1 21 433 https://portsmouthexhibits.org/files/original/9300649e480d70710242c89fbd68a52f.jpg b3577f775c5b6a3978a2a320f681466c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Piscataqua River Bridge Construction Photograph Collection Description An account of the resource This collection of 97 black-and-white photographs was added to the Portsmouth Public Library’s Special Collections in 1995. The photos were taken between June 25, 1968 to September 29, 1969 and show the progression of work during the construction of the Piscataqua River Bridge, also known as the I-95 Bridge. Construction of the I-95 bridge, a significant landmark in Portsmouth, New Hampshire, was initiated in the late 1960s as part of the Vaughan Street Urban Renewal Project, which also included the demolition of the North End neighborhood. The project aimed to modernize the city and improve its connectivity to the interstate highway system. The bridge specifically was a response to the growing traffic congestion and bottleneck created by the outdated Maine-New Hampshire Lift Bridge. The original plan for the I-95 bridge envisioned a 1,344-foot-long steel-arch span flanked by cantilever truss spans and boasting a 125-foot clearance. However, due to concerns about accommodating ocean-going vessels, the design was revised to provide a 135-foot clearance. Construction began in May 1968 and was a massive undertaking, requiring extensive engineering and construction efforts. Twenty piers were built to support the 4,500-foot-long bridge on the New Hampshire side and 15 were built on the Maine side. The six-lane roadway on the bridge spans 108-feet-wide over the Piscataqua River. Maplewood Avenue and Market Street Extension were developed with the express intent of linking Portsmouth’s downtown to the I-95 bridge. The bridge’s total cost was $21 million, with 90% coming from federal funds with the remainder split between Maine and New Hampshire. The project was marred by tragedy in 1970 when a platform on the Maine side of the bridge collapsed, resulting in the deaths of four construction workers. This incident led to legal proceedings and public scrutiny of the project's safety measures. Despite the challenges and setbacks, the I-95 bridge was ultimately completed and opened to traffic in 1972. A dedication ceremony was held on November 1, 1972 and the Portsmouth High School Clipper Band and the Kittery School Band both performed. One year later, the bridge was named the nation’s most outstanding bridge by the U.S. Department of Transportation. The I-95 bridge’s construction marked a significant milestone in Portsmouth's development, transforming the city into a more accessible and connected urban center. Its construction was a significant achievement, earning recognition from the American Institute of Steel Construction and the U.S. Department of Transportation. In recent years, the bridge has undergone maintenance and restoration efforts to ensure its continued structural integrity and safety. The Piscataqua River Bridge remains a vital component of the Interstate 95 corridor, serving as a testament to the ingenuity and perseverance of its builders. The photographs were scanned by intern Anya Bake in the fall of 2023. The metadata was created by Reference Librarian Robyn Nielsen and Special Collections Librarian Katie Czajkowski during the summer of 2024. Finding aid created by Katie Czajkowski, 2024. This collection is permanently housed in the Portsmouth Public Library Special Collections. The digital images are available here for research and public access. Identifier An unambiguous reference to the resource within a given context PPL-P: 2023.2 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Aerial view of bridge construction, 1969 Subject The topic of the resource Black-and-white photography Piscataqua River (Me. and N.H.) Bridges Description An account of the resource A black-and-white photograph of an aerial view of the entire bridge project, taken from New Hampshire looking north. Creator An entity primarily responsible for making the resource Jeeves, R.C. Source A related resource from which the described resource is derived Piscataqua River Bridge Construction Photograph Collection Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 1969-06-30 Rights Information about rights held in and over the resource View our <a href="https://portsmouthexhibits.org/copyright-information" target="_blank" rel="noreferrer noopener">Terms of Use and Copyright Information</a> Format The file format, physical medium, or dimensions of the resource JPG derived from TIF Language A language of the resource eng Type The nature or genre of the resource StillImage Identifier An unambiguous reference to the resource within a given context PPL-P: 2023.2.089 https://portsmouthexhibits.org/files/original/9320ff151dabf7c0709b034036b2f725.png cfb9e34e15a82ced153b3d3fb71e49f4 https://portsmouthexhibits.org/files/original/486cb13e5959b5c4aaa39785a730fe70.MOV 04b1a6f220159ffea913cfbda07cfb56 https://portsmouthexhibits.org/files/original/7a291cec0b8f3e47e5660f5b9c373ced.pdf d63e019c0b977ff9584420eb2e7b47ed PDF Text Text Josephy Murphy oral history topics index Seacoast NH LGBTQ Oral History Project 00:53 – Manchester, NH [00:40-03:22, 06:49-16:08, 20:55] 01:10 – AA [01:10, 10:05-10:43, 22:10-25:05, 31:12-33:46, 36:01-37:05, 01:07:23-01:10:24] 03:11 – Depression, suicide 03:22 – St. Mary’s University (Halifax, Nova Scotia) [03:22-05:00] 04:52 – Benedictine Monastery (Benet Lake, Wisconsin) [04:52-6:55] 07:30 – Marriage [07:30-12:55, 14:52-16:30] 10:05 – Alcoholism [10:05-10:43, 11:15-13:48, 17:55-18:30, 20:22-21:00, 22:21-25:05, 01:07:2301:10:24] 13:51 – “Coming out” [13:51-16:08, 17:09, 01:10:25] 15.30 - Mental breakdown 16:08 – Portsmouth [16:08-18:28, 29:03-33:30] 16:30 – Blue Strawbery restaurant [16:30, 17:26, 21:19] 17:14 – Portsmouth, 1980s [17:14-17:48] 18:28 – Penhallow Group [18:28-19:28, 52:02] 19:28 – Florida, Clearwater Beach Hotel [19:28-20:58, 25:58] 21:22 – Relationship with family after “coming out” [21:22-22:10] 23:00 – Alcoholics Anonymous (AA), sobriety, St. John’s [23:13, 24:51] 25:05 – Gay AA [25:05-29:38] 25:20 – Seacoast Gay Men [25:20-31:12, 40:00-40:45, 42:48-44:02, 50:42, 52:02-53:45, 54:201:00:41] 26:57 – UU Church, State Street [26:57, 29:03] 27:05 – Durham, NH [27:05, 01:11:50] 27:18 – UNH [27:18, 01:11:00-01:12:05] 29:38 – LGBTQ+ places (names unknown) (businesses, hangouts, etc.) [29:38-31:12, 52:20-53:43] 33:47 – AIDS crisis [33:47, 42:03, 59:32-01:00:00] 34:45 – AIDS Response Seacoast [34:45-41:13] 40:27 – Feminist Health Center [40:27, 50:42] 41:16 – Gay Men Fight AIDS [40:49- 44:02, 56:19-56:48] 43:08 – The AIDS “cocktail” [43:08-44:02, 55:00] 43:26 – Tim/Kitty’s funeral; Religion, Catholicism [43:26-50:08] 47:30 – Portsmouth, discrimination [47:30-47:55, 50:12-51:34] 51:24 – Ogunquit, discrimination [51:24-51:50] 53:49 – The Rainbow Connection, collaboration with “gay women’s group” (name unknown) [53:4955:00] 54:20 – Seacoast Outright [54:20-56:48] 55:25 – Portland, Pride Dance [55:25-56:48] 56:48 – Message for the future [56:48-1:00:41] 01:00:51 – AIDS, personal loss [43:28-47:03, 01:00:51-01:06:36] 01:06:36 – Message for past self [01:06:36-01:10:58] 01:11:00 – Current life, hopes for the future [01:11:00-01:12:05] � https://portsmouthexhibits.org/files/original/6960c8f8d47747648b7f8a6d77c8a49a.pdf ed5837a0c8d54dcabc1faf202d69950d PDF Text Text Joseph Murphy transcript - 2/23/2019 Seacoast NH LGBTQ Oral History Project 00:00:00 Holly Cashman I should start rolling. Yep. 00:00:03 Joseph Murphy Cool. 00:00:04 Holly Cashman So, thank you so much for agreeing to do this. 00:00:07 Joseph Murphy My pleasure. I'm glad to do it. 00:00:07 Holly Cashman A second time. 00:00:08 Joseph Murphy Yeah. Yeah. 00:00:09 Holly Cashman At least this time, for the record. Can we start out just with your name, where you were born, your age, or however you're comfortable sharing it, and start there? 00:00:23 Joseph Murphy Yep. My name is Joseph Murphy. I was born in Manchester, New Hampshire. I'm 75 years old, 76 next month. 00:00:34 Holly Cashman Oh, happy early birthday. 