Archives for category: Cape Ann

motif-number-1This post is part of a continuing series about Cape Ann artists, their studios and work.

When Cape Ann was a budding art colony attracting artists from near and far, the buildings that became art studios were as varied as the artists themselves. Barns, fishing shacks, and storage sheds were pressed into use as studios.

Even the most iconic building in Rockport, Motif #1, was once a studio for a painter. Built as a fish shack in about 1884 (records are a bit fuzzy on the actual date), cod, pollock, hake, mackerel, herring and lobster made their way through its portals on their way to market. For a time, the small gabled second floor was used as an office to pay the fisherman. Unfortunately, large-scale commercial fishing in Rockport began a slow death in the late 1920s. The depression finished it off.

As the fish industry faded and Rockport’s reputation as an art colony grew, Motif #1’s function changed. The fish shack was leased to artist John Buckley in 1931 and then purchased by him in 1933. Buckley had come to Rockport a decade earlier. After being wounded in World War I and being recommended for a Medal of Honor, Buckley attended the Massachusetts Normal School of Art (now known as Massachusetts College of Art and Design) under an early precursor to the GI bill. In his school summer vacation in 1920, he came to Rockport as part of the first classes of summer students to study under Aldro Hibbard. He became a full time resident of Rockport after graduation and marriage. Buckley dove into community affairs in the town, becoming the elected secretary of the Rockport Art Association, performing in fund raisers as an actor for both the March of Dimes and the Rockport Art Association, and opening an artists supply store on Dock Square. Prior to acquiring Motif #1, Buckley did most of his painting and teaching outside. After purchasing the iconic building he made some-oh-so modern improvements like installing a toilet, a kerosene stove, and a window in the dormer to let in the Northern light. From the wharfage fees for the tip of Bradley Wharf (often waived in exchange for fish), Buckley was able to put dinner on his family’s dinner table through the Depression.

Artist John D. Buckley

Artist John D. Buckley

By 1945, Buckley had put Motif #1 up for sale. During the 1930s, he had taken on a position as a middle school art teacher in Natick, Massachusetts and was in Rockport only on weekends. The red fishing shack had become a financial lodestone. In the town meeting of March 6, 1945, the town residents voted to purchase it as a war memorial, the only way the selectman and the town attorney could see their way to purchasing it. A series of convoluted financial snafus involving taxes and the needed state legislature approval for purchasing delayed the purchase for almost a year. The sentiment at town meeting was that the building should be used for fishing purposes. Three lobstermen then leased the shack from the town. The townspeople had their way.

The story of Motif #1 reflects the history of Rockport as both a fishing village and a mecca for artists. For only 14 years during the height of the art colony era, the shack which has been painted in countless styles, was used as an artist’s studio. Since then, it it has been used on and off for activities related to fishing, or as it is currently being used, for the gathering of friends of Captain Billy Lee, the current lessee, to talk about fishing.

Art class, circa 1961, postcard courtesy of the  blog

Art class, circa 1961, postcard courtesy of the blog

For more on the history of Motif #1, check out L.M. Vincent’s In Search of Motif No. 1.  also has a great assortment of photographs and stories about Rockport’s past. 


IMG_7817 final nightYears ago, my interest in homes led to getting a real estate license. I ended up not using it much. But in recent months, to my surprise, I have found myself hip deep in the real estate business as a stager.

Staging houses for sale is a recent phenomenon. In years past, a house was put on the market and it was left to the imagination of the buyer to see its potential. I recall hearing my mother, who was a real estate agent in the 1960s, say to a client, “now . . .  you have to imagine all of your own beautiful pieces in these rooms.” Sellers are no longer simply hoping that potential buyers make that leap of imagination. Staging gives buyers visual references to allow them to see what their lives might be like if they lived in the house. Staged houses sell quicker.Roch7376

William Rochford, a real estate agent at Sotheby’s By The Sea on Cape Ann, Massachusetts, asked me to stage a circa 1866 large proud Victorian complete with swimming pool, tennis court, guest cottage and six car garage. I gulped quickly and said, “Oh, that sounds like fun.” Having staged a few of his listings in the past that sold quickly thereafter, I thought I knew what was in store when I agreed.Roch7392

