Richards,Henry, : 1848-1949 Old form Architect Richards, Henry. Drawings for Sketches & scraps: Guide. Page 1 of 4 bMS Am 2265 Richards, Henry. Drawings for Sketches & scraps: Guide. Houghton Library, Harvard College Library VE TAS Harvard University, Cambridge, MA 02138 © 2003 The President and Fellows of Harvard College Descriptive Summary Repository: Houghton Library, Harvard College Library, Harvard University Location: b Call No.: MS Am 2265 Creator: Richards, Henry. Title: Drawings for Sketches & scraps, Date(s): 1881 and 1941. Quantity: 1 box (.3 linear ft.) Abstract: Original drawings and watercolors by Henry Richards for the children's book by Laura Elizabeth Howe Richards, Sketches & scraps. Administrative Information Processed by: Bonnie B. Salt Acquisition Information: *46M-237 Gift of Miss Rosalind Richards, Gardiner, Maine; received: 1947 Mar. 6. Historical Note Laura E. Richards (1850-1943) was the daughter of Dr. Samuel Gridley Howe, founder of the Perkins School for the Blind, and Julia Ward Howe, social reformer and lyricist of the "Battle Hymn of the Republic." In 1871 she married Henry Richards (1848-1949; Harvard College A.B. 1871), architect and industrialist. In 1876 they moved to Gardiner, Maine for Henry to manage the family paper mills. Laura Richards wrote more than ninety works, mostly in the fields of children's literature and biography. One of her early publications was a book of nonsense verses, Sketches & scraps (1881) that was illustrated by her husband Henry. Laura Richards won the Pulitzer prize for Biography in 1917 with her sister Maude edu/html/hou00173.html 8/14/2004 Richards, Henry. Drawings for Sketches & scraps: Guide. Page 2 of 4 Howe Elliott, for Julia Ward Howe. Arrangement Organized into the following series: I. Drawings II. Clippings Scope and Content 63 original pen and ink and watercolor drawings, some with autograph manuscript text (in unidentified hand) for the children's book of nonsense verses: Laura Elizabeth Howe Richards. Sketches & scraps; with pictures by Henry Richards. Boston: Estes & Lauriat, 1881. Lacks drawings for cover, p. 21, and p. 59. Also includes a 1941 clipping concerning the publication of this book. Container List Series: I. Drawings Arrangement:Drawings arranged in the order in which they appear in the book. Lacks drawing for published version for cover, p.21, and p.59. (1) Cover: Sketches & scraps. 1 drawing (signed) ; pen and ink and watercolor on paper ; 25 X 18 cm. This drawing was not used for the cover of the book. A similar drawing appears on p.6. (2) Naked child, painting, p.1. 1 drawing : pen and ink on paper ; 21 X 15 cm. (3) Three children, p.2. 1 drawing : pen and ink and watercolor on paper ; 21 X 15 cm. (4) Title page: Sketches & scraps, p.3. 1 drawing : pen and ink and watercolor on paper ; 21 X 15 cm. (5) Imprint page, p.4. 1 drawing : pen and ink and watercolor on paper ; 21 X 16 cm. (6) Phil's secret, p.5. 1 drawing : pen and ink and watercolor on paper ; 21 X 15 cm. (7) I know a little girl but I won't tell who, p.6. 1 drawing (signed) : pen and ink and watercolor on paper ; 23 X 16 cm. (8) Phil's secret, p. 7. 1 drawing : pen and ink and watercolor on paper ; 20 X 16 cm. (9) Potted rose, p.8. 1 drawing : pen and ink and watercolor on paper ; 21 X 18 cm. (10) Bobbily Boo & Wollypotump, p.9. 1 drawing : pen and ink and watercolor on paper ; 21 X 15 cm. (11) Bobbily Boo, the king so free, p.10. 1 drawing (signed) : pen and ink and watercolor on board ; 23 X 19 cm. (12) Wollypolump, the queen so high, p.11. 1 drawing (signed) : pen and ink and watercolor on board ; 23 X 19 cm. (13) Bobbily Boo and Wollypolump, p.12. 1 drawing (signed) : pen and ink on paper ; 21 X 15 cm. (14) Day Dreams, p.13. 1 drawing : pen and ink and watercolor on paper ; 20 X 15 cm. (15) White wings over the water, p.14. 1 drawing (signed) : pen and ink and watercolor on paper ; 23 X 16 cm. (16) Golden, golden sunbeams, p. 15. 1 drawing (signed) : pen and ink and watercolor on http://oasis.harvard adu/html/hou00173.html 8/14/2004 Richards, Henry. Drawings for Sketches & scraps: Guide. Page 3 of 4 paper ; 21 X 15 cm. (17) White wings over the water, p. 16. 1 drawing (signed) : pen and ink and sepia watercolor on board ; 23 X 18 cm. (18) The Vii Little Tigers and their Aged Cook, p. 17. 1 drawing : pen and ink on paper ; 21 X 15 cm. (19) The seven little tigers and the aged cook, p. 18. 1 drawing (signed) : pen and ink and watercolor on paper ; 21 X 15 cm. (20) They were feeling rather cross, for they hadn't any sauce, p.19. 1 drawing (signed) : pen and ink and watercolor on paper ; 20 X cm. (21) Then they called the aged cook, p.20. 1 drawing : pen and ink and watercolor on paper ; 21 X 15 cm. (22) Skinny Mrs. Snipkin, p.22. 1 drawing (signed) : pen and ink and watercolor and Chinese white on paper ; 21 X 15 cm. (23) Says this one to that one, p.23. 1 drawing (signed) : pen and ink and watercolor on paper ; 15 X 14 cm. (24) Skinny Mrs. Snipkin, p.24. 1 drawing (signed) : pen and ink and watercolor on paper ; 21 X 16 cm. (25) The Little Cossack, p.25. 1 drawing : pen and ink and watercolor on paper ; 21 X 16 cm. (26) The Little Cossack, p.26. 1 drawing (signed) : pen and ink, watercolor, and Chinese white on paper 21 X 16 cm. (27) The tale of the little Cossack, p.27. 1 drawing (signed) : pen and ink, watercolor, and Chinese white on paper ; 21 X cm. (28) The tale of the little Cossack, p.28. 1 drawing (signed) : pen and ink and watercolor on paper ; 23 X 16 cm. (29) The tale of the little Cossack, p.29. 1 drawing (signed) : pen and ink on paper ; 21 X 16 cm. (30) Little Brown Bobby, p.30. 1 drawing (signed) : pen and ink, watercolor, and Chinese white on paper ; 21 X 15 cm. (31) Little brown Bobby said "Shoo! shoo! shoo!", p.31. 1 drawing (signed) : pen and ink and watercolor on paper ; 21 X 15 cm. (32) A Legend of Lake Okee-finokee Mr. Frogge, p.32. 1 drawing : pen and ink on paper ; 21 X 16 cm. (33) Said the frog, "I have found, p.33. 1 drawing : pen and ink on paper ; 21 X 16 cm. (34) So this bad mocking-bird, p.34. 1 drawing (signed) : pen and ink and watercolor on paper ; 21 X 15 cm. (35) I am filled with amaze, p.35. 1 drawing (signed) : pen and ink and watercolor on paper ; 20 X 15 cm. (36) And the bad mocking bird, p.36. 1 drawing (signed) : pen and ink on paper ; 21 X 16 cm. (37) Jacky Frost, p.37. 1 drawing : pen and ink on paper ; 21 X 15 cm. (38) Jacky Frost, Jacky Frost, p.38. 1 drawing (signed) : pen and ink, watercolor, and Chinese white on paper ; 21 X 16 cm. (39) Jacky Frost, Jacky Frost, p.39. 1 drawing (signed) : pen and ink and watercolor on paper ; 22 X 16 cm. (40) Jacky Frost, p.40. 1 drawing : pen and ink and sepia watercolor on paper ; 21 X 16 cm. (41) The Three Fishers, p.41. 1 drawing : pen and ink on paper ; 21 X 16 cm. (42) It was not in the ocean, p.42. 1 drawing (signed) : pen and ink and watercolor on paper ; 21 X 15 cm. (43) They climbed up on the ladder, p.43. 1 drawing (signed) : pen and ink and watercolor on paper ; 21 X 15 cm. 8/14/2004 Richards, Henry. Drawings for Sketches & scraps: Guide. Page 4 of 4 (44) Because I was not there, you know, p.44. 1 drawing (signed) : pen and ink on paper ; 21 X 16 cm. (45) Will o'the Wisp, p.45. 1 drawing : pen and ink on paper ; 21 X 15 cm. (46) Will-o'-the-Wisp! Will-o'-the-Wispl, p.46. 1 drawing (signed) : pen and ink, watercolor, and Chinese white on paper ; 20 X 15 cm. (47) Will-o'-the-Wisp! Will-o'-the-Wispl, p.47. 1 drawing (signed) : pen and ink, watercolor, and Chinese white on paper ; 21 x 16 cm. (48) Will-o'-the-Wisp! Will-o'-the-Wisp!, p.48. 1 drawing (signed) : pen and ink and watercolor on paper ; 20 X 15 cm. (49) Nicholar Ned, p.49. 1 drawing (signed) : pen and ink and watercolor on paper ; 20 X 15 cm. (50) Ponsonby Perks, p.50. 1 drawing : pen and ink and watercolor on paper 20x15 cm. (51) Winifred White, p.51. 1 drawing : pen and ink and watercolor on paper ; 20 x 15 cm. (52) Harriet Hutch, p.52. 1 drawing (signed) : pen and ink and watercolor on paper ; 20 X 15 cm. (53) Oh little loveliest lady mine, p.53. 1 drawing : pen and ink on paper ; 21 X 15 cm. Drawing is titled: A Valentine , but that title is not printed in book. (54) Gloomy old winter is king today, p.54. 1 drawing (signed) : pen and ink, watercolor, and Chinese white on paper ; 20 X 15 cm. (55) Prithee, St. Valentine tell me here, p.55. 1 drawing : pen and ink and watercolor on paper 20 X 14 cm. (56) I've searched the gardens all through and through, p.56. 1 drawing : pen and ink and watercolor on paper ; 20 X 15 cm. (57) The Palace, p.57. 1 drawing (signed) : pen and ink and watercolor on paper ; 20 X 15 cm. (58) The Palace, p.58. 1 drawing (signed) : pen and ink, watercolor, Chinese white on paper 21 X 15 cm. (59) And I will sit on the silver throne, p.60. 1 drawing (signed) : pen and ink on paper ; 21 X 15 cm. (60) Said the boy to the brook that was rippling away, p.61. 1 drawing (signed) : pen and ink and watercolor on paper ; 21 X 15 cm. (61) Said the boy to the wind that was fluttering past, p.62. 1 drawing (signed) : pen and ink and watercolor on paper ; 20 X 15 cm. (62) Said the boy to the day that was hurrying by, p.63. 1 drawing (signed) : pen and ink and watercolor on paper ; 20 X 15 cm. (63) End page, p.64. 1 drawing : pen and ink on paper ; 22 X 16 cm. Series: II. Clippings (64) Darwin, Bernard, 1876-1961. A lost classic, children's verses from America : clipping, 1941 Dec. 6. 1 folder. Clipping concerning the Richards' book taken from the Times Literary Supplement. Inscribed to Laura Elizabeth Howe Richards from Van Wyck Brooks. 8/14/2004 MINERVA /All Locations Page 1 of 4 MINERVA PREVIOUS NEXT RETURN TO ANOTHER START MARC RECORD RECORD BROWSE SEARCH OVER DISPLAY EXPORT REQUEST Search Info Net SUBJECT yellow house papers All MINERVA Locations Search Record 1 of 2 Title The Yellow House Papers : the Laura E. Richards Collection. Publisher [19- -2002] LOCATION CALL NO. STATUS Maine Historical Society Coll. 2085 LIBR USE ONLY Phys descr 70 linear feet. Note Literary manuscripts, transcriptions and typescripts, genealogical and family records, charts, correspondence, photographs and photograph albums, music, secondary school and camp memorabilia, memorial tributes, and books. Available to researchers at the Maine Historical Society Research Library during regular library hours. An annotated copy of the 2002 inventory, giving folder and item numbers, is available at the M.H.S. The Papers were brought together by the Gardiner Library Association in 1988 and placed on deposit at the Colby College Library in Waterville, Me., from Feb. 1990 until Nov. 2002, when they were deposited with the M.H.S. in Portland. The Papers span several generations, including both ancestors and descendants of Laura Elizabeth Howe (1850-1943) and her husband Henry Richards (1848-1949) and their siblings, based in Gardiner, Me., Hallowell, Me., Boston, Mass. and at several boarding schools in New England. Important persons represented in the collection include L.E.R.'s parents, Julia Ward Howe (1819-1910) and Dr. Samuel Gridley Howe (1801-1876), and literary figures such as Edward Arlington Robinson (1869-1935) and Edgar Allen Poe (1809- 1949). Subjects represented include writing and publishing in the late 19th and early 20th centuries; children's literature and music; the daily lives of women in Gardiner; Gardiner High School; Camp Merryweather, North Belgrade, Me.; the Episcopal Church; the Maine paper industry; Harvard College; Perkins Institute for the Blind; and New England boarding schools. Permission to publish and reproduction requests are managed by M.H.S. Photocopying is not permitted. On deposit at Maine Historical Society from Gardiner Library Association, http://ursus2.ursus.maine.edu/search/dyellow+house+papers/dyellow+house+pa.../indexsort= 7/30/2004 MINERVA/All Locations Page 2 of 4 Nov. 2002- . Laura Elizabeth Howe was born Boston, Mass., 1850; moved to Gardiner, Me. in 1876; died in 1943; married Henry Richards (1848-1949), son of Anne Hallowell Gardiner and Francis Richards. Their daughter Laura Elizabeth Richards was born in Gardiner, Me., 1886; married Charles Wiggins; died in 1988. Owner: Gardiner Library Association, c/o Gardiner Public Library, 152 Water Street, Gardiner, ME 04345. Portions of the original correspondence and manuscripts are at Houghton Library, Harvard University, Cambridge, Mass. 02138. In addition to the 1991 and 2002 inventories (x, 297 p., 87 p.), a five-page finding aid is available at the M.H.S. Smith, Danny D., The Yellow House Papers : The Laura E. Richards Collection : an inventory and historical analysis (Gardiner, Me.: comp. for Gardiner Library Association and Colby College, [1991]); 2d