00:00:36 Joseph Murphy Thank you. What else? 00:00:39 Holly Cashman So, So, you maybe could talk a little bit about kind of growing up in Manchester, what your family was like, what your neighborhood or community was like. 00:00:52 Joseph Murphy Well, back in the days I grew up in, your neighborhood was your whole community. My family was Irish Catholic, very strict, went to church every Sunday. When I talk about my childhood, especially when I share it in an AA meeting, I'm in recovery, there's not a lot of memory about my childhood. Not because it was bad or it was exceptionally exceptional, it just was. Things for me started changing when I was in my early teens, about 13. I pretty much knew then that I was gay. Didn't know anything about what it meant, how to do gay, but I knew that I liked boys. Met an older guy who worked in a neighborhood drug store where we used to go and have sodas and stuff and talk to him. And connected with him a little bit. Had not really a sexual relationship, just experimenting. And at the time, my group of friends, it's hard to explain, in the back of my house was an old �barn and we had like a clubhouse in the barn. And there was one of the guys, in the barn. And there was one of the guys, an older man, he was 16 and I was 15. And we ended up having a sexual relationship, unbeknownst to the rest of the group. And somehow, and the details are very vague now for me, but it came out that I might be gay. In my group of friends. And I was, I just lost all my friends. So when that happened, I think I was a junior in high school. So my junior and senior year in high school was very, very lonely and very depressing. I did try to commit suicide on a bottle of aspirin. Nothing happened, of course, but I did try it. Anyway, when I graduated from high school, I decided to go. At the time, I don't know why this was popular, but it was St. Mary's University in Halifax, Nova Scotia. So So that was exciting. And so I went and I had two roommates. And like the second day we were there, one of my roommates was from New Brunswick and he had a car. So we were going to do a little road trip and explore the area. And area. And he had somehow gotten a bottle of rum. And so they were drinking rum and 7-Up, and I hated 7-Up, so I was just drinking rum. I was 17 I was 17 years old. Of course, by the time we get back to the dorm, I was drunk. And we had five flights of stairs to crawl up. There was no elevators. I remember going into the room, throwing up in the sink, taking a nap, and then saying, Okay, let's go, and we went out. That was the beginning of my drinking career at 17. I don't know why we were all 17, 18, but we always had booze. Somehow it was available. So I partied that whole year, flunked out of school, and decided that I was going to join the Benedictine monastery and become a monk. So I did. I left Manchester and went to Benet Lake, Wisconsin. It was a Benedictine monastery. 00:05:12 Holly Cashman Is there like an application process, or how did that work? 00:05:15 Joseph Murphy Oh, it was so easy. You just send them a letter. Yeah, it was easy to get in. And there were a lot of guys from Manchester who went to St. Mary's, and a couple went out to Benet Lake as well. Someone else introduced me to it. And it was a beautiful, beautiful place. We lived on this lake, Benet Lake. And the layout was great. The life was great. The only thing that disturbed me was our abbot's parents were both alcoholics. So there was no anything allowed in the monastery. No wine, no beer, no whiskey, anything. And I lasted about a year. I loved it. It was an idyllic life. It was college. It was studying again. We also were, it was funny, we received alcoholic priests trying to sober up. They were assigned to us. I remember we had this one Irish priest, he was so funny, and and he was still a drunk. I don't know where he got the booze, but, I mean, we would be Latin class and he'd be speaking to us in Greek, you know, stuff like that. Anyway, after a year, I had taken my simple vows, and after a year, I wanted to drink. And I left. So, came back home with my tail between my legs again, another failure. Ended up getting a job at a textile factory in Manchester. It was in the shipping room, it wasn't like a laborer, but anyway, I became part of management very quickly. And I got into a group of friends who were a little older than me, two and three years older, and we would go out every night in the car and just drink beer. 00:07:21 Holly Cashman Would that have been like in the 70s? That would have been, let's see, 00:07:27 Joseph Murphy late 60s, late 60s, early 70s. And so I met a girl there at work. We worked together in the department, and she lived not far from where I lived, and I didn't drive. For some reason, at that point, I had never got a license. I I learned to drive, crashed my father's car, and I never got my license. And anyway, she started picking me up, and up, and we started hanging out together on weekends. We went partying together with the group. It It was a whole group of us, and she drank like I did. And this went on for several years, because that would have been two years probably, and around just before my 21st birthday, the friends I was hanging around with were all getting engaged or married and blah, blah, blah, and my mother, who was a very wise Polish woman, said to me, well, all your friends are getting married. If you get married, I'll buy you a colored TV. And I said, oh, okay. 00:08:35 Holly Cashman Bribery. 00:08:36 Joseph Murphy �So that's how I got married. We did. We got married, and just before the wedding, I got my draft notice. So we moved the wedding up like a month. 00:08:51 Holly Cashman Vietnam. 00:08:52 Joseph Murphy Yup And I dodged the draft, and we got married. 00:08:58 Holly Cashman So they did not make you go if you had just gotten married? 00:09:01 Joseph Murphy Right. Right. 00:09:02 Holly Cashman That was like a hardship kind of thing? 00:09:03 Joseph Murphy Right. They weren't taking married men at the time. So we get married. I slept with a man on my honeymoon. We were in New York City. Like the third night, we had gone out to dinner and gone to theater and stuff like that. Like the third night, my wife said, I'm really tired. I don't want to go out tonight. I'm just going to go to bed early. I said, fine, I'm just going to go downstairs and have a cocktail. So I go down to the lounge, and it's mobbed. So they sent me at a booth, and they said, well, you know, we're going to have to settle the people in here, too. And sure enough, they did, and this guy came on to me in the booth, and in the booth, and we ended up sleeping together that night. So it should have been a signpost. 00:09:54 Holly Cashman What were you thinking at that time? Were time? Were you thinking, like, what have I done? 00:10:04 Joseph Murphy Yes and no, because what I'll tell you is, and I say this when I share at AA, that alcohol kept me married for 16 years. It was my escape. I was a binge drinker. I always said I didn't drink every day, but I really did. I always drank beer every day. But my modus operandi was I would go out on a Friday night to get a pack of cigarettes and be gone for three days. And that's how I dealt with my sexuality and my marriage. I had a wonderful marriage. I I had a wonderful wife. We wife. We have two beautiful children. We have a bunch of grandchildren. And after 16 years, through a set of circumstances, I've been leaving a lot off, I had a very successful career. When I left the textile mill, I was in management, and and I was recruited by a trucking firm because I used to deal with them. So I worked at a trucking firm in Manchester and had a very good job. I was assistant vice president and a lot of responsibility, promotion, promotion, promotion, more money, more money, more money. But my drinking was at that point out of control because the job I had was three, four martini lunch. One day after lunch, I came back to my office, and I was drunk. And I just said, I don't want to do this anymore. I left a note saying, I'm quitting. And that was it. It was a beautiful job. I had it made. Went home that day, and there was six workmen in my backyard putting in a pool. But my wife made good money as well. And our in-laws lived with us, my mother- and father-in-law, and and they were great. I loved them dearly. They gave us the opportunity to both work, make good money. They took care of the kids. My mother-in-law did the laundry. She did the housework. My father-in-law kept up the lawns, did the snow stuff. So we had it made. And we were very, very involved in our community, our church community. And to look at us, people would say we had the perfect ideal marriage and and that we were perfect. We were not. We were not. Inside the first 37 years of my life, I lived in total self-loathing and fear that someone would find out who I really was. 00:12:57 Holly Cashman �So do you think there's a connection between the self-loathing of being in the closet and drinking? 