Francis Hamabe

The Hamabe estate has a collection of drawings, collages and paintings. A portion of proceeds from the sale of the estate go to the Maine Community Foundation, a vehicle that supports the Maine. Expansion Funds (, whose mission is promoting the arts in rural Maine.

His widow, Phyllis Hamabe, is working on a monograph about Hamabe's work with author Carl Little. Publication is scheduled for 2011.


Vincent Hartgen

Vincent Hartgen was a legendary figure and pioneer in the development of the visual arts in Maine. As an artist, Hartgen exhibited at the Beaux-Arts Institute of Design, the Brooklyn Museum, the Metropolitan Museum of Art, the De Cordova Museum, and the Chase Gallery in New York, among many other venues. His work is in major public and private collections. Perhaps more importantly, in 1946 Hartgen developed the visual arts program at the University of Maine, Orono. Soon after, Hartgen was the director and curator of the University's Art Gallery. Hartgen was a trustee of the Haystack School, the commissioner of Maine State Commission of Arts & Humanities, and the recipient of numerous awards including the University of Maine Alumni Association's Black Bear Award, the University of Maine Distinguished Professor Award, and the Arts and the Humanities Governor's Art Award.


Margaret Straus

I can’t remember when I started painting.  It was always something I enjoyed doing, long before I thought of it as “Art”.  In time, when I realized I had to support myself, I thought that doing something in art would be the most pleasant way. That was when I went to Cooper Union Art School.  I had the idea of becoming a textile designer, but found that working as a colorist for architects paid better.
Painting was an accepted thing to do in my family.  My uncles, Eliot and Fairfield Porter, encouraged me; my mother studied mushrooms and made paintings of them.  However, spending summers on an island in Penobscot bay with its wonderful views that could not be denied was perhaps my strongest influence, and it is still where I do my best work.

Louise Bourne
Works On Paper

A few years ago, Jennifer Mitchell visited my studio.  At that time, I was showing only my oil paintings.  Jen discovered the stacks of watercolors and pastels I make whenever I take a break from oil paint.  I’d never considered showing them.  They are works in their own right, and also provide information for larger oil paintings. My paintings are responses to stunning experiences of color and light.  I work both outdoors and in the studio, from direct observation, memory, drawings, and in response to the painting itself. My fascination lies with color progressions and intricacies, and the juice of life. Nature calls our attention like a magnet; I try to make my paintings have a similar pull, not as description, but as visceral experience.




George Daniell (1911-2002)

George Daniell studied drawing at Yale University and New York's American People's School, and the Art Student's League. He began taking photographs as a teenager in his native Yonkers, N.Y., and. after graduating from college, became a freelance photographer in New York City and Europe. His work appeared in Time and Life magazines, and is represented in the collections of the Museum of Modern Art in New York and the National Gallery in Washington.

Daniell photographed celebrities during his travels about the United States and Europe: A young Sophia Loren in a Rome movie studio, Audrey Hepburn on the set of "War and Peace", Tennessee Williams in Key West, Florida, Georgia O'Keefe on her Ghost Ranch in New Mexico, and W. H. Auden in a doorway on the Italian island of Ischia.

When George Daniell moved to Trenton Maine, in 1960, he spent more time painting than photographing. Daniell excelled in watercolors and his subjects ranged from the gay culture of New York's fire island, where he spent his youth, to Maine coastal life, nudes on beaches and still lives of lobster, fruit and flowers. 

Source: Los Angelas Times, by Times Staff and Wire Reports, September 18, 2002