ed. (Gardiner, Me.: Gardiner Library Association, 2002); Gardiner's Yellow House: a tribute to the Richards family [...] (Gardiner, Me.: Friends of Gardiner, C. 1988); and Preliminary study of the ancestors and descendants of Dr. Silvester Gardiner, 1708-1786 (Gardiner, Me.: Gardiner Library Association, 1996). Laura Elizabeth (Howe) Richards won the first Pulitzer Prize for biography. Subject Howe, Julia Ward, 1819-1910. Howe, S. G. (Samuel Gridley), Dr., 1801-1876. Poe, Edgar Allen, 1809-1849. Richards, Henry, 1848-1949. Richards, Laura Elizabeth Howe, 1850-1943. Richards, Laura Elizabeth Howe, 1850-1943 -- Correspondence. Robinson, Edwin Arlington, 1869-1935. Wiggins, Laura Elizabeth Richards, 1886-1988. Gardner family. Gardiner family. Howe family. Richards family. Richards family -- Photograph collections. Shaw family. Ward family. Wiggins family. Wiggins family -- Photograph collections. Laura E. Richards Collection. Harvard College (1780-) -- Students -- 19th century. Camp Merryweather (North Belgrade, Me.) -- Photographs. http://ursus2.ursus.maine.edu/search/dyellow+house+papers/dyellow+house+pa.../indexsort= 7/30/2004 MINERVA /All Locations Page 1 of 1 Yellow House Papers archivist Nate: Interviewed the Smith, August18,2004 D.D. at thangardiner Public R.H. Library. Notes Detained in Epp MINERVA personal collection. PREVIOUS NEXT RETURN TO ANOTHER START MARC RECORD RECORD BROWSE SEARCH OVER DISPLAY EXPORT REQUEST Search Info Net SUBJECT yellow house papers All MINERVA Locations Search Record 2 of 2 Title The Yellow House papers, the Laura E. Richards Collection : an inventory and historical analysis / compiled for the Gardiner Library Association and Colby College by Danny D. Smith. Publisher Gardiner, ME D.D. Smith c1991. LOCATION CALL NO. STATUS Me Hist Soc Stacks BL R392 LIBR USE ONLY Phys descr X, 297 p. : ill., maps ; 28 cm. Subject Richards, Laura Elizabeth Howe, 1850-1943. Richards family. Laura E. Richards Collection. Yellow House (Gardiner, Me.) Alt author Smith, Danny D., comp. Gardiner Library Association (Me.) Colby College. PREVIOUS NEXT RETURN TO ANOTHER START MARC RECORD RECORD BROWSE SEARCH OVER DISPLAY EXPORT REQUEST Search Info Net http://ursus2.ursus.maine.edu/search/dyellow+house+papers/dyellow+house+pa.../indexsort= 7/30/2004 1878 0 Id Farm / Henry Richards Tr. May 13 The house we had looked forward to and planned for so long Europe after we started building at once on our return from/a stay, unexpectedly long, Start over The house we had planned for and looked forward to and looked forward to so long we started to build at once on our return from Europe in the autumn of 1878, after a stay unexpectedly prolonged. Almost immediately after landing, we came down with our architect, Henry Richards, to ddermine on our site and set things in motion. My mother soon returned to Boston but my father and I stayed on, studying and planning until the approach of winter made us thankful to return to Boston. The next spring we started in good earnest, our plans worked over through the winter contributing we made our part. My mother had been most interested during a stay in England in the work of William Morris, architect and designer, [which she had exhibition a year or two before and worked with our architect, a most happy choice, to carry out same of the ideas which she had got from them. The practical part my father and I contributed, but the artistic was hers and her architect's, young, enthusiastic, capable of absorbing new ideas. It was the first house at Bar Harbof/r to be really well built; and well built it was with nothing 2. spared in work or material. The first storey we built of granite split out from tumbled boulders in the gorge, weathered and warm-toned, save for where cut stone was water-table (#?) necessary for the and the windows, and at the last some brick was used that added their touch of color to the warm-toned granite. Above that first storey, all was shingled with shingled of t he warm brown, never rotting California Redwood, which, on all vertical parts of the house remain upon it still. Great chinmeys of brick rose above the shingles promising gnerous warmth, a promise which they have well fulfilled. In the interior, the frame was built with extra strength my father aaw to that-. while all the interior skilfully and finish was carefully worked out from the best of Michigan and White Pine, Maine wood of similar grain being no longer floors obtainable. The preoxithroughout were of well-seasoned, native oak, birch and maple, and better one could not have. The carpenters and the Maine folk have a genius for that work, took great pride in thetxx their work and endless time about it. The result, when we at last moved in the summer of 1880, the carpentors still working upon the house, was a delightful home and a home it has proved to beat any season of the year. Message Page 1 of 2 Epp, Ronald From: Epp, Ronald Sent: Tuesday, July 13, 2004 4:16 PM To: 'Shettleworth, Earle' Cc: Epp, Ronald Subject: RE: Henry Richards, GPL Architect Dear Earle, Thank you for contacting me about my interest in Henry Richards, architect of the Bar Harbor Old Farm home of Charles, Mary, and George B. Dorr. I would very much appreciate receiving the article you refer to below which can be sent to my office address. On August 18th I am hoping to stop at the GPL to examine material that may be relevant to my biography of Mr. Dorr. It may be possible for me to stop by your office and meet you that afternoon if you are available. I'd very much like to see MDI photographs from the 1850-1940 timeframe that may have usefulness to my research. It is difficult at a distance to estimate the time needed for such a review; can you give me a sense of the depth of your relevant holdings? Finally, I've run across an architectural drawing attributed to A.F. Oakey circa 1878 of a Bar Harbor home designed for Charles Hazen Dorr. Several publications have reprinted this image and misidentified it as the Dorr cottage that Henry Richards actually designed. I've examined the standard texts on the shingle style architecture of the period and Oakey's own "Building a Home" (1881) but can't locate any explanation for why Oakey's plan was abandoned in favor of the chosen Richard design. Any insights that you can share on this matter? Looking forward to hearing from you. Ron Ronald H. Epp, Ph.D. Director of Shapiro Library Southern New Hampshire University Manchester, NH 03106 603-668-2211, ext. 2164 603-645-9685 fax 7/13/2004 MHPC - E. Shurt WHEN DID THE RICHARDSES MOVE INTO YELLOW HOUSE? 1. Family did not move from Boston until after death of Samuel Gridley Hose (died Jan. 1876). LER could not get off from sofa at Green Peace when the Rev. J. F. Clarke came to inform her of her father's death. (See Stepping Westward). 2 The financial crash of 1876 brought HR's architectural practice to a halt in Boston: also, the declining health of F. G. Richards, eldest brother of H. R. mandated HR's return to Maine to run the family business. 3. HR "rounded out the social season of 1876-77" at Oaklands but there is a contradiction in Ninety Years On when be says that his grandmother Anne Hallowell (Gardiner) Richards (who died April 1876) gave furhishings to him for the "Bryam house" (i.e. Yellow House). See page 241 when he says that five of them came to Oaklands in Autumn 1877. 4. See Ninety Years On for description of the alterations of Yellow House (page 326). 5. In the chapter "1876-86" HR says we "snapped it up. " Does the verb "snap" mean pay rent? Because this reference occurs near the beginning of the chapter, one might infer that HR did his "snapping" (whatever that means) in 1876. 6. The deeds registered at the Kennebec County Court House wherein the Bryan and Hazeltine interests in Yellow House are conveyed to LER (interesting not HR) are executed on 31 Dec. 1890 and 9 June 1891. Upon what basis the family occupied Yellow House in the twelve-year interim preceeding the execution of those deeds is presetly absolute mystery. 7. The Register Nomination (Register of Historic Landmarks on file at the Maine State Historic Preservation Commission, researched and drafted by Bradley and Beard) says the purchase took place in 1878. No authority is cited. 8. Roger Read assigns 1879 as the "purchase" date of Yellow House in the Maine Historic Preservation Commission brochure on HR. No authority is cited). The 1911 alterations actually occured in 1910 (as is established by the "Home Log" now at the Gardiner Public Library). 9. Only John and Betty were born at Yellow House. Presumably if Julia were born at the Cove (she was born Aug. 1878), then the Richardses were not at Yellow House then. 10. Stepping Westward (page 221) mentions the death of Anne Hallowell Richards in early 1876 and then LER remarks that "we spent two more summers there" (at the Cove). 11. LEW to me (DDS) that only JR and she were born at Yellow House. Therefore they moved in in autumn 1878? 179 BIBLIOGRAPHICAL ESSAY THE ANCESTRY AND COLLATERALS OF HENRY RICHARDS Only the Richards family qua the paternal Richards lineage have undoubted claim to genteel status in the law of arms in the minor nobility of England. The assertions by the Gardiner and Ward families figuring in the nexus of families allied to the Richardses to coat armour is mere pretense. The Richardses have been enrolled amongst armigerous gentry since the 1663 visitation of Devonshire. At that time the Richards family had these arms exemplified to them: "Argent, a fess fusilly sable between two cortises gules. Crest: "A paschal lamb proper." Motto: "Honore et amore. The crest of the paschal lamb or Agnus Dei was to make a cameo appearance on the carved front of the high altar at Christ Church Episcopal in Gardiner, Maine designed by Henry Richards. The motto has been used by the Gardiner, Maine line many times on their tombstones and bookplates and as an indica on title pages of autobiographies. The most useful general statement of the Richards pedigree is an unpublished tabular pedigree compiled by Henry Richards (1848-1949) measuring approximately 18 inches by 24 inches wherein ten generations of the descendants of James and Wilmot (Digon) Richards who were married at Exeter, Devonshire in 1600 are traced down to 1920, the date of the compilation of the chart with a few emendations added to show subsequent births, marriages, and deaths within the immediate family of Henry Richards. No attempt was made at that time to amend any line more further removed than the descendants of his own parents. A copy of this is not in the present collection, but through the courtesy of one of the grandsons of Henry Richards, upon solicitation by the present compiler, a xerox copy was presented to the Gardiner Library in February 1989. The present compiler will present a copy of that to the Special Collections Department at Colby in due course. The direct line of the Yellow House family as traced in that chart was given in abstract in George Thomas Little, Genealogical and Family History of the State of Maine (4 volumes; New York: Lewis Historical Publishing Company, 1909) 3:1337-1337. In the Yellow House Papers there are loases of genealogical data with which to patch up the received account of the Richards family lineage, but the author has not seen any of the material in the Edinburgh Collection which is described in detail elsewhere in this inventory and analysis. In this collection there is genealogical correspondence from Anne Ashburner Richards dating to 1885 and 1886 immediately after the death of her husband Francis Gardiner Richards (perhaps 180 memorializing him) to her brother-in-law Henry Richards, This material found in Record Group 3 will give some additional but limited detail about the Bradshaw and Gailliard families allied to early generations as well as photographs taken on commission for Anne Ashburner Richards which she presented to Henry Richards of the parish church and graveyard at Edmondton, CO. Middlesex, England where early Richardses had sepulchre. In 1897 and 1898 Henry Richards corresponded with a very distantly related kinsman, Charles John Richards of Elizabeth, New Jersey. Those letters may also be found amongst the personal papers of Henry Richards in Record Group 3. A photograph of the Richards manor, North House, Hambledon, Hampshire, England with the Hampshire Hunt in their riding pinks, mounted, and with hounds, is in Record Group 4, taken by the photographic firm Wells. The early Richards ancestors from time to time were presented at the royal court in the presence of Majesty, and the black velvet court suit worn by them was in possession of the family at Yellow House when William Davis Ticknor modeled it for the family