In the 1980s, I lived around the corner from this same Victorian and had always admired it. The house has a courtly visage from the street. As it sits up on a hill, the view from the street makes the home appear even larger. Once inside, the rooms are tall and elegant. The pool, tennis court and accessory buildings open up to the rear of the property, lending the feeling you are on an estate. All of this is within easy walking distance from town, a beach and commuter rail station. Wandering about the landscaped grounds, it is easy to imagine pool parties and tennis matches straight from the society pages of newspapers.IMG_8513 crop

The current owners have purchased another home in town and had moved most of their furniture out. Large, mostly empty rooms awaited me as I began the assessment of what was needed to stage the house for sale. We drew upon a combination of rental furniture, pieces from my own inventory, items from the owners, and antiques borrowed from a shop in Essex, Massachusetts. Roch7451 fireLuckily, some very handsome oriental carpets were still in the house and I used those as a foundation on which to build the rooms around. As the house is so large, we decided to stage only the main rooms. The family room, formal parlor, dining room, sitting room, office, kitchen, morning room and master bedroom and bath were given the royal treatment.

Years ago, what drew me to real estate was not making the deal, it was the homes themselves. Turns out, what I really wanted to do was make them look better. Fortunately, the staging concept in the real estate industry has caught up to my desire.

All photographs are by Michael Rixon, professional photographer. Click on any photo to enlarge.

IMG_7787 cropRoch7425 libraryIMG_7769 ocean view

leslie's dinner party guests 6Where better to have a birthday dinner with all women than in a house that was built one hundred and two years ago by a woman? Ellen Day Hale designed Howlets as an artist studio for herself in 1911. Hale was no hack artist. Her paintings are still hung today in the Boston Museum of Fine Arts. The house was passed onto her niece Nancy Hale, who wrote articles for The New York Times and many novels in the room.

Heather Atwood, food writer and current owner of Howlets, decided to host a milestone birthday dinner for her friend Leslie, having Leslie’s female friends from all over the country to dinner. Many hands went into making the evening a hit. Leslie came up with the guest list of seventeen friends from near and far, Heather and Sofia created the menu and did the lion’s share of the cooking, and I got the large studio’s dining table ready for the celebration.

leslie's party photos good light 7In keeping with the low key color palette of Howlets (better to let the stones speak), the table’s linens and napkins were a linen tea stained color and the flowers were all white. Luckily, no trip to the florist was needed — all of the flowers came from our garden. Phlox, Rose of Sharon, potato vine and three types of hydrangea were marshaled into place.

Heather placed the napkins in an embroidery hoop and traced the initial letter of the guest on the napkin. A needle and thread were left with each napkin. These served as place cards for Leslie’s friends. No idle hands were noted after dinner as all of the women took up the hoop and embroidered their initial on the napkins.

leslie's party photos embroidery copyI suspect that Ellen Day Hale would have enjoyed the collection of women talking, laughing, creating and celebrating. The studio’s history of strong and talented women is still very much alive in its second century.leslie's dinner party photo 5

Dreams can be so perplexing sometimes. You wake up and think where on earth did that come from? The meaning of a recent dream I had was crystal clear and most pleasurable. It all stemmed from an old tree.

There is a gnarled and wizened apple tree at Howlets, a hundred year old stone house, of which I have the pleasure of acting as project manager. Howlets sits on an exposed-to-the-sea piece of land with rock ledge and a thin layer of soil sitting atop. In the front yard there is a very old and twisted apple tree that has somehow stayed alive in this most inhospitable spot. Buffeted by sea salt-soaked rain and heavy winds, it is a most unlikely place for a fruit tree to thrive. Fruit trees need trimming, thinning and pruning on a constant basis. This apple tree had been clearly cared for over time but in recent years had been let go. Sucker growth spurted directly skyward and limbs crisscrossed each other. Beneath all of this tangle there was a proud survivor.



Having lived in Japan and watched the way in which the Japanese trim their old fruit trees, I had a clear idea as to what the tree should look like. Looking carefully at the old cuts made on this apple tree, someone else, years ago, had the same vision. The form just needed to be brought back. I very much wanted to trim the tree myself. As I began the process, a Zen-like feeling settled in and I just knew instinctively what should go and what should stay, like sculpting. The whorled trunks were cleared of sucker growth, the thick growth at the ends of branches thinned and the shape brought back.