00:13:10 Joseph Murphy Well, yes. To set the record straight, I don't believe that my alcoholism made me gay. I do think that my gayness fed into my alcoholism because one of the classic symptoms of alcoholism is that your disease tells you you are worthless piece of shit, you will never amount to anything, nobody could possibly love you, and blah, blah, blah. So they fed off each other. It was finally, I actually met, I was working at the time at a hotel and and there was a young man who was the, what do you call him, he worked the desk with me, he took care of luggage, and and he brought people to their rooms and stuff. And he was gay. And I wasn't out at that time to anybody, barely to myself. Then he would start talking to me about his boyfriend and how they did this this weekend and blah, blah, blah. And all I knew of the life at the time was you get drunk, you black out, you have sex, you might have it in the bar, you might have it on the bar, you you might have it in the men's room, you might have it under a table, you didn't care. And he started talking about like a normal life that gay men had, and I had no concept of that, I had no experience with it. And he was pretty much the catalyst to make me decide that I had to come out. And I made that decision, and I told my wife, and she called my brother, my older brother, who was my rock growing up. He was my hero. And we were still very close, he and his wife and myself and my wife. And he is a very hard-headed, opinionated, stubborn bastard. And he came to the house and he said, No, you're not gay, you're sick, and we'll get a doctor. And at that point, my brain could not handle it, and I snapped. I I had a total one flew over the cuckoo's nest breakdown. So I ended up in the nut house for a while, I don't remember how long. It was a while, I do remember I was running the place when they left. At least I thought I did. But when I came out of that, it was like an enema to the brain is the only way I can describe it. I it. I had made up my mind that I was an alcoholic, that I would go into recovery, and that I was gay, and I was never going back into the closet. And that was it. I ended up leaving my home. Ended up moving to the Portsmouth area. The funny thing is my wife, my ex-wife, actually found me a living arrangement because she worked with a woman whose brother lived in Portsmouth. And I don't remember if you remember the Blue Strawbery Restaurant. 00:16:33 Holly Cashman I've heard of it. 00:16:34 Joseph Murphy He was one of the owners. 00:16:36 Holly Cashman Oh, wow. 00:16:37 Joseph Murphy And I moved in with him, and I fell into an incredibly wonderful situation. 00:16:42 Holly Cashman Yeah, you just arrived and you're right there in the center. 00:16:45 Joseph Murphy Yeah, and I was thrust into a circle of straight and gay people who were very open-minded and very accepting. He would take me to New York, we would go to plays, we'd go to Boston, we'd to Boston, we'd go to ballets, we'd go to museums. It just opened me up to a culture that I had never been involved in. 00:17:07 Holly Cashman Around what time was that? 00:17:09 Joseph Murphy �That would have been in 1980. I was 37 when I came out. 00:17:14 Holly Cashman And what was Portsmouth like in 1980? 00:17:17 Joseph Murphy To me, it was amazing. Bow Street was very, very busy. And the Blue Strawbery was one of the original draws to that whole area and and why it developed. 00:17:33 Holly Cashman That restaurant row. 00:17:35 Joseph Murphy Yes, yeah. It was very cultural. It was great. I loved it. But it it. But it was like moving to New York City from Manchester. It was just like a whole new world. So that went okay for a while. And at one point, I said to myself, well, you know what, I probably am not really an alcoholic. I probably drank because I was in the closet and fighting my sexuality. So I experimented. And within two or three weeks, I knew I was an alcoholic. In the course of probably two years, I ended up getting three DUIs. So lots of trouble. Then I was approached by a gentleman from a group called the Penhallow Group, which was a gay advertising agency. Oh, Oh, wow. They were right across the street from the post office on Daniel Street. So I took a job there. And the weirdest part of it was they were all potheads, and I never even smoked pot. I I was booze. So I said, well, I can't drink. And And they said, well, then you can smoke pot. And I go, okay. So I would buy it, and I liked cleaning it and all that. But then I would give it away. I never really smoked it that much. And that lasted about a year. And then business started really tanking. There was problems. I mean, it was so bad that I had to go to some of my accounts and ask for payments a month in advance to get the payroll for the staff. Anyway, I decided I was leaving that job. And a friend of mine who had worked for me in Porteus, Mitchell & Braun, which was a clothing store, used to be in the original Newington Mall, and he and some other people from the area were going to Florida to work in the Clearwater Beach Hotel. And at that point, how old am I? 40, 41. Why not become a waiter at 41? Who knows? So we went down, and it was a great situation because they had built a new hotel on the beach, but they left the old hotel right on the beach, and that was where they housed the staff. So we lived there, and they fed us all our meals. And I mean, I would wake up in the morning, walk two steps and be on this beautiful Clearwater Beach. And I was not doing very well being sober. I was drinking and not saving any money. And then I got really involved in the gay community and promiscuous sexual events. So that lasted about, well, I fell in love with another drunk. We We were both trying to recover. It didn't work, and I ended up coming back home. Anyway, I'm jumping all over the place. Back home, back in Manchester. 00:21:05 Holly Cashman Oh, so when you said back home, back in Manchester. 00:21:09 Joseph Murphy Yeah, because I had left everything. Anyway, I ended up back within a month. I was back in my original living situation with the owner of the Blue Strawbery, which was great. 00:21:23 Holly Cashman When you came back from Florida, what kind of, you know, between coming out and then being in Portsmouth and being in Florida, did you have any kind of relationship with your family, with your ex-wife, with your kids? 00:21:41 Joseph Murphy I didn't see much of my family, and it was just because the way it happened, it wasn't. I did go through a really hard time with my brother when I came out. It was really horrible, and we broke our relationship, and he didn't come around until my mother died, and at the funeral he apologized for the way he treated me. But then our relationship was never the same. But when I came back, things were good. I got right back into my circle, but �what did happen was my recovery became more a part of my life. I was still drinking, and I knew that I had a problem, and I was at a cocktail party one night, hitting on this guy, and I said, oh, excuse me, I have to go to the men's room. And I came back, and I go, who's the asshole that put the cigarette out of my drink? He said, that would be you. I said, oh. Anyway, we ended up in a sexual relationship for quite a while. He was 10 years sober. He was in AA. He got me into AA, you know, for real. And I remember going to my first meeting with him. It him. It was a huge meeting. I think it was St. John's on a Saturday night, and at that time there were like 200 people there. And I listened to a speaker, and I'm like, oh, my God, this is me. They're talking about me. And then the cinch or the hook to me was when the speaker said, remember this, you never have to do this alone again. And that was the hook that got me. So this guy I had the relationship, the sexual relationship with, and I found out he was in an open relationship with an older man. Anyway, I asked him to be my sponsor. I don't know what you know about AA, but part of it is sponsorship where you have a mentor that you go to if you have troubles or questions. 00:24:13 Holly Cashman But I would imagine you're not allowed to be in a relationship with that person. 00:24:17 Joseph Murphy Well, that was the other thing. He said, well, you know what that means. I said, yeah, that means. I said, yeah, that you'll be my sponsor. He says, no, you know what that means. I said, I said, no, what? He He said, no more sex. I said, what? But I said, okay, because I knew I needed someone who could handle me because I was very manipulative. I was a very charismatic personality, and I could get people to do almost anything I wanted because I would do that for them. I would be whatever you wanted me to be. 00:24:51 Holly Cashman And at that time was this huge, I'm guessing, that that this huge meeting at St. John's wasn't particularly gay community. 00:24:59 Joseph Murphy No. No. 00:25:00 Holly Cashman So having a sponsor who could also understand that part of it. 00:25:03 Joseph Murphy Well, he was of it. Well, he was gay. 00:25:04 Holly Cashman Yeah, it must have been important. 00:25:06 Joseph Murphy Yeah. But gay AA started very quickly right around that time. 00:25:16 Holly Cashman Like mid-'80s? 00:25:20 Joseph Murphy The best I can date it is in 1979, Seacoast Gay Men began. Oh, okay. Shortly after that, gay AA was founded by the same people who started Seacoast Gay Men. 00:25:37 Holly Cashman �Oh, okay. 00:25:38 Joseph Murphy So Seacoast okay. So Seacoast Gay Men is celebrating 40 years this year. 00:25:43 Holly Cashman That's amazing. 00:25:45 Joseph Murphy And And I think AA is like 38 or 39. 00:25:49 Holly Cashman Coming together as Seacoast Gay Men, a lot of people must have said, oh, hey, we also have this other thing in common. 