in 1933. (See letter from Laura E. Richards to her sister Maud Howe Elliott 27 August 1933). Originally, when this velvet suit was worn, it was decorated by six diamond buttons which have since been dispersed throughout several branches of the family much to the agony of Henry Howe Richards (1876-1968). His great misgivings about the alienation of the diamonds from the male tail line of the family bearing the surname may be traced in letters from him to his brother John 1 Jan. 1943, from John to him 2 Jan. 1943, and finally from him to John 5 Jan. 1943. Those letters besides tracing the obsolescent feudal notions governing the devolution of relics in a noble house give some indication as to the family's knowledge at that time of the Isle of Wight Richardses as well as other lines in England either extinct or on the verge of extinction. Some accounts of the interior of Cadlington and North House surfaces in a form which charitably must be viewed as an extreme exercise of literary license in Laura E. Richards, Harry in England (New York: D. Appleton-Century 1937). Fragments of these passages were reworked into the family "Side Shows" in Record Group 9. Henry Richards had a pact with his wife not to read the book which she wrote about his childhood in England because they both knew that he would be upset with the endless stream of inaccuracies which she would defend as an exercise of literary license. They were obviously a sensible couple who knew when to look that proverbial other way when occasion demanded. The principal iconographical repository of the Richards family is the North House Portrait Collection, a collection of twenty-two portraits, including four by Stuart and one by Slater as well as a number of crayon pastels by John 181 Downman, a maternal collateral. Reproductions of these portraits hung in the stairwell of the front hall at Yellow House from 1921 to 1988, the present whereabouts of the reproductions is not known. The originals remain in a group owned by a member of the family who does not want his identity made known. On 3 February 1921, Lillian Jameson Richards, second wife of Robert Hallowell Richards (1844-1845) consulted several photographic firms in Boston, upon commission of Laura E. Richards to have the prints made of these portraits. The sitters are for the record: 1. John Richards (1737-1819) by Slater 2. Judge Stephen Jones (1738-1826) 3. George Washington by Stuart (exhibited at the Museum of Fine Arts in 1882) 4. Susan Coffin Jones Richards (1783-1870) Stuart 5. Dr. Hugh Downman 6. John Richards (1768-1835) by Stuart 7. John Richards (1768-1835) crayon 8. John Richards (1768-1835) boy in crayon 9. John Richards (1768-1835) crayon 10. Richard George Richards (1772-1841) 11. Maria Downman Richards in crayon 12. Frances Richards with bird in crayon 13. Frances Richards with bird in crayon 14. Maria Richards in crayon 15. Dorothy Richards in crayon 16. Anne Richards in crayon 17. Maria Richards in crayon Nos. 12-17 by John Downman 18. Stephen Jones Jr. in miniature 19. Susan Coffin Jones Richards in miniature 20. Maria Downman Richards, wife of John Richards in miniature by Englehardt 21. John Richards (1801-?) 22. Aunt Downey, Maria Downman Richards in miniature, a reproduction in engraving which used to hang over the North Chamber fireplace at Yellow House. This list of family portraits and the letter detailing the printing of the reproductions is in Record Group 3. The other few Richards qua Richards items in the present collection include the will of Maria Downman Richards who died at North House 10 December 1858 in Record Group 3; a letter from John Richards V (1768-1835) to Miss Twycross of Dresden, Maine in 1803 in Record Group 3; a printed obituary of Susan Jones Richards, apparently extracted from some periodical associated with the Church of England, in Record Group 3; the etui of Dorothy Richards (d. 1844) in Record 182 Group 3 with notation in the hand of Laura E. Richards that this Dorothy is the one who figures as a sitter in one of the crayon portraits by John Downman; and various letters from Sarah Coffin Jones Richards in the 1860s to her grandsons Henry Richards and George Henry Richards, dated from Moreland Cottage, Purbrook, Hampshire, England to their Boylston Street address in Boston in Record Group 3. In Record Group 6 are Jones genealogical items and letters by George Henry Richards to his brother Henry relative to the Jones family. The great-uncle of Henry Richards from whom the "Hood Richards" line stems was the Reverend Richard George Richards who married first Susan, daughter of the Second Lord Viscount Hood by whom he had four children, including the fourth Susan Anne Richards who married her first cousin Charles Richards (1808-1874), the curmudgeon who terrified Laura E. Richards in an episode related in her autobiography Stepping Westward when he ordered a spoon for Mrs. Harry to eat her peas with during her honeymoon trip through Europe. The Hood viscounty may be traced in Burke's Peerage and Baronetage noting the 1856 edition at pages 529 and 530 where the Richards marriage is mentioned and a fuller account of the male lines in the 1970 edition at pages 1366-1367 where the second viscount is merely mentioned as having had further issue of daughters. See also the same work in the 1856 edition at page 115 and the 1970 edition at pages 349-350 for the account of the Barons Bridport relations of the Hood family and for the early male lineage of the Hood family under the account of the Baron St. Audlies in the 1970 edition at pages 2344 and 2345. The youngest daughter of the Reverend Richard George Richards was Lucy Anne Maria Richards who married Colpoys Parkins Heaslop by whom she had issue of two children Catherine Fedora Heaslop and Adair Colpoys Heaslop, always known as Robin. These English cousins were great favorites of Henry and Laura Richards, and their visits to Yellow House are documented in the Home Log volumes 5 (1) for 1912; 11 for 1933; and 12 for 1937. Unfortunately, the most systematic photographic tracing of the descendants of Francis Richards (1805-1858) with reproductions of the portraits of his siblings, parents, and grandparents is not in the present collection. A numbered set of family photographs of eighty-four sitters in the Gardiner and Richards families were assembled by Robert Hallowell Gardiner and Henry Howe Richards into two albums of which apparently multiple copies exist. There are many more than eighty-four photographs. When photographs are entered of the same sitter during several periods of that person's life, the photographs are numbered 70a, 70aa, 70aaa, 70b, etc. to give the identifying numbers for Laura E. Richards. This list is found as a seven-page mineographed document in Record Group 35. 183 Finally, it cannot be over emphasized that several close readings of the autobiography of Henry Richards, Ninety Years On (Augusta, Maine: Kennebec Journal Press, 1940), noting chapters 2-4 and 9-14 will help the scholar who must thread a complicated dragnet through the Richards pedigree. The examination should start with the passage found from pages 40 through 44. PARENTS AND SIBLINGS Some account of the father of Henry Richards beyond the passages in Ninety Years On may be found in Evelyn L. Gilmore, Christ Church, Gardiner, Maine: Antecedents and History (Gardiner, Maine: The Reporter-Journal Press, 1893; reprinted 1962) as warden of the parish at pages 17-22; vestryman 17, 23; architect of lecture room 97 and 146, and in the Gardiner pedigree at page 153. His gravestone and the gravestones of most of his descendants bearing the Richards surname may be seen outside the church building of Christ Church Episcopal on Dresden Avenue in Gardiner, Maine. Also see some account of him in Family Sideshows, a typescript probably dating to 1923 by Laura E. Richards in Record Group 9. An account of his wife Anne Hallowell Richards, a thirteen-typescript to which is appended poems "A Portrait" and "Her Beatitudes" dated in 1876 is also in the present collection in Record Group 9. Eight letters from Francis Richards to his son George dated from Gardiner from 1854 to 1857 while George was attending school in England are also in the present collection. The entire record group numbered 35 must be examined for an account of the ancestry of Anne Hallowell Gardiner Richards, that series being Gardiner family genealogical materials. There is very little material in the present collection relative to the eldest brother of Henry Richards, namely Francis Gardiner Richards (1833-1884). Most of his personal papers are in the Edinburgh Collection (q.v.). There is some correspondence from his widow Anne Ashburner Richards to Henry Richards in this collection including correspondence relative to the financing of the paper mill in Gardiner from 1885 to 1886 in Record Group 6 and her genealogical correspondence in the same Record Group. There are a few letters from Francis Gardiner Richards to his brother Henry in Record Group 6. The only piece of evidence which the present compiler has met with documenting the existence of a daughter of Francis Ashburner Richards, in turn a son of Francis Gardiner Richards is a photography of "Betty Richards" in the Home Log, volume 9, for the year 1925 and a letter dated June 1940 mentioning her age as then sixteen which would render a calculated ate of birth for the year 1923 or 1924. In Home Log Volume 7, 1921, there is the wedding announcement of the marriage of Lillian Grey to Francis Ashubrner Richards in London on 11 January 1921, his first wife, of whom Laura E. Wiggins spoke as "a dreadful 184 beast who made my dear cousin dreadfully unhappy. 11 (Conversation September 1985). The 1920 tabular pedigree when it was updated in 1932 does not mention Betty Richards, the daughter of Francis Ashburner Richards. Lillian Grey was a great-grandniece of Charles, 2nd Earl Grey, Prime Minister of England, for whom the Earl Grey tea is named. An account of the earldom of Grey in Burke's Peerage and Baronetage (101st ed. i London, 1970) at pages 1174 through 1178 traces the Grey lineage, noting at page 1175 the marriage of Francis Ashburner Richards whose father was of the Cove, and that should be corrected to read that the Cove was in Gardiner, Maine, not Boston, U.S.A. A photograph of the residence of Francis Ashburner Richards in England is inserted in the Home Log, Volume 9, for 1925. The widower of Anne Hallowell Richards II, only daughter of Francis Gardiner Richards, married in Quebec 1 June 1935 Catherine Lily Jennings, and their wedding invitation is in the Home Log volume 11 for 1935. A letter of 9 July 1931 from this widower, Percyval Tudor-Hart to Rosalind Richards relative to the settlement of Nancy's estate is inserted in the Home Log, volume 10. See also letters from Laura E. Richards to her sister Maud Howe Elliott discussing the death of Nancy Tudor-Hart (7 Feb. 1931), a visit of the sisters Madeleine and Ruth Richards to the home of Francis Ashburner Richards in England (12 July 1934). The lawyer brother George Henry Richards of Boston racked up a rowing record at Cambridge University in England which stood for many years if not to present. There are photographs in the collection of his five cups and seven medals received at the Henley Regatta and a typescript account of the record in Record Group 30. There are also photographs and a miniature medal of the George Henry Richards prize cup rowed for every year at the Masschusetts Institute of Technology. His obituary in the Boston Transcript is annotated in the Home Log, volume 7, to indicate the author as Dr. R. M. Lawrence. Also in the Home Log are other unidentified obituaries and articles concerning his career which are not bibliographically identified. He was one of four family members who died within a very short space of time in early 1922, the others being Alice Richards, Florence Howe Hall, and Henry Marion Howe. This concentration of obituaries in the Home Log is indeed sobering. An account of George Henry Richards was published in the Kennebec Journal 22 March 1922. Note also the letter of Rosalind Richards (when her mother was too stressed to write) to Maud Howe Elliott about the funeral of George Henry Richards in Record Group 12 and the letter of Laura E. Richards to her sister Maud Howe Elliott 9 Sept. 1923 in reference to the finding of the unfinished and therefore inoperative will of George Henry Richards wherein the rowing cups and medals which were to have gone to Henry Howe Richards went instead to Robert Hallowell Richards who refused to relinquish them to his nephew. 