After a debrief of the work with David and Heather, the owners of Howlets, and a glass of their wine, I went home and fell into a dreamful sleep. In the dream my profession was very specific: expert trimmer of only aged and visually interesting cherry and apple trees. Dressed in a rough shapeless linen coat and chewed up straw hat, I happily travelled the world, carefully trimming these ancient specimens for appreciative and fascinating clients. A wide variety of surgical-like snippers and clippers accompanied me, each one designed for a specific pruning task. These tools of the trade were all tucked neatly into a heavy canvas fold over envelope with individual pockets complete with leather closure straps.

Everyone needs a dream of what they want to do when they finally grow up. My sleep-fueled unconscious found the perfect career, taking full advantage of my OCD-ish tendencies. Now I just need those adoring clients ready to fly me in to prune their trees.



IMG_1164This backyard practically begged for an overhaul. Back “yard” is being kind. In truth, it was simply a sea of blacktop, able to accommodate enough cars for a small shopping center. While the blacktop previously served as the driveway for the house, it has been replaced by a new gravel driveway at the other end of the property. The blacktop now mainly served as an eyesore and a conduit in heavy rains. Indeed, water ran down the blacktop, pooled at the back door and then made a beeline toward the basement of the house.

Blacktop sea

Blacktop sea

The blacktop had to go. Thus began a plan to replace it with a much softer garden retreat, with rooms for a potager, a sitting area, and a privet screened single car parking spot.

The blacktop stretched up an incline to the property line. A rotted post and rail fence that divided the property from the uphill neighbor had disappeared under a jumble of overgrown mint, wild roses and morning glories that no longer bloomed. The roots of this tangled mess of vegetation were rapidly spreading and coming up into the gravel driveway and kitchen garden of the neighbor. A take-no-prisoners approach to all of this unchecked growth was the first order of the project. A backhoe clawed away the blacktop, the tangle of roots, the fence, and a low crumbling stone wall hidden underneath. A tabula rosa was now in place.

Backhoe magic

Backhoe magic

Defining a garden space and giving it visual boundaries with stone or earth is known in garden parlance as “hardscaping.” A five-foot high and fifty-foot long wall constructed of stone does not get any more “hard.” The wall replaces the tangled miasma and runs the length of the planned garden space. The stone wall, which is more sculpture than wall, will give the new garden a visual reference, define the space, and impart an enveloping feel of privacy. The current plan (garden plans are always subject to change) is to have vegetables in beds below the wall and climbing hydrangea vines planted every ten feet running up and along the wall. The foliage will merge at the top of the wall in a seemingly connected cap running the fifty foot length. Separated from the vegetables by a short hedge will be a space for chairs and a table, for reading, light dining or just vacantly staring out at the ocean. A lot of patience and time are required for this plan, something in short supply from this writer.

A wall rises

A wall rises

Dave McGibbon, stonemason, created the wall. He has the patience of Job as he eyes the stones for the wall and then places them by hand, some weighing several hundred pounds. When the wall is viewed from a distance the stones undulate and dip in sinuous lines creating a movement which carries the eye along its long length. The outward appearance of this beautiful stone wall belies its inner structure. It has the outward appearance of a dry stone wall. The totally hidden cement block, rebar, and mortar within give it the strength it needs to support the neighbors higher level driveway on the uphill side.

The garden spaces will expand the “walk around” space in the yard and allow the owners to stay busy in the summer. (As if more busy-ness is needed.) The stone wall frames the space and provides a destination for the eye from the lower yard. Rest assured, the loss of the strip mall sized parking lot will not be lamented.IMG_1104

During a recent kitchen renovation of a 172 year-old structure that was a barn in its former life, an odiferous discovery was made. As the carpenters sawed through the joists and beams, a strong cow urine smell wafted up. The powerful aroma had been trapped inside the wood fibers all these years, just waiting to be released and remind us that cows once lived here.

In 1840, Ezra Eames built this barn to house the cows at the farm that marched up Pigeon Hill in Rockport, Massachusetts. An enormous hayloft on the top floor stored the hay for the bovines in the winter. The farm existed for a bit less than a century. At some point, the farm house, field worker house, apple pressing house and barn were all sold off separately.

