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Dozens of Poe Letters and Manuscripts to be Exhibited

Poe Letter to John Bisco

The Poe Museum’s new exhibit From Poe’s Quill: The Letters and Manuscripts of Edgar Allan Poe, which will run from April 26 until July 11, 2012, promises viewers the closest thing to standing over Poe’s shoulder while he writes his famous tales. Visitors will have the rare opportunity to study Poe’s unique handwriting and follow his thought process by exploring dozens of original documents culled from a number of public and private collections. Some of these pieces have never been publicly displayed. Others have only recently been discovered. The Poe Museum will celebrate the exhibit opening with an Unhappy Hour on Thursday, April 26 from 6-9 P.M.

The exhibit will include Poe’s handwritten letters, short stories, poetry, essays, and notes. Among the highlights of the exhibit are a letter written by Poe to American author Washington Irving (“The Legend of Sleepy Hollow”), Poe’s autobiography, the earliest Poe manuscript in private hands, Poe’s last letter, and the only complete manuscript for a Poe tale in a private collection. The exhibit will also reunite fragments of manuscripts that have long been separated and owned by different collectors. An especially unusual piece will be poem supposedly written by Poe’s spirit (with the help of a medium) a decade after Poe’s death. This manuscript once belonged to Poe fan and collector Vincent Price.

The Poe Museum’s Curator Christopher Semtner says of the exhibit, “The Poe Museum will be celebrating its 90th anniversary this year, and we want to have an exhibit worthy of the occasion. Poe’s manuscripts are the most sought after manuscripts in American literature. Because he died young and because his works were not always appreciated during his lifetime, Poe’s letters and manuscripts are now relatively rare.”

When the exhibit opens on April 26, Poe Museum visitors will be able to see it an another “once-in-a-lifetime” exhibit Stormier, Wilder, and More Weird: James Carling and “The Raven,” which features, for the first time since 1975, the complete set of English artist James Carling’s circa 1883 drawings for Poe’s most famous poem. The Raven exhibit, which opened January 14, continues through May 1, 2012.

Samples from the upcoming exhibit are below.

The Spirits of the Dead
First Page of Manuscript for Epimanes
The Streets of Baltimore

Among the lenders to this exhibit are Susan Jaffe Tane, the Museum of the Macabre, and Anonymous Private Collectors.

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Charles Dickens Meets Edgar Allan Poe

Poe (left) and Dickens (right)

Charles Dickens turned 200 today. Many readers know the novels of Dickens, but few may know that he and Poe were personally acquainted. Edgar Allan Poe was an admirer of Dickens’s works since “strongly recommending” Dickens’s works to American readers in a June 1836 review from the Southern Literary Messenger. In an 1839 issue of Burton’s Magazine, Poe wrote, “Charles Dickens is no ordinary man, and his writings must unquestionably live.”

Three years later, during Dickens’s 1842 tour of the United States, he met Poe in Philadelphia. Though we do not know exactly what was said during their conversation, we can assume Dickens agreed to help Poe find publishers for his work in England. There is no evidence Dickens told Poe about the death of his pet raven Grip, but, by the time of their meeting, Poe had already read Dickens’s novel Barnaby Rudge, which features a talking raven.

Today, three letters from Dickens to Poe survive as evidence of the meeting of Poe and Dickens. The texts are printed below.

Upon receiving Poe’s invitation to meet, Dickens wrote Poe:

United States Hotel, March 6, 1842.
My Dear Sir, — I shall be very glad to see you whenever you will do me the favor to call. I think I am more likely to be in the way between half-past eleven and twelve, than at any other time. I have glanced over the books you have been so kind as to send me, and more particularly at the papers to which you called my attention. I have the greater pleasure in expressing my desire to see you on this account. Apropos of the “construction” of “Caleb Williams,” do you know that Godwin wrote it backwards, — the last volume first, — and that when he had produced the hunting down of Caleb, and the catastrophe, he waited for months, casting about for a means of accounting for what he had done?
Faithfully yours always,
Charles Dickens.