185 The drowning of Sarah Richards, the only sister of Henry Richards, is one of the bitter episodes in the family history. Considerable space relative to this tragic event is given in both autobiographies Ninety Years On and Stepping Westward as well as Charles E. Allen, History of Dresden, Maine (1931) Sarah Richards is mentioned en passant in "L.E.R., a typescript by Rosalind Richards in Record Group 22. There is in the present collection one letter from Sarah Richards, while she was attending school in New York, to her father, dated 17 October 1854. A necrological account of Cora Howard Richards, wife of General John Tudor Richards is found in Laura E. Richards and Gardiner (Gardiner Library Association, 1940) at pages 89 and 90, and a printed obituary of her is in the Home Log, volume 4, 1911, with annotations in the hand of Laura E. Richards. The marriage of Madeleine Richards on 12 April 1898 to Harry Vernon Henson is in the Home Log Volume 1. A medal cast in honor of General John Tudor Richards, 5 inches in diameter, is also in the present collection. The summary dismissal of John Tudor Richards as head of the vererans home at Togus when the Democrats assumed power is traced in the Home Log newspaper articles of February 1915, see volume 5 (1) An invitation in Home Log (2) for 22 Sept. 1917 documents the marriage of Amy Richards to Arthur Willis Colton. The obituary of General John Tudor Richards is in the Home Log, volume 7, for 1920. There is a necrological pamphlet in the present collection, issued by the Military Order of the Loyal Legion commemorating the death of John Tudor Richards. Letters from Laura E. Richards to her best friend Elizabeth Thorndike Thornton document the brief life of Dorothy Richards, infant daughter of John Tudor Richards (her birth 15 March 1877 and death 31 Oct. 1877) The visit of the Coltons and Hensons (and some indication of the frayed nerves of Laura E. Richards) is narrated in a letter from Laura E. Richards to her sister Maud Howe Elliott 28 September 1925 and her appraisal of the character of Arthur Colton is found in a letter to Maud 22 July 1906. Ruth Richards became the residuary legatee of the fortune of her mother's first-cousin William Brewster, and this inheritance is commented upon in letters from Laura E. Richards to her sister Maud 20 November 1933 and 8 January 1934. Through this inheritance, the Gilbert Stuart portrait of Mrs. Brewster in a roundabout way came to Colby College when Robert Hallowell Gardiner V, the executor of the Ruth Richards estate, gave that portrait to Colby College. Robert Hallowell Richards (1844-1945) is one of the great figures in the history of the Massaachusetts Institute of Technology as is his first wife, Ellen Henrietta (Swallow) Richards. His autobiography has the no nonsense title of Robert Hallowell Richards: His Mark (Boston: Little, Brown, and Company, 1936) His life is also written up by Robert V. Brice in The Dictionary of American Biography, 186 Supplement 3:630-632 which must be corrected as to his place of burial which is Christ Church in Gardiner, Maine. His carrot red baby curls are in the present collection. Very few items of his are in this collection aside from photographs of his handstands while a student and a few other pieces of juvenilia. Many of the photographs in the present collection from the period especially 1880 through 1900 are from his camera while on vacation in the summer. There are some memorial tributes in the papers of John Richards such as Resolutions adopted by the Alumni Council of the Massachusetts Institute of Technology on April 30, 1945 on the late Robert Hallowell Richards of the Class of 1868 as well as articles, dedications, and other such memorabilia. His first wife is well documented. See "Ellen Henrietta Richards: Pioneer in the Field of Home Economics, 19 Health Bulletin for Teachers (4) (April 1946) : 13-16 from the Metropolitn Life Insurance Company Press; "Ellen Henrietta Swallow Richards ( (1942-1911) " by Marion Talbot in Dictionary of American Biography 15:553-554; Caroline L. Hunt, The Life of Ellen H. Richards (Boston: Whitcomb and Barrows, 1912; reprinted several times) ; Delores Hayden, The Grand Domestic Revolution: A History of Feminist Designs for American Homes, Neighborhoods, and Cities (Massachusetts Institute of Technology, 1981) noting especially chapter 8, "Public Kitchens, Social Settlements, and the Cooperative Ideal, " at pages 152-179; Robert Clark, The Woman Who Invented Ecology (Chicago: Follett Publishing Company, 1973) ; Rossiter, Women Scientists in America; and her papers in the archives of the Masschusetts Institute of Technology, a massive collection filling a room. A Biographical Dictionary of Architects in Maine Born in 1848 in Gardiner, Maine, Henry Richards was raised in comfortable circumstances on land ad- joining the estate of his maternal grandfather, Robert Hallowell Gardiner. Young Henry attended schools in England before returning to America for a degree at Harvard College. 1 After graduation in 1869, Richards went to work as a draftsman for the prestigious Boston architectural firm of Ware & Van Brunt. William Robert Ware, who taught courses at the Massachusetts Institute of Technology, provided Richards with an opportunity to attend classes while working for the firm. 2 In 1871 Henry Richards mar- ried Laura Howe, daughter of Julia Ward Howe and Samuel Gridley Howe. This ensured the aspiring architect a link with Boston's social elite. The couple honeymooned in Europe where Henry sketched historic buildings. Returning to Boston he briefly took a position as head draftsman in the new firm of Henry Richards Peabody & Stearns before establishing his own prac- 1848-1949 tice in 1873. 3 Henry Richards worked as an architect in Boston for only three years. Except for a few houses mention- ed in his autobiography, his only known work from Although a practicing architect for only three of his this period are the drawings which appeared in the 100 years, Henry Richards designed several important Architectural Sketch Book, an important early jour- buildings in Maine. An occasional architect between nal published by the Architectural Sketch Club of 1877-1917 while residing in his native Gardiner, Boston. Richards also served as co-editor of this Richards' work bore testimony to his superior publication (with Francis Chandler) which featured capabilities. the work of the leading architects of the day. 4 10000 Figure 1. House for C.H. Dorr, Bar Harbor, 1877-78, South Elevation (Courtesy Lewis Gerrish, Jr.) 00000 0000 100 Figure 2. House for C.H. Dorr, North Elevation (Courtesy Lewis Gerrish, Jr.) The economic depression which began in 1873 and Anne style with American Colonial Revival, Old reached its nadir in 1876 brought an end to Richards' Farm is representative of transitional influences of Boston career. Returning to Gardiner on the urging of architectural theory which were soon to be fully his brother Frank, he became a partner of the developed as the Shingle Style. Richards Paper Company in January, 1876. Although no longer a practicing architect, all of his known The exterior exhibited Queen Anne style charac- work in Maine dates from his years as a resident of teristics both in its picturesque asymmetry and in its Gardiner. 5 combination of a stone first story with shingled upper In 1877 Charles H. Dorr of Boston hired Richards stories. Although not evident on the surviving work- to design a summer home at Bar Harbor. Known as ing drawings (Figures 1 and 2), the gable ends were "Old Farm," the Dorr Estate was an outstanding early also fully shingled (Figure 3). This absence of Tudor example of "cottage" architecture on Mount Desert half-timbering suggests a clear rejection of prototypes Island. In combining elements of the English Queen popularized by the English architect Richard Norman Shaw. The restrained classical details and small paned lights, therefore, probably owe more to American Colonial influences. This is further borne out by the interior woodwork, which consists of panelled walls and coffered ceilings. Equally as important are the plans which employ large open halls on the two main floors. On the first floor this early example of a "living hall" serves as the nucleus for a free flowing rectangular plan with direct access to all of the major rooms (Figure 4). This ar- rangement is repeated on the second floor where the hall includes a balcony overlooking the staircase (Figure 5). 8 Henry Richards' appreciation of early American architecture is also evident in his own residence in Gardiner. Constructed in circa 1814-1816, this Federal style house was first remodelled by the archi- tect in 1879. Alterations to the main portion of the house included a new roof with an unobtrusive dormer and a cornice with modillion blocks that pre- served the original lines of the building (Figure 6). At the same time the exterior was painted yellow, an un- Figure 3. House for C.H. Dorr, Detail of South Elevation, C. common choice at a time when darker color schemes 1910 (Courtesy the Bar Harbor Historical Society). were then in fashion.9 Reed 2 0000 1000 Figure 2. House for C.H. Dorr, North Elevation (Courtesy Lewis Gerrish, Jr.) The economic depression which began in 1873 and Anne style with American Colonial Revival, Old reached its nadir in 1876 brought an end to Richards' Farm is representative of transitional influences of Boston career. Returning to Gardiner on the urging of architectural theory which were soon to be fully his brother Frank, he became a partner of the developed as the Shingle Style. Richards Paper Company in January, 1876. Although no longer a practicing architect, all of his known The exterior exhibited Queen Anne style charac- work in Maine dates from his years as a resident of teristics both in its picturesque asymmetry and in its Gardiner.5 combination of a stone first story with shingled upper In 1877 Charles H. Dorr of Boston hired Richards stories. Although not evident on the surviving work- to design a summer home at Bar Harbor 6 Known as ing drawings (Figures 1 and 2), the gable ends were "Old Farm," the Dorr Estate was an outstanding early also fully shingled (Figure 3). This absence of Tudor example of "cottage" architecture on Mount Desert half-timbering suggests a clear rejection of prototypes Island. In combining elements of the English Queen popularized by the English architect Richard Norman Shaw. The restrained classical details and small paned lights, therefore, probably owe more to American Colonial influences. This is further borne out by the interior woodwork, which consists of panelled walls and coffered ceilings. Equally as important are the plans which employ large open halls on the two main floors. On the first floor this early example of a "living hall" serves as the nucleus for a free flowing rectangular plan with direct access to all of the major rooms (Figure 4). This ar- rangement is repeated on the second floor where the hall includes a balcony overlooking the staircase (Figure 5).8 Henry Richards' appreciation of early American architecture is also evident in his own residence in Gardiner. Constructed in circa 1814-1816, this Federal style house was first remodelled by the archi- tect in 1879. Alterations to the main portion of the house included a new roof with an unobtrusive dormer and a cornice with modillion blocks that pre- served the original lines of the building (Figure 6). At the same time the exterior was painted yellow, an un- Figure 3. House for C.H. Dorr, Detail of South Elevation, C. common choice at a time when darker color schemes 1910 (Courtesy the Bar Harbor Historical Society). were then in fashion.' Roed 3 Covered CHAMBER Figure 4. House for C.H. Dorr, First Floor Plan (Courtesy Acadia Figure 5. House for C.H. Dorr, Second Floor Plan (Courtesy National Park). Acadia National Park). As a resident of Gardiner, Richards devoted most An avocation which kept the Henry Richards busy of his time in helping to manage the family business, for the next thirty years was the Merryweather Camp which included the design of factory buildings. 