00:25:56 Joseph Murphy Yeah, we were very enmeshed. And when I came back from Florida, I got involved in both, which was my lifesaver. Started going religiously to Seacoast Gay Men, and the gay AA meeting was Friday night, and I went to that. Plus, there was a group of us in the area, gay men and women, who hung out, and we would go to all the meetings in the area. We would go to meetings seven nights a week. We never got home before midnight because after the meeting, we did coffee, and we shared, we laughed, we cried. We had a really strong group of support. 00:26:42 Holly Cashman Men and women. 00:26:43 Joseph Murphy Men Men and women. Gay AA, the first five or six years that I attended, averaged three to five people. It was very small. So we decided, after like four or five years, to move to Portsmouth, to the UU church. So So did it start in Kittery? 00:27:06 Joseph Murphy Durham. 00:27:07 Holly Cashman Oh, in Durham. 00:27:08 Joseph Murphy Durham. Durham. A women's, I can't remember what building it was, but it was a lesbian kind of thing. Anyway. 00:27:18 Holly Cashman At UNH? 00:27:20 Joseph Murphy Yeah, at UNH. �00:27:21 Holly Cashman Oh, okay. 00:27:22 Joseph Murphy And And when we moved to Portsmouth, the first night, we had 80 people. Wow. We had 80 to 100 people every Friday night for ten years. Wow. It was a huge meeting. 00:27:37 Holly Cashman How did you get the word out in those days? Was there a newsletter? 00:27:40 Joseph Murphy Just word of mouth. No, AA is all word of mouth. In those days, it's not as strict now, but I mean, it was very, very anonymous, and it was very, we didn't want publicity, we didn't want anything in writing or anything. 00:27:56 Holly Cashman At this conference I go to every year, a huge conference, there's just a little line in the program with a room number, and it just says Friends of Bill W. And it doesn't say anything else. If you're looking for it, you know what it is. 00:28:11 Joseph Murphy Exactly. And that's, it's funny because last night at the meeting we read Tradition 3 about how when AA first started that that some groups had like hundreds of rules and regulations, and it was crazy. But now our only rule, if you want to call it a rule, is to become a member of AA. You only need to have the desire to stop drinking. That's it. There are no other rules, period. So AA at that time and SGM at the time were like the hottest things on the Seacoast for gay people. And went on like that for years and years. 00:29:03 Holly Cashman Where did, when you moved to Portsmouth from Durham, where did you meet? 00:29:08 Joseph Murphy In Portsmouth? 00:29:09 Holly Cashman Where did the gay AA meet in Portsmouth? 00:29:11 Joseph Murphy The The UU Church, State Street. We were there for years. Then the rents became too high and we had to move, just like Seacoast Gay Men had to move a couple years ago because because the rents were outrageous. 00:29:24 Holly Cashman Did Seacoast Gay Men meet in the same place? 00:29:26 Joseph Murphy Yeah. Yeah. 00:29:27 Holly Cashman �Oh, okay. 00:29:28 Joseph Murphy Yeah. Seacoast Gay Men met on Mondays and Gay AA was Friday. 00:29:34 Holly Cashman Nice little bookend to the week. 00:29:36 Joseph Murphy Yeah. Yeah. 00:29:38 Holly Cashman What other places can you remember from your earliest days in Portsmouth, like gay-owned businesses or places where gay people would go? Or places where lesbians would go? 00:29:53 Joseph Murphy Well, the, I'm trying to remember the name of it. There There was a restaurant on Market where the Gaslight is now. And I can't remember the name of it, but that was the go-to place. But also there was a couple, there was a restaurant on State Street where, do you know where Snip n Clip is? The pedicure place on State Street? Right? There was a restaurant there and that was like a Monday night place for Seacoast Gay Men. We always went there after the meeting. And there was this woman, a straight woman. I can't remember her name now. It's been so many years, but she was just wonderful for us. And it was a very redneck place. Right. They were mostly lobster men and stuff like that. And when we came into that restaurant, if we got a sidelong glance from one of those guys, she would go, don't you mess with my boys. And she took care of us. She set up a special room for us. And eventually we became very connected with the men in that room. Same with AA. I remember at some point there was a really bad incident in a downtown Portsmouth meeting, a straight AA meeting where a gay man was sharing, and he got really obnoxiously into his sexual proclivities. And it caused this furor in the whole AA community. People were like, no more fucking gays at the meetings, blah, blah, blah. So I wasn't there. I didn't hear it, but it was pretty bad. And we had a Tuesday night regular meeting. It was a small meeting, maybe 15, 20 people. And it was mostly men. So it was four or five gay men and about 10 or 11 straight fishermen, kind of redneck guys. But we always had good meetings. And right after the incident happened, at a smoke break, they came up to us, a few of them. They said, oh, we need to talk to you. And we're going, oh, shit, it's going to be about the mess. And they said, we just want you to know that we don't care what happened at that meeting. And that you are a very important part of this group. And we wouldn't want you to leave. And so there were incredible things like that happened through AA and the straight community and the gay community, which is remarkable. But it just should be that way. I mean, there's still problems in AA where people complain about, like, straight people coming to a gay meeting. And I'll like go off on them saying, they're a drunk. I don't care who they love. I don't care who they sleep with. They are a drunk, and this is where they belong. So it's a constant struggle. But for the most part, when I first started in AA, and I've been sober for 36 years, there was a lot of, not rules, but restrictions. Like, AA old-timers didn't want to hear anyone talking about drugs. And that's changed, thank God. Oh, yeah. That was it. They don't want to hear about your drug problem. But, you know, over problem. But, you know, over the years, I realized a drug is a drug is a drug. I don't care if you call it Quaaludes or whiskey. It does the same thing. So that's luckily changed. The AIDS crisis was devastating, obviously. But it crazily almost saved me. I had been in a 10-year relationship that should have probably lasted 10 weeks. But anyway, it ended, and I was totally devastated. I thought I was going to die. I really did. Didn't want to drink, but I didn't want to live. And I remember my ex's mother calling me and saying, you're you're not going to drink? I said, no, I forgot. I didn't think about that. But I did not want to live. But AA saved my ass, and I went back. Anyway, at the time, it was a struggle for me because I was shell-shocked that my whole life had been just turned around. I got a job at AIDS Response Seacoast, the AIDS service organization I'm sure you're familiar with. And that was such a saving event for me. I worked as the office manager. I didn't do case management or anything like that. But because of who I am and how involved in the community I was, I mean, the men and women, but the men primarily that were coming in, would stop into my office after they were with the case manager and we would talk for hours. And the case managers did not like it. 00:35:27 Holly Cashman �Because they would tell you things that you didn't tell them. 00:35:30 Joseph Murphy Right. And I remember at a staff meeting that it was brought up that they didn't think it was right for me to spend time with these men. And I said, let me tell you, they're my community. I said, I've slept with probably 30% of them. I said, I've loved them all at one point, maybe for a weekend or 10 days, but they're my people and they will always have my attention. So that was a very life-changing experience for me because I had men who were soon to die from AIDS ask me to sponsor them in AA. And I remember saying, why do you want to do this now? Give up drinking now? And then they would say, because I want some quality of life to what I have left. And that was another problem with the case managers. They didn't like it. They were making rules for AA people, like if you don't go to five meetings, you can't get services at ARS. And again, I blew up and said, no, you cannot do that. You have no right to it. I'm this individual's sponsor. I will tell him to run his program or I will help him run his program. It has nothing to do with you and you can't do anything. So that was always a point of contention. 00:37:05 Holly Cashman So were the majority of people at the AIDS Response Seacoast not members of the gay community? 00:37:17 Joseph Murphy Unfortunately, the two case managers I had a real problem with were gay women. Well, this is the reason I say that. The original one, who was the manager of the client services, wanted to hire her wife. And I just said, no. She would be reporting. You would be her boss. That's a conflict. It ended up happening and it became a huge, huge problem. And I loved the original one, and her wife and I did not get along. We clashed like oil and water immediately because she was really a whack job. I'm serious when I say that. I'm having a conversation with her and I went like this. She like this. She said, you're threatening me. I said, this is just things I do when I talk. And I said, you know, you're really crazy. I said, can you just leave my office? And then there was a battle. And they were the demise that got me fired from that job, laid off. How long were you off. 00:38:46 Holly Cashman How long were you there? 