After returning to London, Dickens wrote Poe:

London, 1 Devonshire Terrace, York Gate, Regent’s Park,
November 27, 1842.
Dear Sir, — by some strange accident (I presume it must have been through some mistake on the part of Mr. Putnam in the great quantity of business he had to arrange for me), I have never been able to find among my papers, since I came to England, the letter you wrote to me at New York. But I read it there, and think I am correct in believing that it charged me with no other mission than that which you had already entrusted to me by word of mouth. Believe me that it never, for a moment, escaped my recollection; and that I have done all in my power to bring it to a successful issue — I regret to say, in vain.
I should have forwarded you the accompanying letter from Mr. Moxon before now, but that I have delayed doing so in the hope that some other channel for the publication of our book on this side of the water would present itself to me. I am, however, unable to report any success. I have mentioned it to publishers with whom I have influence, but they have, one and all, declined the venture. And the only consolation I can give you is that I do not believe any collection of detached pieces by an unknown writer, even though he were an Englishman, would be at all likely to find a publisher in this metropolis just now.
Do not for a moment suppose that I have ever thought of you but with a pleasant recollection; and that I am not at all times prepared to forward your views in this country, if I can.
Faithfully yours,
Charles Dickens.

Almost four years later, Dickens wrote Poe:

1 Devonshire Terrace, London. Nineteenth March 1846.
Dear Sir,
Although I have not received your volume, I avail myself of a leisure moment to thank you for the gift of it.
In reference to your proposal as regards the Daily News, I beg to assure you that I am not in any way connected with the Editorship or current Management of that Paper. I have an interest in it, and write such papers for it as I attach my name to. This is the whole amount of my connection with the Journal.
Any such proposition as yours, therefore, must be addressed to the Editor. I do not know, for certain, how that gentleman might regard it; but I should say that he probably has as many corespondents in America and elsewhere, as the Paper can afford space to.
I am Dear Sir
Faithfully Yours
Charles Dickens
Edgar A. Poe Esquire

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Weird Richmond – Deathbed Portraiture

Welcome to the first installment of the Poe Museum blog’s new monthly feature entitled Weird Richmond. Every month you will find here a new and bizarre tale to satisfy your craving for all things weird. This is history off of the beaten path, full of strange tales of Poe, the times he lived in, and this city that he called home.

“Goethe Deathbed Portrait” Friedrich Preller (1832)

We open Weird Richmond with deathbed portraiture. A deathbed portrait is exactly what it sounds like: a post-mortem image of a deceased person. What we see today as morbid was actually practiced in the 18th and 19th centuries as a means of capturing a final image of the dead for memorial purposes. In fact, many famous individuals have had deathbed portraits made of them, including Martin Luther, Goethe, and Victor Hugo, just to name a few.

Prior to the invention of the daguerreotype method of photography in 1839, deathbed portraits were either sketched or painted by artists. When photography became readily available in the mid-1800s, the deathbed portrait experienced a resurgence of popularity due to the camera’s ability to capture the departed exactly as they would have been upon their deathbed. During this time tuberculosis was running rampant across Europe and the United States, and many deathbed portraits from this time depict victims of what they termed “consumption.”

Virginia Clemm Poe – Deathbed Portrait (1847)

Here at the Poe Museum we have a print of the deathbed portrait of Virginia Clemm Poe, wife and cousin of Edgar Allan Poe. Her portrait was completed mere hours after her death at the age of 24 from tuberculosis, and for many years this was regarded as the only indisputable image of Virginia in existence (since then, another portrait has been validated). Virginia’s portrait is rendered in watercolor, and except for the odd angle that her head rests at, she could pass for still being amongst the living. While it was more common to have the deceased to be shown on their deathbed, some families posed their loved ones in chairs to make it look as if they still lived.

There are a few more modern cases of deathbed portraiture from the past century, most notably images of the Archduke Franz Ferdinand and his wife Sophie after being assassinated by Serbian nationalists in 1914. Even more recently, British artist Daphne Todd won the BP Portrait Award in 2010 for her deathbed portrait of her mother.

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More Photos from Poe’s Birthday Bash

Poe’s 203rd Birthday Bash may be over, but we’ve been getting lots of fun photos from various people on our flickr group.

Here are a few samples (click the photos for a closer look):

Poe's 203rd Birthday Bash

Belly dancers Lucretia and Lavinia performing the “Dance of the Conqueror Worm” – Photo by Silly Human Tricks

Poe's 203rd Birthday Bash

Belly dancer The Muse – Photo by Silly Human Tricks

If you’re wondering what belly dancing has to do with Poe or his birthday … well, Poe wrote stories like “The Cask of Amontillado” that are set at carnival time and belly dance seemed to fit nicely there. Also, all of our dances had Victorian/gothic themes of which we are certain Poe would approve – one was even based on his poem “The Conqueror Worm.” Moreover, the birthday bash marked the opening of our special exhibition of James Carling’s illustrations for “The Raven” and as Carling himself was a sideshow/vaudeville performer, it seemed appropriate. Plus, it was just too fun to pass up and what’s a party without fun, right?