Sometime in the late 1930s, Justine D. Ferris, a retired business woman and artist from Boston, came upon the barn and had the extraordinary vision to realize the barn could become her home and studio. She drew up the plans for the transformation herself. Justine had previously worked at both Harvard University and the Office of Public Welfare in Boston, but now was looking to immerse herself in art. In 1957, The Boston Globe featured an article about Justine and her remodel of the barn into artist studio and living spaces. From the dusty cow barn, she created a duplex, splitting the building in half, one side for her studio and living space and the other for rental.

The space Justine created for her studio is two stories with exposed beams throughout. She bumped out the existing space seven feet complete with gambrel roof lines. She also put in a huge northern facing skylight. Northern light for studio space is thought to be best as it casts no direct sun shadows. Unfortunately, old studio skylights are notoriously leaky and lose heat in the winter. The skylight was removed during a later owner’s renovation, leaving behind visible ghost marks on the wall where the skylight used to be. But despite the subsequent alterations, the studio’s character remains intact. The room is still flooded with light from both North, West and East.

Exposed beams from the 1840 post and beam construction were painted olive green at some point by a later owner. The paint has been recently stripped and the warm wood beams now catch your eye as they run through the white rough plaster walls. The dowels used to pin the barn together during its 1840 construction are still visible. The soaring two story interior remains dramatic, unlike many of the old cavernous studios in Rockport that have had second floors inserted after the buildings ceased to be used as studio spaces. The exterior stone curving staircase entrance that Justine had built for her clients’ visits still graces the northern side of the building. While Justine’s paintings are difficult to find, a good friend did recently find a portrait of an unknown woman signed by Justine D. Ferris.

Two fellow artists penned a two-part poem about Justine’s life entitled “A Medley of Melody to Justine Ferris,” dated September 16,1947. In the ode to Justine by fellow artist Ruth Berry, she references the studio and barn, “. . . The studio still a magnet is / That draws us all together / From days of yore to Rockport shore / In rainy and fair weather.” The other author of the poem Mariam Tibbetts speaks about Justine’s renovation of the barn: “Soon out of beam and loft and rubbish pile / The barn uprise into stately hall / With Lady Elm sweetly straight beckoning at the garden gate / And the star-set skylight welcoming all.” The elm is now long gone, probably a victim of Dutch Elm disease, but the beams and loft remain. Although the two-storied studio ceiling and living room do indeed rise upwards to eighteen feet, some poetic license was taken with the “stately hall” line.

This old barn near the bay has transitioned from bovine shelter to artist studio and now re-purposed home. This old artist-colony studio may yet have another budding artist in its future. Cows, probably not so.

Click on any photo to enlarge.


Portrait of a young girl.


For many children and teenagers growing up on Cape Ann, Art was not something that resided far away, in museums in Boston and New York. Great art was being made in studios down the street or across the cove. Many youths were asked to pose by the great artists that created their art in Rockport and Gloucester. Elana Brink, nee Pistenmaa, was such a teenager.

On a recent August afternoon, Elana generously shared her memories of when, at age 17, her portrait was drawn by Lilian Westcott Hale. Lilian Wescott Hale was thought to be one of the best portrait painters of her time. She met her husband Philip Leslie Hale while taking classes at the School of Fine Arts in Boston. He was her teacher and seventeen years her senior. While Philip studied under Monet at Giverny, Lilian was recognized as the better painter of the two. When viewers admired Philip’s paintings, as he peered over his glasses, his usual reply was, “Wait until you see Mrs. Hale’s paintings.” Lilian’s paintings can be seen at the Harvard University Art Museum in Cambridge, Massachusetts, the Metropolitan Museum of Art in New York City, the Phillips Collection in Washington, D.C., the Museum of Fine Arts in Boston, and the Farnsworth Art Museum in Rockland, Maine.

Lilian sketching in 1902

Elana’s portrait was executed in the stone studio at Howlets, the Hale family summer studio in Folly Cove. She posed four mornings a week for a two week time span during August of 1959. This pencil sketch was one of the last works that Lilian produced before passing away in 1963. Elana did not see her portrait in progress during the sittings and when she finally did see it upon its completion, she felt as if she had been portrayed in such a saddened state that she told both Lilian and her daughter Nancy that she looked like “she should have tears running down my face.” Upon hearing this, Nancy replied, “Oh no darling, you look dramatic ! ”

Hale family studio

Elana’s family was no stranger to great artists. Elana’s father, when he was a teen, was immortalized as “The Diver” by the sculptor Walker Hancock.