00:38:48 Joseph Murphy I was only there probably three years. 00:38:54 Holly Cashman But that was kind of at the very beginning of the AIDS crisis. 00:38:59 Joseph Murphy No, it was in the early 90s, yeah. And one of the board members, who happened to be an AA member, and a friend of mine, a woman, and she was on the board, and she came to us, she said, Joe, someone told us that you called the board assholes. I said, well, I did. I said, but you wouldn't know that if you didn't have your little spies eavesdropping. And I said, the reason I said that is, and you know this because we've had this discussion, one of the primary responsibilities of the board is the financial stability of this organization. And And I said, you don't do fundraising. You don't do anything to help. And I said, and that's why I have no respect for you. You may, you know, this may sound good on your resume that you're a member of the board, but this board is totally nonfunctional. And I said, I'm president of the premier gay men's organization in the Seacoast. There's not one member of our organization that's on the board. You have never come to us for any ideas or support or anything. We support this agency because of us. We used to run a cruise, and we would make maybe $2,000 or $3,000 every year, and we would give, say, $1,500 to ARS, $1,500 to the Feminist Health Center. So we supported them, and we volunteered for both organizations, but the board did shit. 00:40:46 Holly Cashman �They just took it for granted, kind of. 00:40:48 Joseph Murphy Yeah, you know. And coming from my job at ARS, at the time, there was no funding for programs for gay men prevention education. There were no funds. So we started a nonprofit called Gay Men Fight AIDS, who was originally going to be The Lifeguards, but when we tried to get the name with the state, it was already taken. So we just made up Gay Men Fight AIDS, and the funny thing is I went home that day and Googled it, and there was a Gay Men Fight AIDS organization in London, the same thing we just applied for. So we started that organization. And again, so we had a new gay men's support organization. Ninety-nine percent of the people who organized it were from Seacoast Gay Men. And that lasted for, like, 15 years. We did, like, Tupperware parties. We would have sessions where you would get 8 to 10 gay men and have a host in someone's home, and we would meet for five weeks, one night a week, to discuss prevention methods and what transmission was all about, because people were so ignorant and so much afraid of it. And we got awards from the state. I remember one year I picked up the award for Seacoast Gay Men and Gay Men Fight AIDS in Manchester at a state dinner. It was called the Red Heart Award. Yeah, so, yeah. 00:42:48 Holly Cashman So the focus of the Gay Men Fight AIDS was very different from AIDS Response Seacoast. 00:42:53 Joseph Murphy Correct. Correct. It was an educational program. 00:42:55 Holly Cashman But But were you kind of working together? 00:42:58 Joseph Murphy Oh, yeah. We were recruited from the Seacoast gay men's meetings. We ran programs with Seacoast gay men. We did presentations at Seacoast gay men. Yeah, I remember when the first cocktail came out, and everyone was like, oh, my God, this is it. We don't have to worry. We're all set. And that was not true, because it was being hyped. So we decided we had to do an information kind of thing. So we did a presentation at Seacoast Gay Men, and and we had two guys who were on the cocktail. This was probably six months after it came out. One of them was fabulous. Everything was fine. The other one had a really difficult time. Lots of side effects. Constantly nauseous and, you know, just totally debilitated. Six months later, the individual who was doing so well died. And it was shocking. And his mother asked me to do his eulogy. And I said I would. And I remember writing a eulogy for him. And I wrote part of it because he had his stage name, if you want, was Kitty. So I was writing, and I said, you know, a lot of gay men take female names. I said, not because they want to be a woman. I said, I think it's really to honor their mothers for the things that they instilled in them, like compassion and empathy and care. And anyway, I wrote this whole long eulogy, and I got to this Catholic church. And the priest said, oh, can I read your thing? And I said, sure. So I had written it out, so I gave it to him. And he goes, well, it's really well written. But I don't like the thing about the women's names. And I said, I really don't give a shit how you feel. I said, not about you. It's about my dead friend upstairs. He said, well, I know you'll do what you want. I said, you know what? My name is Joseph Daniel Mary Murphy. I said, every man, every male, starting with my grandfather, has always taken Mary as a confirmation name in honor of the Blessed Mother. Is that upsetting? Well, no, that's different. I said, no, it really isn't. He said, well, you'll do what you're going to do. And I did. And I said, you know, I talked for quite a while. And I said, Kitty, I left you a little note. And I said, dear Kitty, I will see you in heaven. Love, Sophie. That was the name that I was given by someone. And then before I ended, I just ad libbed. And I said, you know what? Look at this beautiful place we're in. I said, look at the beautiful stained glass windows, the gold candlesticks, the tabernacle. I said, it's so beautiful. But you know what? When we leave here with Tim, we are the church. We will take the church with us. So then the priest talked, and he quoted a lot of things I said. It said. It was very supportive. So as we're leaving, he's shaking hands with people. And he shakes me, and he says, you really did well. I said, you did pretty good. But then the mother, all the PFLAG mothers from that point on, if I see them in Portsmouth on the street, they'd be yelling across, hey, Sophie. How are you? But they heard that he was upset about my speech. And the mother was �furious. She said, I will never go back to the church. So. 00:47:06 Holly Cashman When did the PFLAG start? 00:47:08 Joseph Murphy Oh, God. I don't know. 00:47:12 Holly Cashman But it was around the 80s and the 90s? 00:47:15 Joseph Murphy Yeah. Probably, I would say, right at the beginning of the epidemic, in the probably mid-80s. 00:47:26 Holly Cashman And the, I mean, it's surprising to hear the, I don't know. I would wonder how many times a church would refuse to have a funeral or would not. Did you hear examples of that in Portsmouth? 00:47:47 Joseph Murphy We did not. No, that was the only time I ran into a problem. No, I never did. But I do have some good, good friends, and it's not the Portsmouth area. One of them is from here. Buddy was my roommate. He was in the Navy here, and he ended up living with me. He came out here. And he met someone, and they moved to Minnesota. But they, two gay men, the man he ended up with, Bruce, was like an organist. He was very talented. And they lived on an Indian reservation because Buddy is Chippewa. And so they always, Bruce would play at all the, like, three churches in the area. He would do the organ music for them on Sundays and all their funerals and this, and never charge or anything. And they would take, and they were very devoted. They would take care of the church cemetery, cleaning it and taking care of it and bringing flowers. They did a huge amount of work, and they still do. And at one point, Bruce's mom was running for some, like, selectment or something. And her opponent went to the bishop and wanted to know if he knew that he had two gay men running the church. And they were forbidden to receive the sacraments. But you know what? Bruce went to see the bishop. And he talked to him, and he said, yes, you can prevent us from taking the sacraments, he said, but do not prevent us from doing our work, he said, because if we don't do the music, there is no music for all those churches and all those people. So they continued to do that work. But that was one of the most heinous things I've ever heard. I said, thank God I'm not out there. I'm going to be at that communion rail in a dress. 00:49:56 Holly Cashman Sophie would make an appearance. 00:49:59 Joseph Murphy Oh, yeah, Sophie Sodomski, this friend of mine who's Polish as well. I'm half Polish. It means Sophie, the woman from Sodom. 00:50:11 Holly Cashman Oh, that's great. So were there other examples of discrimination or harassment? 