Poe's 203rd Birthday Bash

Sword dance by Madame Onça – Photo by Silly Human Tricks

We were also fortunate to have six local poets come and do readings in honor of Edgar for his birthday festivities at the museum. Each poet read a poem by Poe and one of their own works.


Top row: Cynthia Grier Lotze and Joanna S. Lee Middle row: Melissa C. Johnson and Tarfia Faizullah Bottom row: Benjamin Dombrowski and Laura Davenport – Photos by Melanie Armstrong.

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Poe fans young and old came out to enjoy the fun which lasted from 10am to midnight. Here we see some VERY young Poe fans in training with their moms enjoying entertainment by Sadira Silverhare and DragonSong. Photo by Bonnie Chanteuse.


More little Poe fans waiting for trolley rides and soaking up the atmosphere at the Birthday Bash. Photos by Melanie Armstrong.


Various performers enjoying the festivities. Photo by Melanie Armstrong.

Visitors were also treated to fun and diverse musical performances by Aeon Yaweh, DragonSong and Machine Gun Mustache. People enjoyed each band’s sets.

We were even graced by the presence of the Birthday Boy, Poe himself as well as by a visit from his mother, Eliza (ably portrayed by wonderful living history performers.)


Eliza Poe and her son Edgar in the Poe Shrine – Photo by Melanie Armstrong.

These and many other photos can be found and shared via the Poe Museum’s own flickr group. If you have photos you’d like to share, you can share them with us on the flickr group or email them to melanie@poemuseum.org.

You can also check out a few videos from the day’s festivities on the Poe Museum’s YouTube channel.

So make sure you come out to our exciting 90th anniversary events this year and take lots of photos of the fun you have! Keep an eye on our Events Page and our Facebook page for information about our 2012 events.

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More Selections from James Carling’s “Raven” Drawings

The Poe Museum’s new special exhibit “Stormier, Wilder, and More Weird: James Carling and ‘The Raven'” opened on January 14, and visitors were in awe of Carling’s 43 masterful drawings, which fill both floors of the Exhibit Building.

The artist who produced these drawings, James Carling, was born in 1857 in Liverpool. He was fifth son of Henry Carling, a blacking maker. When James was five years old, he began to earn a living as an errand boy and singer. He would even recite the poetry of Shakespeare on street corners for spare change. Encouraged by his older brothers, James started drawing pictures on sidewalks, and he soon found passersby filling his hat with pocket change. At the age of seven, he was arrested for drawing on the sidewalk and was jailed overnight before being sentenced to seven days in a workhouse. He was sent to a technical school for six years. Though the court had sentenced Carling to attend the school, it demanded his father pay for tuition. When Carling’s father refused to pay, he was thrown in jail, where he died. Carling was fourteen when he completed his sentence at the school. Upon his release, he travelled with his brothers to the United States, where they resumed their careers as street artists. Carling eventually found work as a vaudeville performer billed as the “Lightning Caricaturist” and “the Fastest Drawer in the World.” In 1883, it was announced that Harper Brothers would be publishing an edition of Poe’s poem “The Raven” with illustrations by the French artist Gustave Dore. It was about this time that Carling began his own set of drawings for the poem. The drawings remained unpublished at the time of Carling’s death, four years later in 1887. He was buried in an unmarked pauper’s grave. The drawings remained in storage for over fifty years until Carling’s brother decided to exhibit them in 1930. Response to the work was so positive that the Poe Museum purchased the set in 1937.

Below is a small sample of the work on display. These pieces have so many strange and subtle details that the photos provided below can only give a faint impression of the experience of seeing the entire series up close. For more information about the Poe Museum’s collection of James carling’s illustrations for “The Raven,” visit our Collections Database. The exhibit continues until May 1, 2012, so be sure not to miss it.

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Edgar Allan Poe’s 203rd Birthday Bash

The Museum will be open from 10am – Midnight with events starting at NOON. Admission is $5 for the whole day, and you may come and go as you please so you can check out all the events you want to see!!! Events are still being added to the schedule, but see the current line-up below:

POE BIRTHDAY BASH SCHEDULE:

10:00am- 1:00pm: Gift shop sale! ( Take 15% off your entire purchase of $10 or more!)