10 on Belgrade Great Pond, the first boys' camp in Through a strong sense of civic duty, however, he Maine and the second in the United States. Begun in found an outlet for his architectural talents. In 1881 1900 and managed by Richards and his wife, this he contributed his services to designing the local small enclave consisted of a lodge and cabins designed library. This building, only the second public library in a rustic mode by the architect. For both Laura and in Maine, is distinctive for its English-inspired Henry, Merryweather Camp was a source of great Jacobethian exterior (Figure 7). Although never very personal satisfaction until its official demise in the popular for domestic or commercial uses, this style 1930s. 11 did find favor as a vehicle for public buildings. Weld The last major architectural design by Henry Hall for Harvard College (Ware & Van Brunt, Richards was the house of William Amory Gardner at 1871-72) is a notable example on a much grander Beverly, Massachusetts. Built in 1915-1917, this large scale. The plan for the Gardiner Library is a simple stone Tudor style structure clearly derived inspiration rectangle with an exterior stairhall. The use of multi- from "Oaklands" (1835-36, Richard Upjohn, archi- ple dormers and triple-hung sash meet the require- tect), the house of Robert Hallowell Gardiner which ments of a well-lighted public space. Richards knew intimately in his youth. As such it is a By 1900 the Richards Paper Company had suc- fitting swan song in a career that was abandoned for cumbed to competition from larger out-of-state firms. his family and his native city, 12 Roger G. Reed October, 1984 Figure 6. House of Laura and Henry Richards, Gardiner, C. 1980 Figure 7. Public Library, Gardiner, C. 1910 (Postcard view view (Photo MHPC). MHPC). NOTES LIST OF KNOWN COMMISSIONS IN MAINE 1 Lewis C. Zalmer, Henry Richards, 1848-1949, privately BY HENRY RICHARDS printed booklet, n.d., pp. 11-14. Henry Richards, Nine- "Schooner Head", Cottage for George Hale, Bar Harbor, ty Years On, Gardiner, 1940, p. 262. Richards" father 1876, Destroyed was English-born and owned a paper mill in Gardiner. "Old Farm" Cottage for Charles H. Dorr, Bar Harbor, 2 Richards, op. cit., p. 267. Ware had founded the first ar- Designed 1877-78, Built 1879, Destroyed chitectural school at an American university in 1868. Chimney Stack and Boiler House, Richards Paper 3 Ibid, pp. 296-97. Company, Gardiner, 1879, Destroyed 4 Ibid, pp. 316. Richards mentions the design of a brick Oak Mantel, Frank Richards House, Gardiner, 1879, schoolhouse on Dorchester Street in Boston and a Destroyed "house for General Paine's sisters" at Beverly Farms on Additions to "Yellow House" for Henry and Laura the north shore. His Episcopal Church design, published Richards, 3 Dennis Street, Gardiner, 1879/1904, Extant in the August, 1876 issue of The Architectural Sketch Gardiner Public Library, Main Street, Gardiner, 1881, Book, was built in South Boston. In his autobiography Extant Richards states that he would not have given up his Central Street Grammar School, Central Street, Gardiner, practice if he had obtained any one of three commis- 1886, Altered sions he competed for: the Chicago, Illinois Courthouse Gardiner Hospital, Gardiner, 1880s, Destroyed or Not and City Hall, the State Prison at Concord, Massachu- Executed setts, and the High School for Providence, Rhode Sulphite Pulp Mill, Richards Paper Company, South Island. Gardiner, 1894, Destroyed 5 Richards, op. cit., pp. 317-318. Addition to Gardiner Public Library, Gardiner, C. 1900, Not Executed Ibid, pp. 344. No good views have come to light of the Merryweather Camp, Belgrade Great Pond, 1900-01, George Hale cottage built at Bar Harbor the year before. Extant. 7 William Ralph Emerson designed "Redwood", probably the first Shingle Style house, in Bar Harbor, in 1879. 8 ARCHITECTURAL DRAWINGS The house was torn down in 1951. Dorr originally engaged New York architect A.F. Oakey to prepare The Gardiner Public Library has blueprints of the pro- plans for his cottage. Oakey's plans and perspective posed additions to that building. Lewis Gerrish, Jr., Bar views were published in the American Architect and Harbor, Maine, owns the four elevation drawings of Old Building News on January 20, 1877. Vincent Scully, in Farm. Mr. Gerrish also has floor plans which show altera- his seminal study The Shingle Style (New Haven, 1955), tions to this house by Fred Savage, a local architect Blue- was unaware of the Richards design and assumed prints of these floor plans are located at the Bar Harbor Oakey's had been executed. The latter's exterior is wild- Historical Society. ly picturesque and owes much more to the English 207-288 (Hull's Cove) Queen Anne than does Richards' scheme. Scully praises SOURCES Oakey's plan for its freedom and open character (Scul- ly, pp. 54-55). The Henry Richards arrangement is In addition to those mentioned, Mrs. Laura Wiggins, the clearly superior in this respect. daughter of Henry Richards, was helpful to my research. A third story was also added to the ell. Richards, op. cit., p. 326. In 1904 the south porch was added. Other alterations, such as the changes to the carriage house, Vol. I, Number 7, 1984 may have occurred at this time. 10 Richards, op. cit., pp. 399-400; Gardiner Home Journal, Published by the May 28, 1879. Maine Historic Preservation Commission 11 Richards, op. cit., pp. 454-55. Laura Richards was famous as the author of numerous childrers books. 55 Capitol Street Augusta, Maine 04333 12 Richards, op. cit., p. 449. This house is now part of En- dicott Junior College. Other designs by Richards outside E. G. Shettleworth, Jr., Editor of Maine include an Episcopal Church in Andover in the 1880s, three faculty houses for Groton School in the 1900s, the Toby Club on Toby Island, and a "house for Winsor at Cataumet, Cape Cod", Richards' op. cit., pp. 449. Reed 4 NOTES LIST OF KNOWN COMMISSIONS IN MAINE 1 Lewis C. Zalmer, Henry Richards, 1848-1949, privately BY HENRY RICHARDS printed booklet, n.d., pp. 11-14. Henry Richards, Nine- "Schooner Head", Cottage for George Hale, Bar Harbor, ty Years On, Gardiner, 1940, p. 262. Richards' father 1876, Destroyed was English-born and owned a paper mill in Gardiner. "Old Farm", Cottage for Charles H. Dorr, Bar Harbor, 2 Richards, op. cit., p. 267. Ware had founded the first ar- Designed 1877-78, Built 1879, Destroyed chitectural school at an American university in 1868. Chimney Stack and Boiler House, Richards Paper 3 Ibid, pp. 296-97. Company, Gardiner, 1879, Destroyed 4 Ibid, pp. 316. Richards mentions the design of a brick Oak Mantel, Frank Richards House, Gardiner, 1879, schoolhouse on Dorchester Street in Boston and a Destroyed "house for General Paine's sisters" at Beverly Farms on Additions to "Yellow House" for Henry and Laura the north shore. His Episcopal Church design, published Richards, 3 Dennis Street, Gardiner, 1879/1904, Extant in the August, 1876 issue of The Architectural Sketch Gardiner Public Library, Main Street, Gardiner, 1881, Book, was built in South Boston. In his autobiography Extant Richards states that he would not have given up his Central Street Grammar School, Central Street, Gardiner, practice if he had obtained any one of three commis- 1886, Altered. sions he competed for: the Chicago, Illinois Courthouse Gardiner Hospital, Gardiner, 1880s, Destroyed or Not and City Hall, the State Prison at Concord, Massachu- Executed setts, and the High School for Providence, Rhode Sulphite Pulp Mill, Richards Paper Company, South Island. Gardiner, 1894, Destroyed Richards, op. cit., pp. 317-318. Addition to Gardiner Public Library, Gardiner, C. 1900, Not Executed Ibid, pp. 344. No good views have come to light of the Merryweather Camp, Belgrade Great Pond, 1900-01, George Hale cottage built at Bar Harbor the year before. Extant. 7 William Ralph Emerson designed "Redwood", probably the first Shingle Style house, in Bar Harbor, in 1879. 8 ARCHITECTURAL DRAWINGS The house was torn down in 1951. Dorr originally engaged New York architect A.F. Oakey to prepare The Gardiner Public Library has blueprints of the pro- plans for his cottage. Oakey's plans and perspective posed additions to that building. Lewis Gerrish, Jr., Bar views were published in the American Architect and Harbor, Maine, owns the four elevation drawings of Old Building News on January 20, 1877. Vincent Scully, in Farm.Mr. Gerrish also has floor plans which show altera- his seminal study The Shingle Style (New Haven, 1955), tions to this house by Fred Savage, a local architect. Blue- was unaware of the Richards design and assumed prints of these floor plans are located at the Bar Harbor Oakey's had been executed. The latter's exterior is wild- Historical Society. ly picturesque and owes much more to the English 207-77 (Hull Gur) Queen Anne than does Richards' scheme. Scully praises SOURCES Oakey's plan for its freedom and open character (Scul- ly, pp. 54-55). The Henry Richards arrangement is In addition to those mentioned, Mrs. Laura Wiggins, the clearly superior in this respect. daughter of Henry Richards, was helpful to my research. A third story was also added to the ell. Richards, op. cit., p. 326. In 1904 the south porch was added. Other alterations, such as the changes to the carriage house, may have occurred at this time. Vol. I, Number 7, 1984 10 Richards, op. cit., pp. 399-400; Gardiner Home Journal, Published by the May 28, 1879. Maine Historic Preservation Commission 11 Richards, op. cit., pp. 454-55. Laura Richards was famous as the author of numerous childrers books. 55 Capitol Street Augusta, Maine 04333 12 Richards, op. cit., p. 449. This house is now part of En- dicott Junior College. Other designs by Richards outside E. G. Shettleworth, Jr., Editor of Maine include an Episcopal Church in Andover in the 1880s, three faculty houses for Groton School in the 1900s, the Toby Club on Toby Island, and a "house for Winsor at Cataumet, Cape Cod", Richards' op. cit., pp. 449. henry Richards, born July 17, 1848, The COVE, Gardiner, Maine. His father WES Francis Richards, born at North House, Hambledon, hampshire, England, May 13, 1803, died 80 Garainer, April 1, 1858. Came to Maine as agent 01 the Barings of London Founded and operated the Richards Paper company, Gardiner. Active in Town and Church; an amateur landscape painter. His mother was Anne Hallowel] Gardiner, daugater of Robert Hellowell Gardiner. the latter, efter the Revolution, returned to the grant OF land, of the Plymouth Company, first teken up by his grandfather, Dr. Silvester Gardiner, and developed what is now the City of Gardiner, Maine. Education: Private tutors; the Little Red School House; BIG temple School, Brighton, England; Vellington College, Hamtshire, England; DI. humphrey's School, Boston, Mass. ; Dixwell's School, Boston; Harvard College, A. B. 1869; Massachuse its Institute of Technology, post-gruduate courses, 1869-71. Career: Architecture in Boston, Mass., and later in Garlinsr, Maine; together with the managership of tne Richards Paper Company, in the letter city, 1878-1900. in 1900, with Mrs. Richards, he founded Camp Merryweather, at North Belgrade, Baine (rine of the earliest Boys' Sunner Camps in the country), carrying it on till 1933, continuing his architectural work in the winters. Paper Manuracturer. name in 1376 into the Pickards Paper Company, in Gardiner, Hains, founded and owned by als father, later owned by his elder brother. Manager of the company, 1885 till its pur- chase by the International Paper Company in 1910. Puilt and estab- lished for his company the tirst Sulphite Pulp Mill in Haire. Architect. Practised architecture in Boston, in 0.16 office of Ware and Van Brunt, and also. independently, 1872-1876; carried on architectural work, along with paper-waking an directorship of his Boys' Camp, throughout acsive life. Principal buildings: house for the Misses Paine, Beverly, Mass. (for i. H. Dorr for G. 11. Halo, Bar Harbor, Maine; three masters' mouses at Graton School, Groton, Mass. Monument of 19th Maine Infentry, Gottysburg; Public Library, and Grammar School, Gardiner, Maine; house for Willian Amory Gardiner', now College Hall of Endicott Tunio: College, Prides Crossing, Mass. Founder and Director of Camp Merryweather, a Summer Camp for Boys, at North Belgrade, Maine, 1900-1933. Writings: "Ninety Years on", autobiography, written and privable printed, 1940. "The League of Nations" ( panpillet) ; "The First Slow Send Filter in Caine" (pampulet); bingraphics of Henry Marion Howc, and 01 Levergot Bradley pamphlets). 2. Public positions neld: Member of School Board, Gardiner, ME. Chairman, Gardiner Water District, City OI Gardiner, President, Maine Public Health Association, 1924-1939 President, Gardiner Public Health Association, 1931-1945 1st Vice- - President, Gardiner General Hospital, 1918-30; president, 1936-39. Religious affiliation: Vestryman for many years or Christ Church (Episcopal), Gardiner, Me. Chief interests: public service, health and education, international afTeirs. Tastes and hobbies: water-color painting, botany, aquariums. Recreations: crew rowing in college, canosing, figure skating, tennis, golf, long walks. Married, June 17, 1871, in Boston, Mass., Laura Elizabeth Howe, of Boston, third daughter of Samuel Gridley HOWE, philanthropist and educator of the Blind, Deaf and Feeble-minded; and ,Tulia Ward howe. Children: Alice Maud Richards, teacher, deceased; Rosalind Richards, unmarried, Gardiner, Maine; Henry HOWE Richards, teacher, Groton School, Groton, Mass. ; Mrs. Carleton Anderson Slaw ( (Julia yard 7 Richards), Groton, Mass. ; Maud Richards, died in early childhood; John Richards, teacher, St. Paul's School, Concord, N.E.; Mrs. Charles Wiggins 2nd Laura Elizabeth Richards), Dedham, Mass. Mr. Richards died on January 26, 1949, at Gardiner, Maine. Henry Richards, Architect. 