00:50:25 Joseph Murphy That's one of the things about Portsmouth that you asked me about when I came back from Florida, or or when I moved to Portsmouth, what I felt. And that was one of the things. I felt I could be out. I did not feel afraid. At one point, Seacoast Gay Men were like guards for the Feminist Health Center. Women were getting harassed going into the clinic and stuff, so we were always at the door preventing anything from happening. For the most �part, I don't remember any gay bashings. I never experienced any of that in Portsmouth. The one bad incident was the man that was murdered on Pierce Island years ago from Newmarket. I I know the man closeted. But I never experienced a lot of gay bashing or name-calling. I did in Ogunquit. I mean, we would be walking 00:51:36 Holly Cashman in Ogunquit! 00:51:37 Joseph Murphy Oh, yeah, straight guys would drive by and yell faggots and queers and stuff like that. Oh, yeah, that happened a lot. And there was gay bashings on the beach at night in Ogunquit. But for the most part, I never felt unsafe in Portsmouth. And maybe it's because of the circle I moved in. I'm not sure. I remember one time at a Seacoast Gay Men's meeting when we were very small. We were actually meeting in the conference room of the gay advertising agency I worked at. And someone said, we're talking about possibilities of gay bashing or anything. At the time, our bar was out. What the hell was the name of it then? It was out behind the convention center at the circle. What's the name? 00:52:38 Holly Cashman I'm not picturing it. 00:52:43 Joseph Murphy Something Jones Center. 00:52:47 Holly Cashman At the circle in Portsmouth? 00:52:49 Joseph Murphy Portsmouth Circle, the traffic store where the liquor store is. 00:52:52 Holly Cashman Yeah, I know that and the Roundabout Diner. 00:52:55 Joseph Murphy Where the Roundabout is down from that on Route 1. Anyway, that's where our gay bar was. There was an old meat packing plant in the back lot and that's where the gay bar was. And someone said, we were at a meeting, he said, what if someone knocked on the door and we opened the door and there was a bunch of leather motorcyclists at the door. We'd open our arms and welcome them out at home. So yeah, I fortunately did not experience any of that. 00:53:33 Holly Cashman And And so there were bars that everyone knew were there that weren't known as gay bars? 00:53:37 Joseph Murphy Yeah, they were pretty, they were not like today, they were not mixed. It was 99% gay men and a lot of women at the time. At one time there was a gay women's group, but it didn't last long. But we did partner with them and in a venture we called the Rainbow Connection. We got a grant from somebody to do outreach or something. But they were never strong. It was sad to see them dissipate. One year I remember Seacoast Gay Men had a Halloween party and we invited, it was sponsored by Seacoast Gay Men and the gay women's group. 00:54:31 Holly Cashman �Do you remember what they were called? 00:54:33 Joseph Murphy I'd have to think, I can't. And then we had Seacoast Outright come to the party. It It was great, it was like 60 people there, it was a great event. And I miss those days when we had those events where several organizations coordinated. What the hell was the name of their group? I'll think of it and text you or email you. 00:54:59 Holly Cashman So you mentioned the moment where the first AIDS drug cocktail came out as being kind of a watershed moment. What are some other moments that you remember as like... 00:55:17 Joseph Murphy In the epidemic? 00:55:19 Holly Cashman Or just in general in the community in Portsmouth? 00:55:25 Joseph Murphy I remember many years ago at Gay Pride we went to Portland for the Pride dance. And it was in the early days of Seacoast Outright. And I remember we were like in the parking lot and all of a sudden I saw like three busloads pull up. They were all kids, 15 and up. Gay boys and girls. And I remember crying saying, this is so incredible. When I think of my years at 13 to 15, what they were like. And to see these kids who were like, we're here. And we're queer, get used to it. And they are the only group when The Lifeguards, Gay Men Fight AIDS, wrote up a mission statement. Our mission was only to educate gay men. That was our primary purpose. The only exception is that we would work with Seacoast Outright because they don't want to be separated. We would work with girls and boys, men and women for Seacoast Outright. And we did for years. 00:56:48 Holly Cashman What do you think about, like today, the community or looking forward? What message would you have to the people who are just kind of figuring out who they are? Either about what you experienced that they should keep in mind or kind of looking forward of what? 00:57:17 Joseph Murphy It's a difficult thing because we often talk about at Seacoast Gay Men why we don't have more younger members. And we've had this discussion for 30 years. And I've always said, and I still say it, gay men and young men between 18 and 21, their goal in life is to meet someone and get laid and have a good time. They don't want to come and listen to a bunch of old men. Whether our lectures are really interesting. We do have stuff to tell them, but we haven't yet found the method to do that. We haven't become a mentoring organization. Will we ever? I don't know. I think supporting Outright and things like that is probably one of the most important things we can do because I believe that that is a vehicle for them. We, of course, still encourage. Earlier days we got younger men, but we're an older group now. I mean our median age has got to be 65 now. I don't know the answer to how we can integrate them. I think just continuing to be who we are and where we are. Keep in mind that when Seacoast Gay Men was founded, it was a refuge. It was a safe place for gay men who are not out to meet outside of the bars. It was a safe place for married men to meet and mingle. A lot of people say it's just a viper's pit of older men trying to pick up young men. It has never been that. It has always had that reputation, but it has never been that. I've been part of it for 38 years. In the beginning, we struggled trying to protect people who were afraid. I I remember in the early days of the AIDS epidemic, I was really proud of the group at one point because at one point because it was talking about people living with AIDS and how they should be accepted in the community and the fears about transmission because there was still so much unknown. One of the members, a poor guy, got up and said he was very upset because he was at the gay bar Saturday night and he saw someone there who has AIDS. The whole group jumped down his throat and it was like, oh my God, they get it. This is why we're here. This is why we make a difference. They told him, no, you need to educate yourself. You need to realize how transmission works. There were a lot of moments like that that made me �really proud of Seacoast Gay Men and what we have accomplished. 01:00:42 Holly Cashman Even within the gay community in the early days, there was a lot of fear. 01:00:48 Joseph Murphy Yeah, a fear of the unknown. Another friend of mine, Michael Kirk, who started the Piscataqua Coffee Company years ago, he was sick. He was living in Boston and commuting back and forth. I I was living in Wells, really Ogunquit. So he would come up on the weekends sometimes or we would talk a lot. He was really struggling. He was having not very much success. A lot of his medication was making him ill. And I hadn't heard from him in a couple months, not weeks, not months. And I finally called him. I said, Michael, what's going on? He said, oh, I've been afraid to call you. I said, why? He says, I'm stopping my medications. I can't do this anymore. I said, Michael, I will support you 100% of the way. It's your decision. You've fought so hard for so long. And he did stop taking the medications. And the day that I did the eulogy for Kitty, I went to Boston. He was in the hospital in Boston. He was in a coma. His mother was there. I talked to her many times on the phone, but I had never met him. And I walked over and I bent down and I kissed him and I whispered, Michael, I told you I'd get the last word. Because we were always in competition. His mother cracked up. And then she asked me to do his eulogy. Yeah, he died right after that. And then the other most profound death was my friend Paul and I had a good friend, Billy, who was sick and had been struggling with alcoholism and drug addiction for years. And we worked with him for years trying to get him sober, keep him sober, keep him clean. And he was really sick and he was in and out of the hospital in Boston. And we were down there, like every other week, we were down there with him or bringing him back or bringing him back to the hospital. And at one point he said, I can't do it anymore. And nothing worked for him. Everything he took made him sick. And he was such a beautiful man. Everything he tried did not work. It just did the opposite. So he was going to stop his medication. So Paul and I said, come home, come back to Maine, and