12:00pm: Exhibit Opening (Stormier, Wilder and More Weird: James Carling and “The Raven” | and Curator talk.) *A MUST SEE*

1:00pm -1:15pm: Lucretia and Lavinia (belly dance duo )

1:15pm – 1:30pm: Aeon Yahweh (musician)

4:00pm – 5:00pm: Lucretia and Lavinia (belly dance duo)/ Sadira (dancer) and DragonSong (band)

5:00pm- on: Mulled Wine, Butter Beer and non-alcoholic beverage cash bar with free snacks.

5:30pm: Poe Birthday Cake

7:00pm – 8:00pm: Lucretia and Lavinia (belly dance duo)/ The Muse (dancer)/ Madame Onça (dancer)

8:00pm: Theatrical Victorian Seance. (See a Victorian Seance combining 19th century tricks and modern day effects)

9:00pm: Theatrical Victorian Seance. (See a Victorian Seance combining 19th century tricks and modern day effects)

11:30pm: Champagne Toast to Poe

*Additional events are still being finalized. Call the Museum at 804-648-5523 for more information (or) e-mail: info@poemuseum.org

Lucretia and Lavinia
Aeon Yahweh
Madame Onça
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Fall 2011 Poe Museum Newsletter

Here is the latest issue of the Poe Museum’s newsletter Evermore containing updates on the Museum’s events, exhibits, and its 90th anniversary.

Fall2011PoeMuseumnewsletter

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Poe Museum Acquires Documents Related to Poe’s Parents

Although the Poe Museum’s collection is comprised of thousands of objects, there are still holes in the collection. One place the collection can still grow is in its artifacts related to Edgar Allan Poe’s parents, the actors David Poe, Jr. (1784-1810?) and Eliza Poe (1787-1811). Both were actors who died young–when Edgar was only two. Poe’s mother was buried in an unmarked grave at St. John’s Church in Richmond, and the fate of Poe’s father in unknown.

Above: A notice for a benefit performance to be held on Mrs. Poe's behalf.

Few artifacts survive to tell the story of these talented people who left a lasting impression on Edgar Allan Poe’s life and work. That is why is a special treat to see the selection of documents the Poe Museum was able to bring together, with the help of the Library of Virginia and the Lilly Library, for its current exhibit, Poe’s Mother: The Untold Story. The Poe Museum’s contributions to the exhibit included the scripts from plays Poe’s parents performed, newspaper notices of benefits held on Mrs. Poe’s behalf, and reviews of their performances by critics of their day. Such documents serve as some of the few reminders of the careers of Poe’s talented parents, so it is always great to find such pieces to add more details to our understanding of their lives. This week, the Poe Museum did just that when it acquired three Boston newspapers from 1806 containing notices of Poe’s parents.

David and Eliza were married in April 1806 in Richmond. In October 1806, they appeared in on the stage in Boston, where their first son, William Henry Leonard Poe, was born on January 30, 1807. Their second son, Edgar Poe, was born in Boston on January 19, 1809. It was during this time in Boston that Eliza Poe wrote that it was in Boston that she had found her “best and most sympathetic friends.”

The newspapers the Poe Museum acquired date to October 29, 1806 (the month Mr. and Mrs. Poe arrived in Boston), November 8, 1806, and November 12, 1806. Poe’s mother is listed as appearing in the role of Fanny in the comedy the Clandestine Marriage on November 12. David Poe is listed as playing the role of Bellmour in Jane Shore on November 10, and both are listed as playing different plays on the same night on October 29.

You can learn more about the Poe Museum’s collection in our online collections database, and you can learn more about our new exhibit on our website.

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In the footsteps of Poe – The University of Virginia

In 1826, Poe left Richmond to attend the University of Virginia in Charlottesville. He enrolled at the university on February 14th, 1826. He was part of the second class to matriculate at Mr. Jefferson’s University. While in Charlottesville, Poe studied Ancient and Modern Languages and distinguished himself in both subjects. He appears to have been well-liked by other students and teachers and his room (number 13!) on the West Range at the University was a popular gathering place where Poe would entertain friends with tales of his own devising.

Unfortunately, Poe’s time at the University of Virginia was short-lived. His foster father, John Allan sent him to Charlottesville with insufficient funds to cover Poe’s school expenses. Mr. Allan did not respond to Poe’s requests for financial help, so Edgar resorted to gambling in an attempt to pay his bills. Edgar had no luck at this and wound up about $2000 in debt (bearing in mind that by his estimation, his bills at UVA would have totaled about $350 for the entire year). He left the University of Virginia on the 15th of December 1826 in disgrace.