Elana visited the studio again this month and graciously brought the portrait for Heather, one of the current owners of the studio, and myself to see. Nancy Hale was correct in her assessment of the portrait of Elana:  she does look dramatic in it, wonderfully so. It captures the beauty and slightly self-possessed air that only a 17 year old can carry off successfully. Elana had made the dress in which she posed. When sitting for the portrait, Elana recalled that Lilian, aged 78, kept asking Elana, aged 17, if she was tired and needed a rest from posing. Nancy Hale said of her mother during that time period, “In her early eighties, my mother produced some of her best portrait drawings, working as ever, with arms outstretched at full length without a tremor for hours, although by that time she could not hold a cup and saucer without rattling it.” Elana remembers both Lilian and her daughter Nancy as being “so elegant with their styled white hair.”

For Elana, growing up among artists was nothing remarkable. She remembers meeting “so many artists” and only later recognized that quite a few of them were famous. Elana and her father are part of a long legacy of artists drawing their inspiration from not only Cape Ann’s landscape, but from its people.

Elana and her portrait in the studio

The winner of the eclectic table setting from the Mother’s Day contest is Sandy Farrell. When you read her “recipe” below, you will know why.

Ahead of our “judges conclave,” as we called it, Heather of, and brainchild of the contest, sent me all of the entries so that we would enter into the decision making process well read. While we were arranging the meeting to pick the winner, we confessed that we each had a clear favorite. We decided not to reveal our individual choices to each other until our conclave. Within less than five minutes after sitting down with all of the printed entries, we realized that we had both picked the same entry. We hope you enjoy reading this as much as we did.

We had some other terrific entries. Watch Heather’s site for a dozen or so of our favorites picked from the pile.

Recipe for Life: What to Teach Your Children

Sandy Farrell

The gifts from my mother remain as intangibles — no recipe box, no heirloom dish set for the holidays, no special linens rich with memory and smell- but a different treasury that is very special to me. My mother died when I was 10, she was smiling at lunchtime and gone by the time I returned home from grammar school at 3 pm. Met by my father, silent and in shock, sitting on the stairs bracing himself for the task of telling his three young daughters that their mother was gone forever.

We didn’t live with dad, my parents were separated and lived as polar opposites in their own Cold War of the 1950s. Belonging to that 25% of New England, the Anglo-Irish mix had torn apart their marriage from the start. We lived with an aunt and cooked out of her borrowed kitchen. It was the Mamie Eisenhower era, years before Jackie Kennedy and Julia Child would give us a different view on the world. This may sound bleak, but what I inherited was an appreciation that came only much later in life: the innovative spirit my mother possessed.

And in order to feel that appreciation I had to first distance myself with all of the hurt and anger that a ten year old girl could muster up to protect herself from such a loss. My mother had wanted to be an artist — and indeed was an artist. I have a beautiful charcoal she did at 14, and pastels done on the back of leftover wallpaper, weekly trips to the art museum on free Saturday mornings, and walks to the park for concerts. The local librarian told me they gave her an adult library card because she had read so much of the children’s library. She had trained as a nurse but the hours were too long for a mom with three little girls so she took a job as a waitress at a small neighborhood restaurant.

Never one to get caught up in recipes, or own many cookbooks, she would scan the fridge for content and swiftly make a decisive move, gather up an armful of ingredients and proceed to the counter. Tasks that took longer got started earlier, missing ingredients were replaced by substitutes, efficient peeling and chopping began, each of us assigned a specific job, taught the basic skills, not a moment or veg wasted, no tears, perseveration, hesitation, or remorse. Supper, plain and simple, quickly executed like a Zen master. First thought, best thought. Never the same river nor stew twice.


use what was on hand don’t let it be a chore keep it simple
use basic kitchen utensils plan ahead

substitute freely and often don’t waste a thing
serve it up hot and fresh

Even today, some fifty-plus years later these basic ingredients and recipe for life bless our kitchen. Cooking is fun, it’s relaxing and creative. I still come home from work and have supper on the table in less than thirty minutes. Repeat last weeks dish? Never. No need, mom taught me more than how to cook up supper.

Circle the wagons

Sometimes, a problem is so big, it calls for a big, loud and growling solution. Such was the case recently at Howlets. After two large trees were taken down and a long-forgotten kitchen garden was cleared of years of unchecked growth, we were faced with a 10-foot high pile of brush filling the parking spaces for two cars.