4 Pemberton Square, a house, Boston, July 28 1875 a Shauty, a directle fat mouse I wife fours a cottage a Country Seat, a jit ! a residence a jubby an edifier, a jolbykin! a joblet ! a shebang, at any rate a jobble a jobblekin! a House, but stice a JOB! for mir. G.S. Hau one, possibly two mis . . all the little " not importally form, nephews, supposibly five, nices but still Cousins brothers, One, Sisters, friend, , Henry Richards, Architect. with occasional areas of heat 4 Pemberton Square, especially in the former Boston, July 27 1875 When I passer the house yesterday I wiggled my in what I thought was a speightly manner Behold ! a letter from your but could only get the must melan. but! Choly of flaps n answer- - nota Sensations last might M be milankolitary or I Shall be obligid to say NOUSE!! and (sea-) Consequent then where would you be I am very busy fruitsing up that air block of houses as the back bay. the block of 10 I mean- and have got to lay out the peans of the hotec, ta at the South End; the details of if the Chicago Chunch are nearly done Time cut and then I hope to get Tuni to un over and put a Stamp on 2.a.m Bunker Hill menoment before dreams I come down Iby you well Thumonutus at suniss 80 Consider during my visit, the probabilities for New England and value of my true - I have to the middle States Ivanu followed keep account fall my Time which by wanner weather Hirus Chemmer is now work #1.00 a mum a So visit must the nece sailly short 6 weeks as then rate being as much as you can consulturesly afford think of the children You See that I don't believe in the thing of the correspondent of the advuties, but confide all my business affair to you. for my twice of cnure. "Finance Haddie as is Findon Haddock - I saw it in the paper. Been you duan heart my poor little mousie try not to be Everyty parety and be well a mally - Whack all the tabis Spank all the babies Bang all the Gabin From their loving Papa I am not drunk nor cracked but you now Fac took hying to make believe I don't muss you. P.S. Ids. At Kernut Deen 8, Therefore cherrup my mouse Henz Ruchards Bar Harbonin and new say die while the to humpert mountain, is a plank left of the old Jack Richards (Nouse) Schoon Head, Sing "Big dog running after or elsewhere him and three they bring minor Going Tuesday Str. Levision This involves extra labour and I State not be able at to des p.m. train from Gardiner betw than Ipenuised and expenses paid come Saturday may get houses from munday was a day to take Mr. Charles How off you mean and sit in His friends your bones. but yesterday it was wifes necessary to take out the Beigham Tenny manow to state a draught GratyBenon through - Today it is physing Ben Butter nomish - tring? (muggy) and others Bless you de fat heart; I am afraid from your portrait Annially may not than you have have Sadly changed Focuse the plagianism of this Thou that wast cast so fair, how pumpkin like is they postrait! it is to hot to be can originally tool Dear little Psyche, goodbye. not however Jackass our Jackness C. 2 UNITED STATES DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE Acadia National Park Bar Harbor, Maine, May 1, 1939. Mr. Arno B. Cammerer, Director, National Park Service, Washington, D. C. Dear Mr. Cammerer: I have given Mr. Hadley a brief statement to enclose you in regard to Oldfarm, along with what he has written in answer to your request for figures from the Town Assessors' book and has just mailed you. I now write a further word concerning this and on some memories the question has brought up. In 1878 we returned from Europe - my father, mother and I - after a stay abroad unexpectedly prolonged by my older brother's death in New York two years before in the summer of 1876, while studying law in the office of an ol- der friend, Mr. Louis L. Delafield, one of the leading law- yers of the country at that time. We had planned returning home ourselves the fall of that year and building a permanent summer home at Oldfarm on a site my father had already purchased a half dozen years before. My mother was at work over plans for this, studying some of the old English country houses, when a cable reached us, telling of my brother's sudden illness, followed immediately after by another informing us of his death. Bar Harbor, when we returned in the fall of 1878, was just recovering from the effects of a typhoid epidemic two years before, brought on by the rapid growth of the place as a resort and lack of realization by its citizens of the need or corresponding sanitary measures. It had learned its lesson, however, and steps were in progress to correct UNITED STATES DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE 2. Director 5/1/39 the evil, but the effect on summer life, when we returned, and commenced to build, still lingered; no land was being sold, no houses built. Ours at Oldfarmwas the first house to be built for summer residence, spaciously and comfortably, on Mount Desert Island and the regutation of 1 t as the work went on gave confidence to others, starting what was known afterwards and long referred to as the &Bar Harbor boom. I The price of lands along the shore went up a hundred per cent within six weeks that summer and building continued ac- tively thereafter for years to come. The Oldfarm house was built for the first storey up of granite of a warm reddish have from the nearby Gorge and above that was covered with shingles hewn out of Cali- fornia Redwood, their tone blending well with the granite and still remaining, after all the years, untouched by decay. We had for architect Henry Richards, one of the old Gardiner family of Gardiner, Maine, who had married the daughter of my mother's early friend, Julia Ward Howe. Henny Richards was then a recent graduate from the archi- tectural school of the Massachusetts Institute of Technology and worked in well with my mother in the plans which she had made, producing a house that has ever remained for me one of the most attractive, home -like and best-fitted to its setting built on our eastern coast. The soale of wages at that time was low, one dollar to a dollar and a quarter a ten hour day for ordinary labor; two and a half to three dollars for skilled. The work was done by the day and was sound throughout and good. My father and mother were building for the future and spent liberally upon the work. When all was done, my father told me one day that the house and the work done upon the grounds connected with it had cost seventy thousand dollars, an amount far greater than it would seem t oday. , UNITED STATES DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE 3. Director 5/1/39 But the work has long since justified its cost in its enduring quality and the fitness and pleasantness of the home constructed. Yours sincerely, [G B. DORR GBD-0 National Park Service onal Park U.S. Department of the Interior ompass Harbor Trail Protect the Park This is a federally protected historic site. Please leave natural and historic features mile (0.6-km) Compass Harbor Trail runs adjacent to the foundations of Old Farm, where you find them. ly residence of George B. Dorr, known as the father of Acadia National Park. Bicycles are not allowed on Compass Harbor Trail. man scholar and lover of nature, Dorr lived here at Compass Harbor most of his Keep pets leashed at all times. e and devoted his endeavors and inheritance to the establishment, maintenance, ansion of Acadia. Besides donating his Sieur de Monts and Old Farm properties ark, he worked closely with summer and year-round residents to bestow tracts, e lands, and seek federal protection to create the Acadia you enjoy today. From this fair house behold on either side Follow Compass Harbor Trail and look for evidence along the way of the The restful mountains or the restless sea former home and grounds. You will find stone steps leading from the ocean to Oliver Wendell Holmes Sr., from his poem "La Maison D'O1 the foundations, remains of gardens about Old Farm, 1891 and apple trees, and remnants of a saltwater pool. Compass Harbor Trail You Are Here Former Old Farm Estate Compass Harbor Trail George B. Dorr's affluent Bostonian parents, Charles and Mary Dorr, had this 30-room summer "cottage" built here in 1876-78. The mansion deteriorated after George's death in 1944 at the age of 90, and the house was razed in 1951. served as the park's first endent from 1916 to 1944. 36 X 24 INCHES 40% OF ACTUAL SIZE OCTOBER 2014 ACADIA Wayside Exhibit 316 5/30/2015 XFINITY Connect XFINITY Connect eppster2@comcast.net + Font Size Re: Mr. Dorr & the NPS From : Ronald Epp Sat, May 30, 2015 03:44 PM Subject : Re: Mr. Dorr & the NPS To : Marie Yarborough Dear Marie, Thank you for the opportunity to enter into editorial revision of the "Compass Harbor Trail" exhibit. There are three errors, one stylistic and the other two factual: 1. "From this fair house... 11 quotation is from OWHolmes poem "La Maison d'Or." Do not capitalize the "d". Also, after the first stanza of the poem ...or the restless sea) add an ellipsis, a series of three dots to indicate that the poem continues. For example: or the restless sea.. 2. "From this fair house.." Actually, it should read: "From this fair home " House and home are not synonymous. 3. Under the photo of the Old Farm cottage, the dates should be 1878-80. Finally, I suggest that you add under the Oldfarm photo after the first sentence: "Gardiner, Maine architect Henry Richards designed the residence that combined elements of the English Queen Anne style with American Colonial Revival." Thanks. Ron From: "Marie Yarborough" To: "Ronald Epp" Cc: "Rebecca Cole-Will" Sent: Wednesday, May 27, 2015 1:48:50 PM Subject: Re: Mr. Dorr & the NPS Hi Ron, Please find attached a copy of the wayside at Compass Harbor. Send back edits to errors in the text as you see fit--keep in mind we are only allowed so many words. I'll work on getting a replacement. Maureen dropped off the VHS today to me and our museum tech Kate will be working to transfer it to DVD--we will make a copy for you and a copy of our files. I will contact HFC to see if they have any info~ Best, Marie On Wed, May 27, 2015 at 10:59 AM, Ronald Epp wrote: Hi, Thank you for sparing the time last week so that we could talk. Becky, I spent about 15 hours in the Chapman archive uncovering documents relative to those final chapters of the Dorr manuscript that have not been finalized. What a "hidden treasure." This time I worked my way through four feet of Dorr documents--not duplicated at ANP or the National Archives--in the first of Deasy and Lynam twelve boxes of J.D.R. Jr. files. I completed https://web.mail.comcast.net/zimbra/h/printmessage?id=294559&tz=America/New_York&xim=1 1/2 5/30/2015 XFINITY Connect the process before this box is transported this Friday to the Maine State Library for scanning. Returning from the Tarn, I paid homage to the Dorr Memorial. After there plans to clean the badly pitted plaque before the centennial events? But I noticed another error in the wayside exhibit beside the memorial. It erroneously affirms that Dorr became park superintendent in 1929. Incorrect. In 1916 his official title was park custodian, elevated in 1919 to park superintendent when Lafayette National Park was established. Please feel free to consult me on historical matters before wayside exhibits are finalized. Lastly, you offered to check with your resources at Harpers Ferry since they have been unresponsive to me. I'm interested in any information they possess on a VHS tape that they copied for me a decade ago. It is titled "Albright & Dorr at Mather Plaque Dedication, Acadia NP, 1932." It is from the Horace M. Albright family moving picture collection (HMA 4) Copy of VHS@HFC 4-03. I'd appreciate any information on Acadia N.P. and its superintendent that HFC has processed since 2004 that might be useful to me, and I also think that you should request a copy of this for Sawtelle. Thanks! Ron Ronald H. Epp, Ph.D. 532 Sassafras Dr. Lebanon, PA 17042 717-272-0801 eppster2@comcast.net Marie C. Yarborough Curator/Cultural Resources & Interpretation Liasion www.nps.gov/acad www.facebook.com/AcadiaNPS https://twitter.com/AcadiaNPS Acadia National Park 20 McFarland Hill Rd or POB 177 Bar Harbor, ME 