Poe’s time at UVA has come to be appreciated in the ensuing years and his legacy there is maintained by The Raven Society, a prestigious honor society founded in 1904. The Raven Society lovingly maintains room # 13 on the West Range much as it must have appeared in Poe’s time and sponsors scholarships and fellowships to honor academic excellence.

Here is a picture of Poe’s West Range room from the Raven Society’s website:

Poe's room at the University of Virginia - Raven Society photo

On December 5, 2011, I got to attend a Virginia Association of Museums workshop at the University of Virginia Art Museum with fellow staff member Jennifer. We were inspired by the workshop and decided to do a little touring of UVA after we’d finished for the day.

We tracked down Poe’s dorm room on West Range and took pictures (of course!). We are geeks about such things here at the Poe Museum! (Endearing geeks. We hope.)

Jennifer visiting Poe's dorm room at UVA Melanie visiting Poe's dorm room at UVA

Jennifer and Melanie in 2 different photos by the door to room #13 West Range

We also checked out the nearby historic marker devoted to Poe and visited the Rotunda, the centerpiece of Jefferson’s plan for the University. (It would still have been under construction when Poe was there.)

Jennifer with Poe's Historic Marker at UVA

Jennifer with Eddy’s historical marker

UVA Rotunda on a cloudy December Day

The UVA Rotunda on the day of our visit – it was a bit cloudy, but rather appropriately atmospheric under the circumstances

For more information on Poe at the University of Virginia, check out the Raven Society’s website – it’s worth the visit!

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Two New Paintings of Eliza Poe

In honor of Edgar Allan Poe’s mother on the bicentennial of her death, a Richmond artist painted these two portraits of Eliza Poe. The first is closely based on the only surviving life portrait of Eliza Poe.

The second portrait was painted from the actress Debbie Phillips during one of her performances as Eliza Poe. This painting is currently hanging in the Poe Museum’s gift shop.

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Bicentennial of Poe’s Mother’s Death Commemorated at Poe Museum

Thursday, December 8, 2011 is the bicentennial of the death of Edgar Allan Poe’s mother, Eliza Poe. Though Edgar was only two years old when he lost his mother, his “mournful and neverending remembrance” of her cast a shadow over his life and work. Although Eliza Poe’s fame has long been overshadowed by her famous son, she was actually a talented and popular actress in the early days of American theater.

In observance of the bicentennial, the Poe Museum hosted a lecture by renowned Poe scholar Richard Kopley, a performance by Eliza Poe interpreter Debbie Phillips, and an exhibit of rare artifacts related to her life and career. The weekend began with the Poe Illumination, in which the Poe Museum’s Enchanted Garden came to life with thousands of lights and holiday decorations. Below is some video of the Poe Foundation’s President, Dr. Harry Lee Poe, speaking at Eliza Poe’s grave after having laid a wreath on her monument.

The exhibit devoted to Poe’s mother continues until April 1, 2012, so be sure not to miss it. In case you can’t attend in person, some of the artifacts from the exhibit can now be seen in our online collections database.

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New Exhibit Reveals Untold Story of Poe’s Mother

Etching of Eliza Poe by Alexander Von Jost

Edgar Allan Poe was not the first member of his family to bring fame to the Poe name. His mother, Eliza Poe, who died at the age of twenty-four when Edgar was only two, was a gifted actress and singer who performed throughout the country. Just in time for the bicentennial of her death, the Poe Museum is bringing together some of the few remaining artifacts associated with her life for the exhibit Poe’s Mother: The Untold Story, opening December 2, 2011 and running until April 1, 2012. The exhibit will pay tribute to the talented performer who blazed the trail for future American actresses in a day when acting was still considered immoral and an unsuitable profession for women. Among the artifacts on view will be original scripts from plays in which she performed and a copy of her marriage bond and her only known signature.

Watercolor of Eliza Poe from Collection of the Poe Museum

The exhibit opening on December 2 from 6-9 P.M. will feature a performance by Eliza Poe as performed by Debbie Phillips. The performance will include original songs Eliza Poe is known to have performed. Admission to the opening reception event is free, and warm drinks and live music will be available.

Rare script for play featuring Eliza Poe in the Cast

Photo of Eliza Poe's Marriage Bond Courtesy of the Library of Virginia

Rare Engraving of the Richmond Theater Fire from the Collection of the Poe Museum

Copy of Only Known Letter Written by Eliza Poe Courtesy of the Lilly Library, Indiana