As readers of this blog know, Howlets is a 100 year old stone house overlooking Folly Cove in Rockport, Massachusetts, purchased last year by friends David and Heather. The grounds of the property had unfortunately been neglected, save for the lawns being mowed. David and Heather and I hashed out a plan to “take back” the grounds. David has been digging up the kitchen garden of briars, saplings and other unwanted volunteer growth — and he has the scratches on his arms to prove it. Heather has been weeding, replanting and restructuring a long narrow garden bed which hugs a sweeping stone wall. Two old, half-dead locust trees were removed by a professional tree service and the usable wood cut into fireplace lengths. Some of the remaining crowns of the large trees were thrown on the ever-growing pile. A parking spot for two cars at the bottom of the driveway had been sacrificed for the woody detritus that seemed to grow exponentially.

Feed me

Once Spring had sprung, how to get rid of the eyesore was on all of our minds. A wood chipper, of course! What is it about men and their fascination with power equipment? Boys and their toys, I suppose? As I excitedly drove off  to hitch up the rented wood chipper to my station wagon, I tried not to focus on the Freudian answer to that question. The yellow beast was much larger than I imagined, and as I got a quick lesson on the intricacies of its operation from the rental agent, nagging thoughts of performance anxiety began to rear their ugly head.

Bump and grind

All fears were put to rest as the engine sputtered to life and began to chew up pieces of wood as big as my arm. During the course of the six hours that it took to work through the pile, we watched the beast’s revolving sharp teeth pull the branches into the grinder, conjuring images from gory movies (Fargo, anyone?). The possibility of drawing back a bloody stump kept both David and me hyper vigilant. Fortunately, no ambulance trips to the emergency room were necessary and the woody mountain we called Everest was finally conquered. Sir Edmond Hillary had nothing on us that day, at least in our own minds.


This post is part of a continuing series on Cape Ann artists, their studios and work.

Scattered throughout the old village of Rockport, Massachusetts are studios of famous and not-so-famous artists. Richard Recchia and Kitty Parsons Recchia had a home and studio there. Richard was a sculptor and Kitty was a watercolorist and poetess. Kitty was a founding member of the Rockport Art Association in 1920. You may recognize some of Richard’s work that are on public display in New England.

Poised to dive

His friezes, depicting “Art” and “Architecture,” done in a Greek style, adorn the Fenway side of the Museum of Fine Arts in Boston. A joyfully whimsical boy riding a frog is in a pocket park beside the Rockport Art Association and a woman executed in bronze, on the verge of diving, is in the inner courtyard of the Association. The diver was originally placed near their studio under a magnolia tree. When the blossoms began to fall, they created a pool of petals below, creating the illusion that she was diving into a pond of pink petals. Recchia’s statue of the Revolutionary War General John Stark astride a fiery steed graces Stark Park in Manchester, New Hampshire near the equestrian’s burial site. The Association and the Museum of Fine Arts have permission to reproduce some of his smaller pieces and they are occasionally available for sale.


Self-satisfied feline

At peace

Kitty’s watercolors are more difficult to find on public display. However, I have included two examples from a private collection below.

Something to crow about

Summer in a vase

Richard and Kitty’s house and studio are Dutch Colonial in style with sweeping end gables, which give it a flair. Dutch Colonial architecture was not widely used on Cape Ann so the house stands out. The house, grounds and studio, although in a neighborhood setting, have a mini estate feel, complete with gazebo. They named the house and studio, Hardscrabble. Their early years of the struggling artists’ life were perhaps the inspiration for the name. The old artists-colony-style studio’s large metal framed windows that are inset into the Dutch style gable of the roof give clues to what lies within. The studio ceiling is two stories high with a huge arched doorway to the outside to accommodate the large sculptures that Richard executed in the space. Thankfully, both structures remain intact, although the studio was converted to a living space and both the house and studio were sold out of the family after their deaths.

Richard, sculptures, & studio

Richard, Kitty, & collie

Richard had the foresight to design his own tombstone before his demise, a large bronze headstone depicting Richard as a figure leaping in an upward rush heavenward. It is entitled “Flight of the Soul” and is located in a Rockport cemetery. Although not widely known, both of these individuals made up a group of artists that lived worked and created art in a town at the end of a cape.

Flight of the soul

Click on any photo to enlarge.