04609 207.288.8729 (ph) 207.288.8813 (f) In the office Tues, Wed, Thurs 2 16 NATIONAL NationalPark Service. CENTENNIAL https://web.mail.comcast.net/zimbra/h/printmessage?id=294559&tz=America/New_York&xima 2/2 314 Ninety Years On South Boston 315 pleasant contrast to the Crystal Palace. I reached it by walking The house I built at Schooner Head, Mt. Desert, for Mr. through Webster Avenue, a brick-paved foot-way leading out George Hale (father of Richard Walden Hale and grand- of North Street between high, blank brick walls of modern father of Dick), small as it was (and is) was important be- warehouses, and felt as if I were back in the days of Sam cause it brought me other commissions later on; the one Adams, as I stepped into the little, left-over island of the which meant most to me was the big house at Saul's Cliff, M.G. Court, which was brick-paved, too, with a pump in the middle with the cottage on the hill opposite and the farm buildings- W. of it, and seven wooden, story-and-half houses-three on all for Mrs. Charles Dorr, who looked SO like a witch thatDorr each side and one at the end. The houses had two front the cottage was known locally as the Witch House. doors, one for each of the double tenements, reached by Mrs. Dorr was a noted character in Boston, charming when branching steps, making them typical examples of Colonial talking intimately, but masterful, arbitrary, and dictatorial in cottage architecture. The tenants were hard-working, self- social relations. She had been engaged to Uncle Henry Ward respecting people, full of talk about their domestic affairs (brother of Grandmother Howe), who died young, and and what they needed to make their lives easier. I gave them seemed to regard me as one of her family practical suggestions, and they were responsive, but I think The work I did for her at Mt. Desert opened doors to I learned more from them than they did from me. many delightful and some very difficult interchanges between My connection with the Cooperative Building Society us. I made a trip with her to Lenox, to plan alterations for brought me much work in competitions which I won, for her house there, and she took me on to Stockbridge for a workmen's cottages, built in the suburbs, and it ramified into week-end with the Sam G. Wards (her brother and his wife). other connections, notably with Mr. Robert Treat Paine, Mr. There I met Matthew Arnold, very British and insular in that Martin Brimmer, with whom I often dined, and the Lees and company, who opened patronizing fire on me by speaking of Cabots. I became a Founder of the Boston Museum of Fine "the strange names you have in America. Why", he said, "I Arts (of which I was Secretary for a while) and Clerk of the passed through a town called Say So (Saco!) on my return by Hospital Life Insurance Company, composed chiefly of State railway from Mt. Desert." Matthew Arnold's manners were Street magnates. These connections brought in many com- chilling, but Mrs. Ward warmed the heart by everything she missions-a High School at Atlantic, a mission church near said or did-and was still, at seventy or so, a most charming the water front, and a number of private houses. The mission and beautiful woman. In younger days, before her marriage, church, sponsored by Robert Paine, called for originality, be- she had often been at Oaklands in the many house-parties held cause if it looked too churchlike, it would repel longshoremen there, and there were persistent rumors in the family that (descendants of Sam Adams' henchmen). It had to be attrac- there had been a romance between her and Uncle Hal, which tive architecturally, to express its purpose, and to furnish a came near being an engagement. She talked to me SO much good auditorium; my design made rather a hit. and SO intimately about him and about these parties, that I was convinced that the rumor was well founded. 344 Ninety Years On Gardiner, 1878-'86 345 personal significance of the word home in language now ing how I could ever get them done in time, when Evander spoken. "Home, sweet Home" means little, nowadays, more Snow asked if he could not help me a bit. He was a carpenter than "House, sweet House"-balloon-framed or modern- by trade, had been working for me, and was quick, able and istically "fabricated." But the meaning persists, even though intelligent, SO I took him on, and found-to my great sur- hung in air, and it became part of the air we breathed in the prise-that he was not only an expert draftsman but thor- Yellow House, as it had been at Green Peace. As I look back oughly up in construction, and a man of remarkable all- now, I seem to feel this aura becoming real, and transform- round ability. ing house to home, with the birth of the five Gardiner-born So the drawing went merrily, and Evander Snow became children. With Julia's birth the convenient domicile of the almost one of the family, making (very secretly) the shaving Yellow House became our home. stand your mother gave me, and doing many kindnesses for An amusing change of feeling came over us when Julia us. He was very ambitious, particularly anxious to get a posi- appeared. We had stood out against family names with Alice tion as draftsman in some manufacturing concern, and I was and Rosalind. Frank had persuaded us that an eldest son lucky enough to find him a place in a brass foundry, near must have his father's personal and his mother's family name, Northampton. There he flourished and from time to time and when we saw our little Julia's beautiful red hair, inherited sent us interesting and pretty brass objects which he had de- straight from her lovely grandmother, her name fixed itself signed. The ash tray on the North Parlor mantelpiece is one almost automatically. So the others followed, each with a of them. name that would bind us all together. After the building of Mrs. Dorr's house had begun, I had Chronological sequence is of course impossible in such to go to Bar Harbor now and again, to superintend the work. random reminiscences as these, and it is equally impossible to On one such trip I took a new boat, on a new line, direct from avoid dropping stitches now and again in weaving the web Bangor, down the Penobscot to Bar Harbor. It was a time of my story, for memory is a tricksy servant, often slow to when summer visitors at Bar Harbor were much given to answer a call when most needed, and sometimes coming canoeing, and a half-breed Indian birch canoe builder in through with a clear flash after a stitch has been dropped Such Lowelltown, Maine, was providing the canoes (it was before a flash now reminds me that Mrs. Dorr's house at Mt. Desert the days of canvas canoes). He was on the boat with a fleet (of which I have already written) was completed in 1879, of birch canoes, which he was planning to let by the hour and that I made the drawings for it in 1877-'78, just after to Bar Harbor boys and girls. Some of his canoes were of we were well settled in the Yellow House and before I had almost perfect model and construction, among them two that found my place in the mill. were almost too good to be true. I looked them all over again I set up my great drawing table in the North Parlor, and and again, talked with the maker about them, and finally- was hard at work over my drawings every evening, wonder- after much haggling-bought the one you all know SO well 346 Ninety Years On Gardiner, 1878-'86 347 for thirty dollars with two paddles thrown in. But there was was, large as life and delightful as ever, telling me that he another canoe in his fleet which I hardly dared look at. She was manager of a copper mine in Sedgwick. When I asked was over thirty feet long, fitted for ten paddles, of perfect him whether he got any copper, he said, "Oh, no, it's noth- model, and made of one piece of birch bark without a patch. ing but copper pyrite, not enough to pay, but they give me The sight of her left an aching void, never quite filled even by a good job." the Quananiche. The snowstorm was SO heavy and blinding that the boat We struck fog on the return trip in this same boat, missed was held overnight in Rockland, and I had a delightful the buoy which marks the turn as we came out of Southwest evening with Joe (the last time I ever saw him). A snappy Harbor, turned about to regain the wharf by following our northwest clear-off in the morning lifted the curtain from own wake, and SO make a new start. We made the buoy all a sea glittering like diamonds, as we went on to Portland, and right on the second try, and all went well until we came to we looked out on the coast line of shore and islands, shining York Narrows. I was in the pilot house and the pilot said white in its snow blanket, in sharp contrast to the black rocks that what bothered him was that the boat was new, and had and overhanging spruce woods-a never-forgotten scene of made no point-to-point speed records to guide him. He almost unearthly beauty. stopped the engine, and there was no sound in the pilot house Joe Revere had been in mines all over the country, jumping but the tick-tick of the clock. Then baa! baa! baa! went a back and forth from mining camps to Assembly balls in Bos- sheep, very near our starboard bow, and the pilot said, "Now ton, took over the management of the Sydney coal mines in I know just where we are jangled the bell for full speed Nova Scotia after the Sedgwick mine failed, married a Nova ahead, and in a couple of turns of the paddlewheels we were Scotia girl and settled in Sydney for the rest of his life. squarely between the red and black buoys marking the Nar- His sister Grace en second noces married Sir William Osler, of rows. Then I asked the pilot, "What do you do in Deer Island Montreal, Baltimore and Oxford, and became a devoted friend thoroughfare in such a fog?" and he answered, "There never of Anna Gardiner Shepley (then Anna Draper), when her ain't no fog there"-and when we reached it, there wasn't. first husband, Roger Draper, was serving in the army during On another return trip from Bar Harbor, very late in the the first World War. spring and on a Portland boat, we struck a heavy snowstorm, The years 1878 to 1886 were the most memorable for us and when we made the wharf at Sedgwick, Maine, at dead of all the sixty-three years we have lived in the Yellow House, low water, all I could see as I looked up and up, almost sky because they marked the birth of Julia, dear little Maud, high, was a cow standing on the end of the wharf. I looked John, and Betty. The year 1878 added much to our joys and at the cow, wondering what and why, and wondered still more cares by the birth of Julia, and was also marked by the wholly when my friend Joe Revere appeared at the gangway and unexpected coming of the Bradleys, who meant much to us came aboard. I was sure he was in Nevada, but there he and to the town. Draft 2005. Betts: Here is some text on Old Farm and Henry Richards, much of it will be used in my biography. Please view it as confidential but if you wish to use any of it as text for the exhibit, please check with me first, especially since I have quoted here other published works for which I have not yet secured permissions. Basically, I thought this could help give you a feel for the place and the players. March 12, 2007 Ron The Dorr Papers state that the Bar Harbor house "planned and looked forward to for so long we started to build at once on our return from Europe in the autumn of 1878, after a stay unexpectedly long." In 1879 work began in earnest, applying some William Morris stylistic features that Mary Dorr favored during her stay in England. The Dorrs select "the broad, flat top of an old sea-cliff, facing north to the Goldsboro Hills across the long reach of Upper Frenchmans [sic] Bay" for their Old Farm cottage. Architect Henry Richards begins working with the Dorr's on Old Farm cottage. Dorr describes Richards as "a recent graduate of the Massachusetts Institute of Technology, who took the keenest interest in his work and followed it closely, consulting constantly with my mother, my father, and myself as the work went on, unhampered by any contract. Whatever changes suggested themselves as the work progressed, adding to the comfort and convenience of the house, were promptly made, for we planned for the future and an enduring home." (Additional description of structure, "Some Thoughts Concerning Acadia National Park, Planning for the Future," ANPA f9). Laura Richard's autobiography refers briefly to this effort of her husband as unlike the typical professional-cli relationship; for to Laura Richards "Mrs. Dorr was an old and intimate friend of my mother's, having been engaged in early life to my mother's brother. She was a kind friend to us