’s shadow lies a coasting sloop, its sails also hanging in the gear but otherwise offering no clues to its reason for anchoring there. As a major passageway to Maine’s interior, the Kennebec River provided a setting for many vessel types, from many of New England’s coastal regions.
– Erik Ronnberg