we'll take care of you. So we actually moved in with Paul. Paul bought a double, a beautiful pull-out sofa bed for him in his living room. Paul lived in a small little trailer. So we became his end-of-life caretakers. And it was very humbling. It was very hard. And I remember the day he died, I was over visiting, and Billy and I still smoked and Paul had an enclosed porch where we went out to smoke. And that was the bone of contention. Paul would be calling me. He says, I don't know what I'm going to do. Billy's going to burn the fucking house down. Because he's out there smoking and he's going to sleep. So I get on the phone and I said, Billy, you stupid shit. I said, I'm going to tell him to kick you out of the house if you don't stop this. He loves you, but you're not burning his fucking house. He was a good cop, bad cop. I was the bad cop. So anyway, we were smoking that day and he said, and I'm there with the ashtray because he's dropping his ashes. I said, I'm going to burn you with this fucking cigarette. I said, Billy, you can't. You're too weak, you idiot. So anyway, he finished his cigarette and he said, I'm really tired. I'm going to lay down. So we went in and he laid down and Paul and I were having coffee in the kitchen, like 10 feet away from him. And all of a sudden we knew he was more than asleep. And we tried to wake him. He was in a coma. So we called the hospice nurse and we said, what do we do? Because we know he could go in a coma for 10 months. Who knows? She says, just keep talking to him because he probably still can hear you. So we got on the bed with him, one on either side of him, and we held him. And we just kept saying, Billy, it's okay. Let go. Let go. We love you, but let go. It's been really hard on you. And he didn't say anything. He didn't wake up. One tear rolled down his cheek and then he died. And it was like Paul and I looked at each other and it was like his soul just went through us. So I have learned so much from dying men. I can't begin to tell you. The epidemic for me was very cathartic. I've lost a lot of friends. I've cried a lot. But I have learned what's important in life from those men. So life has been good. It's been tough, but it's been beautiful. Between that and my recovery, I am truly blessed. And the people I've met, and I will tell you, I have loved thousands of times. Some maybe for 10 minutes, two days, but I have loved thousands of men. And And it's a gift. 01:06:36 Holly Cashman What would you... I mean, if you think back to that 15-year-old kid in Manchester who was desperately sad after losing all his friends. I mean, can you imagine what's happened since then in your life and what you've been able to accomplish and all the lives that you've touched. What would you say to that kid? 01:07:15 Joseph Murphy One day at a time. Every day is a new challenge. Always be hopeful. And my new tenet of belief in life comes from a meditation book I read early in sobriety that said, don't fight evil, just do good. And I think that's been �what's gotten me through everything. And I will say in sobriety, I have had more pain than I ever thought, emotional pain than I ever thought one could experience. But I did. And when I got through it, I was much stronger. And I was much wiser. I was blessed with a better understanding of... The answer to me is, why are we here? To make a difference. It's on my card. To make a difference is the only thing I want to do. And I would tell a young man or woman not to fear who they are, to embrace who they are. It took me in AA to totally, finally accept my alcoholism. I had a year of sobriety, and I drank again. And I had this conversation with a priest friend of mine, who was part of my circle when I was married, and still in touch with him. And he was very supportive of my coming out and everything. And I called him and told him what he could do with his God, because because I was sick of the fact that he made me queer and a drunk. And I ranted and raved like three hours at this friend. I mean, screaming and crying and saying, how could he do this to me? And after like three and a half hours of that, there was this moment of clarity, and I said, I'm exactly who I was meant to be. I'm exactly who God meant me to be. I'm a gay man who's an alcoholic. But I can live a life of dignity and integrity, embracing who I am. And that was a turning point for me for everything, accepting my gayness, accepting my alcoholism, and moving on to an incredible, incredible life from that point on. My life is incredible because getting sober didn't mean just not drinking. It It meant living, living out loud, embracing the world, living, sharing other people's hopes and pain. That's what life to me is all about, is being involved. And what I gave of myself, I got back a million times over without asking, without, you know, it's karma, it's the universe, it's a gift. 01:10:29 Holly Cashman Doy you know what ever happened to that gay bellboy in the hotel? 01:10:29 Joseph Murphy I lost track of him. I did meet his boyfriend, and he was older, probably 10 years older than him. And they seemed very happy. 01:10:40 Holly Cashman Do you think he ever knew what an impact he had on your life? 01:10:43 Joseph Murphy I I don't. Wow, I've never thought of that. No, I don't. Once I moved away, I was so wrapped up in trying to be who I was going to be. Yeah, I lost touch. Now you've got me on a mission. 01:11:01 Holly Cashman Now we have to move back there. 01:11:03 Joseph Murphy Yes. Yes. 01:11:05 Holly Cashman So what's next in your life? What are you doing now? What are you looking forward to? 01:11:15 Joseph Murphy I don't know that. I try not to really think about it a lot. I'm still working. Two reasons I'm still working is I couldn't live, I could survive on Social Security, but Security, but I don't want to just survive, I want to be able to live. So So I continue working. I work four days a week at the university, 30 hours. I love my job, I love working with the students and parents. 01:11:45 Holly Cashman Here at UNH? �01:11:50 Joseph Murphy Yeah, UNH in Durham. 01:11:52 Holly Cashman Okay, we're colleagues then. 01:11:54 Joseph Murphy Yes, I work in financial aid. 01:11:56 Holly Cashman Oh, we should meet up. 01:11:58 Joseph Murphy I never leave the office, I have my lunch delivered and everything. 01:12:01 Holly Cashman I know, that's the saddest thing, having lunch at your desk when I do the same thing. 01:12:05 Joseph Murphy But I've had some health challenges. I have peripheral arterial disease, which is blood flow. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Seacoast NH LGBTQ+ Oral History Project Description An account of the resource The NH Seacoast LGBT History Project was founded by Tom Kaufhold in 2015. Tom had been collecting papers, ephemera, and artifacts related to or created by the LGBTQ+ community on the Seacoast region of New Hampshire. To tell the story more fully, Holly Cashman, a professor at the University of New Hampshire, began collecting oral histories from the same community. <br /><br />With the assistance of interns and student workers, Dr. Cashman conducted ten interviews over a six-year period. The team processed each interview and created indexes and transcripts. Interviewees, also called narrators, were found through flyers and by visiting with local LGBTQ+ social groups such as Seacoast Gay Men. Participants were given the option to provide their full name or a partial name. This project is ongoing and Dr. Cashman and her team will continue conducting interviews which will be added to this site.<br /><br />Thanks to Holly Cashman, Tom Kaufhold, Aliya Sarris, Lily Pudlo, Zoe Dawson, the narrators, the interns, and the student workers who contributed to this project.<br /><br /><span>View the collections of the NH Seacoast LGBT History Project! Their video archive is available here: </span><a href="https://portsmouthexhibits.org/collections/show/25" target="_blank" rel="noreferrer noopener">portsmouthexhibits.org/collections/show/25</a><span> and the recordings of Women Singing OUT!, a lesbian-based choir, are available here </span><a href="https://portsmouthexhibits.org/collections/show/32" target="_blank" rel="noreferrer noopener">portsmouthexhibits.org/collections/show/32</a><span>.