both.' Mrs. Richards visits Old Farm (the Guest Book gives a date of 1887) and inspired by a distant lighthouse," the quickly written "Captain January" novella was the outcome, her most frequently purchased work. (Laura Richards, Stepping Westward, 327). The exact date of completion is uncertain, though the fireplace dateplate [1879?) in the newly constructed adjacent informal residence, Storm Beach cottage precedes the completion of Old Farm. Another essay 'Frenchmans Bay') discusses the history of the name and Compass Harbor / Porcupine Islands environment. Dorr discusses his room (The Sea Room) and its view (Dorr Papers "The site..."). Henry Lane Eno's essay "The Birds of Old Farm" characterizes the estate. However, 12.22.1944 NARA Report on Conditions of Storm Beach Cottage claims a date of 1879 and Charles Dorr as the builder. In 1879 Old Farm construction progresses, "built out of granite split out from tumbled boulders in the gorge, weathered and warm-toned." Mary Gray Ward Dorr had been interested when abroad in the work of William Morris and worked with Henry Richards to carry out some of the ideas she got from Morris. The artistic ideas were hers. The Dorrs are housed at the DesIsles House in Eden Village. Another essay ["The Long Field"] refers to summer of 1879 (See also `Tr.May 13' in Dorr Papers B1f14 for interior framing and flooring) "when our Oldfarm house was building and we were boarding at the DesIsles House in the Village." Excellent essay [in 1884 chrono] on natural environment and the Great Meadow. Timeline_George Dorr Page 1 of 2 The memoirs of Henry Richards offer the architect's perspective. Noting other Mount Desert Island contracts, Richards says that "the one which meant most to me was the big house at Saul's Cliff [sic], with the cottage on the hill opposite and the farm buildings-all for Mrs. Charles Dorr, who looked so like a witch that the cottage was known locally as the Witch House. Mrs. Dorr was a noted character in Boston, charming when talking intimately, but masterful, arbitrary, and dictatorial in social relations. She had been engaged to Uncle Henry Ward (brother of Grandmother Howe), who died young, and seemed to regard me as one of her family. " (Ninety Years On, 315) Richards states that the completion date for Mrs. Dorr's house was 1879, the drawings having been completed in 1877-78, "Just after we were all settled in the Yellow House and before I had found my place in the mill." (Ninety Years On, 344) He further recalls that carpenter Evander Snow assisted him with the drawings done in the North Parlor. During the early stages of construction, Richards " took a new boat, on a new line, direct from Bangor, down the Penobscot to Bar Harbor" in order to superintend Oldfarm construction. On this boat trip he met " a half- breed Indian birch canoe builder in Lowelltown, Maine, was providing the canoes. [and] some were of almost perfect construction and finally-after much haggling-bought the one you all know SO well for thirty dollars and two paddles thrown in.' In 2006, the grandson of Henry Richards, generously donated this craft to the Abbe Museum at the urging of Maine State Historian Earl Shettleworth, an exceptional artifact of MDI native American culture. (Ninety Years On, 345-46) Marian Lawrence Peabody provides a local context when describing canoe parades ten years later, held at the Canoe Club on the bay side of Bar Island, removed from the Indian village where the athletic field now services the YMCA facility. (To be Young was Very Heaven, 25). Richards emphasizes that the work he did for Mrs. Dorr "opened doors to many delightful and some very difficult interchanges between us. I made a trip with her to Lenox, to plan alterations for her house there, and she took me on to Stockbridge for a weekend with the Sam G. Wards (her brother and his wife). Since Richards notes that Mrs. Ward was in her seventies at this time, the date for the Lenox visit is likely in the early 1890 S. (315) Timeline_George Dorr Page 2 of 2 .1 Epp, Ronald From: Rebecca Cole-Will curator@abbemuseum.org] Sent: Wednesday, November 02, 2005 11:39 AM To: Epp, Ronald Subject: architect for Old Farm hello Ron, I am in discussions with the grandson of Henry Richards, who in the late 1870s was a young Boston architect. According to his memoir, entitled "Ninety Years On, " he came to Bar Harbor several times in that period to supervise the building of Mrs. Dorr's house. During one trip on the ferry from Bangor down the Penobscot, he met and bought a birchbark canoe from a Penobscot His grandson, Tudor Richards (now 88) may donate that canoe to the Abbe. He has some wonderful photographs of the boat in use at the family's camp for boys on Belgrade Lakes, as well as his family's history. Anyway, I wondered if you had run across anything about this young architect during your research. He notes in his memoir: "The house I built at Schooner Head was [an important commission because it brought me other commissions later on; the one which meant the most to me was the big house at Saul's Cliff, with the cottage on the hill opposite and the farm buildings - all for Mrs. Charles Dorr, who looked so like a witch that the cottage was known locally as the Witch House. Mrs. Dorr was a noted character in Boston, charming when talking intimately, but masterful, arbitrary, and dictatorial in social relaions. She was engaged to Uncle Henry Ward (brother of Grandmother Howe), who died young, and seemed to regard me as one of her family. " (from Ninety Years On by Henry Richards) I don't know the pub. date and can't seem to locate the book anywhere. ) 2 Rebecca Cole-Will Curator 2 Abbe Museum PO Box 286 Bar Harbor, ME 04609 207-288-3519 curator@abbemuseum.org Oble 1 Southern New Hampshire 13 November 2005 University Dear Mr. a Richards: [Tudor] The Curator of the Abbe Museum recently contacted me about discussions she was having with you regarding the possible donation of a canoe that had once belonged to your grandfather, Henry Richards. For several years I have been researching the life of George Bucknam Dorr (1853-1944) whose Old Farm property was in part responsible for the establishment of Acadia National Park. As you know, Henry Richards was the Old Farm architect who completed the project 125 years ago. I have visited Yellow House authority Danny Smith in Gardiner, joined him for a tour of the Yellow House, and examined the Yellow House Papers at the Maine Historical Society trying to get a clearer idea of the relationship between Henry and Laura Richards and the Dorr Family. I have also read Laura Richard's eight-page critique of Mary Gray Ward Dorr in those Papers and pondered how accurate is her characterization of George Dorr's mother. Maine State Historian Earle Shettleworth has been most helpful in directing me to additional sources of information on Henry Richards. It would please me to have the opportunity to discuss related matters with you at your convenience. I could easily meet you at your home or wherever it is convenient. This will not be our first meeting since my wife and I met you and your wife at the Beaver Brook dedication of the Tudor Richard Trail. At that time I unfortunately made no connection of your name with my research on your grandparents. Please contact me at your convenience. Most Cordially, Ronald H. Epp, Ph.D. Director of Shapiro Library Southern New Hampshire University Manchester, NH 03106 603-668-2211 ext. 2164 603-424-6149 (Home) 112 o ld Henniker Rd . Haphinton, NH 03229 Harry A. B. & Gertrude C. Shapiro Library 2500 North River Road | Manchester. NH 03106-1045 | 603.645.9605 | fax: 603.645.9685 | snhu.edu Tudor Richards Phone Interview, December 12, 2005 Tudor Richards (1915?- ) paternal grandparents were Laura and Henry Richards of Gardiner Maine. Tudor's grandfather was the architect who designed and supervised the construction of Old Farm, the Bar Harbor cottage of George Bucknam Dorr. The project began in 1878 (?) and the house was first occupied in 1881. When I asked whether Henry might have had a hand in the landscaping of the grounds and the placement of the outbuildings, Tudor thought this was "quite possible" since Henry "was a landscape architect as well and a good watercolorist." Tudor was unaware of the Mary Gray Ward Dorr essay by Laura Richards and could not offer a judgment about its likely date of composition. Copy sent to him next day along with copy of my article on the building Dr. Abbe's museum in Mr. Dorr's park. In our discussion, Tudor described his grandmother as " cautious," "discreet," an "intelligent person" regarding my queries about what might have led her to compose an eight page essay on Mary Gray Ward Dorr which appears in the "Side Show" files contained in the Yellow House Papers now housed at the Maine Historical Society in Portland. We discussed his grandparents habits, specifically that Laura would likely not have been with Henry while he was at work in Bar Harbor on either the Dorr or earlier Hale home. Their dating of their letters to one another substantiate this impression. See also letters to Tudor Richards, Yellow House file. R. Epp, 12.14.05. Southern New Hampshire University 13 December 2005 Dear Mr. Richards: [Tudor] A Thank you for telephoning me yesterday. I value our discussion of issues regarding your grandfather's Bar Harbor involvements with the Dorr family. I appreciate your offer to review family photos and scrapbooks that might reveal new insights into Henry Richard's work on Old Farm-and also the Hale estate. I did uncover in Louis C. Zahner's Henry Richards 1848-1949 a photo of "H.R. and 'Shot''' from 1885 but I still am most interested in any images or narrative reports of his Mount Desert Island involvements. Enclosed you will find Laura Richard's essay on Mary Gray Ward Dorr. Following your reading of this document, would you give me a call SO that I could record your impressions of both Mrs. Dorr and your grandmother's mindset when composing it? A typescript copy of the article I wrote on the Dorr-Abbe relationship is included for your consideration. Finally, I too would like to meet with you when you have time, especially to learn more about your expectations for the Abbe Museum exhibit. If I can be of assistance, do let me know. Most-Cordially, Ionald Ronald H. Epp, Ph.D. Director of Shapiro Library Southern New Hampshire University Manchester, NH 03106 603-668-2211 ext. 2164 603-424-6149 (Home) Harry A. B. & Gertrude C. Shapiro Library 2500 North River Road | Manchester, NH 03106-1045 | 603.645.9605 | fax: 603.645.9685 | snhu.edu FREEDOM. Democracy! a vision fair to see, A house wherein we dwell contentedly, At ease, quite unaware of raging storms And rising floods all round about the world, Listening to would-1 be leaders who declare That such things do not threaten us at all; If we but bar our door and live apart, All surely will be well, while we sit still And safe at home. Such men would fence us in to live aloof, Secluded from a world so shrunk and small That Singapore is now as near to us As Hellas was to Troy in days of old. No fence can shut us out from foreign raids, No ocean can protect our native shores. There England stands, alone across the sea, The sole protector of the ancient house In which we dwell. England alone, without her ally France, Stands guard against the grim Teutonic hordes Which rage like wolves to conquer and subdue All unprotected states and hold them down, Bound in the shackles of barbaric might, With countless slaves to work their tvrant's will, His will to dominate o' er all the world, Impose his Order and destroy the house We love so well. While England guards this sacred house of ours, Our common home, the outpost of our faith, Against the onslaughts of barbaric foes, We must remember that the upward climb of man to safer heights above such storms Is long and arduous, and that savage blows Which rain upon our roof and shake it sore Will teach us to rebuild a lasting frame Against such foes. One tongue, one faith, one law through long descent, Bind us to England and the Commonwealth. List not, my countrymen, to warning cries Inspired by Hitler - by his henchmen paid, But heed the call of faith and comradeship, And stand together, men and women all, To strengthen Britain and to give her all, All that our faith and care and toil can give, And save the day. Hums Rechard February 25th1941 LEWISTON JOURNAL MAGAZINE SECTION SATURDAY, DECEMBER 11, 1948. Henry E. Richards of Gardiner, One of Maine' C Leading Painters He graduated from Harvard.:- By FAUNCE PENDEXTER 1869 and the Massachusetts Irfsti- Many all individual gifted in one of the several arts goes tute of Technology in 1371. Heire ceived additional training at