</span> Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral history with Joseph Murphy, February 23, 2019 Subject The topic of the resource New Hampshire -- History LGBTQ+ history Gay men Description An account of the resource An oral interview with Joseph Murphy with transcript and index included. Topics discussed include alcoholism, Seacoast Gay Men, and AIDS. Recorded at the Portsmouth Public Library in Portsmouth, New Hampshire. Creator An entity primarily responsible for making the resource Cashman, Holly (interviewer) Source A related resource from which the described resource is derived Seacoast NH LGBT History Project Archive Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 2019-02-23 Contributor An entity responsible for making contributions to the resource Murphy, Joseph (interviewee) Rights Information about rights held in and over the resource <a href="http://rightsstatements.org/vocab/InC-EDU/1.0/" target="_blank" rel="noreferrer noopener">In copyright - educational use permitted</a> Format The file format, physical medium, or dimensions of the resource MOV 01:12:13 PDF Language A language of the resource eng Type The nature or genre of the resource MovingImage Text Identifier An unambiguous reference to the resource within a given context 3. Joseph Murphy https://portsmouthexhibits.org/files/original/e6a86be4cd438e7099b8da76fce140fe.jpg 65dd98146260c5adcc01d6016616fcf1 https://portsmouthexhibits.org/files/original/74c5c65680a85c70be79b78af8ce1002.mp3 374c8bb8a615ef8c642bb77342f36c1c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Women Singing OUT! Recordings Subject The topic of the resource Women's choirs LGBTQ+ musicians Portsmouth (N.H.) Choral music Description An account of the resource Women Singing OUT! formed in 1999 as a lesbian-based choir focused on social change. They promoted tolerance, diversity, peace, and hope. WSO performed a wide range of musical styles and held biannual concerts in winter and late spring. Led by artistic directors Claudia Frost and later Dr. Deirdre McClure, they practiced weekly at Christ Episcopal Church in Portsmouth. WSO disbanded in 2017.<br /><br />There are eight albums represented in this collection: <em>The Beauty Around Us</em> (2002), <em>We Are Family</em> (2005), <em>Kaleidoscope: Sight &amp; Sound</em> (2007), <em>Celebrate...With Friends!!</em> (2008), <em>Peace &amp; Love</em> (2008), <em>The Sum of Us Sing!</em> (2009), <em>Beyond Tolerance</em> (2010), and <em>Natural Woman</em> (2011).<br /><br />This collection of recordings is part of the NH Seacoast LGBT History Project Archive which is on deposit at the Portsmouth Public Library. Materials in this collection were digitized by intern Kate Persson in 2022. Metadata creation by Special Collections staff, 2023.<br /><br />To see videos from the NH Seacoast LGBT History Project Archive, visit <a href="https://portsmouthexhibits.org/collections/show/25" target="_blank" rel="noreferrer noopener">portsmouthexhibits.org/collections/show/25</a>. To see recordings from the Seacoast NH LGBTQ+ Oral History Project, which was created by Dr. Holly Cashman in collaboration with UNH, the NH Seacoast LGBT History Project, and the Portsmouth Public Library, visit <a href="https://portsmouthexhibits.org/collections/show/32" target="_blank" rel="noreferrer noopener">portsmouthexhibits.org/collections/show/32</a>.<br /><br />Any questions about this collection can be directed to the <a href="https://www.portsmouthnh.gov/library/local-history-genealogy#contact" target="_blank" rel="noreferrer noopener">Special Collections Librarian</a> at the Portsmouth Public Library or to the <a href="https://www.facebook.com/Portsnh/" target="_blank" rel="noreferrer noopener">Seacoast NH LGBT History Project</a>. Creator An entity primarily responsible for making the resource Women Singing OUT! Source A related resource from which the described resource is derived Seacoast NH LGBT History Project Archive Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 2002-2011 Rights Information about rights held in and over the resource View our <a href="https://portsmouthexhibits.org/copyright-information" target="_blank" rel="noreferrer noopener">Terms of Use and Copyright Information</a> Format The file format, physical medium, or dimensions of the resource mp3 Language A language of the resource eng Type The nature or genre of the resource Sound Sound A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Singing For Our Lives recording, 2005 Subject The topic of the resource Women's choirs LGBTQ+ musicians Portsmouth (N.H.) Description An account of the resource A live recording of "Singing For Our Lives" from the album <em>We Are Family</em>. Recorded at Christ Episcopal Church, Portsmouth, NH, by Granite Rocks Productions. Conducted by Sonja Dahlgren Pryor with accompaniment by Kimberley Karchenes. Creator An entity primarily responsible for making the resource Women Singing OUT! Source A related resource from which the described resource is derived Seacoast NH LGBT History Project Archive Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 2005-02-12 Contributor An entity responsible for making contributions to the resource Near, Holly, 1949- Rights Information about rights held in and over the resource View our <a href="https://portsmouthexhibits.org/copyright-information" target="_blank" rel="noreferrer noopener">Terms of Use and Copyright Information</a> Format The file format, physical medium, or dimensions of the resource mp3 04:13 minutes Language A language of the resource eng Type The nature or genre of the resource Sound Identifier An unambiguous reference to the resource within a given context We Are Family Track 17 https://portsmouthexhibits.org/files/original/b5ca93c519df1d91ade7fcf05deb889c.jpg b55ce7d88dba0f24e584d4e6978c6f0b https://portsmouthexhibits.org/files/original/be4947263174bc6f6dd5975099b27a93.mp3 b2e12d33fa6fb75c70d2a81b8a5091ed Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Women Singing OUT! Recordings Subject The topic of the resource Women's choirs LGBTQ+ musicians Portsmouth (N.H.) Choral music Description An account of the resource Women Singing OUT! formed in 1999 as a lesbian-based choir focused on social change. They promoted tolerance, diversity, peace, and hope. WSO performed a wide range of musical styles and held biannual concerts in winter and late spring. Led by artistic directors Claudia Frost and later Dr. Deirdre McClure, they practiced weekly at Christ Episcopal Church in Portsmouth. WSO disbanded in 2017.<br /><br />There are eight albums represented in this collection: <em>The Beauty Around Us</em> (2002), <em>We Are Family</em> (2005), <em>Kaleidoscope: Sight &amp; Sound</em> (2007), <em>Celebrate...With Friends!!</em> (2008), <em>Peace &amp; Love</em> (2008), <em>The Sum of Us Sing!</em> (2009), <em>Beyond Tolerance</em> (2010), and <em>Natural Woman</em> (2011).<br /><br />This collection of recordings is part of the NH Seacoast LGBT History Project Archive which is on deposit at the Portsmouth Public Library. Materials in this collection were digitized by intern Kate Persson in 2022. Metadata creation by Special Collections staff, 2023.<br /><br />To see videos from the NH Seacoast LGBT History Project Archive, visit <a href="https://portsmouthexhibits.org/collections/show/25" target="_blank" rel="noreferrer noopener">portsmouthexhibits.org/collections/show/25</a>. To see recordings from the Seacoast NH LGBTQ+ Oral History Project, which was created by Dr. Holly Cashman in collaboration with UNH, the NH Seacoast LGBT History Project, and the Portsmouth Public Library, visit <a href="https://portsmouthexhibits.org/collections/show/32" target="_blank" rel="noreferrer noopener">portsmouthexhibits.org/collections/show/32</a>.<br /><br />Any questions about this collection can be directed to the <a href="https://www.portsmouthnh.gov/library/local-history-genealogy#contact" target="_blank" rel="noreferrer noopener">Special Collections Librarian</a> at the Portsmouth Public Library or to the <a href="https://www.facebook.com/Portsnh/" target="_blank" rel="noreferrer noopener">Seacoast NH LGBT History Project</a>. Creator An entity primarily responsible for making the resource Women Singing OUT! Source A related resource from which the described resource is derived Seacoast NH LGBT History Project Archive Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 2002-2011 Rights Information about rights held in and over the resource View our <a href="https://portsmouthexhibits.org/copyright-information" target="_blank" rel="noreferrer noopener">Terms of Use and Copyright Information</a> Format The file format, physical medium, or dimensions of the resource mp3 Language A language of the resource eng Type The nature or genre of the resource Sound Sound A resource whose content is primarily intended to be rendered as audio. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yellow Bird recording, 2002 Subject The topic of the resource Women's choirs LGBTQ+ musicians Portsmouth (N.H.) Description An account of the resource A live concert recording of "Yellow Bird" from the album <em>The Beauty Around Us</em>. Directed by Sonja Dahlgren Pryor with accompaniment from Kimberley Karchenes. Recorded at Christ Episcopal Church, Portsmouth, NH, by Granite Rocks Productions and produced by RightWave Recording Services. Percussion by Trish Everitt, Shirley Conrad, and Elizabeth Elwood. Creator An entity primarily responsible for making the resource Women Singing OUT! Source A related resource from which the described resource is derived Seacoast NH LGBT History Project Archive Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 2002-06-02 Contributor An entity responsible for making contributions to the resource Luboff, Norman, 1917-1987 Rights Information about rights held in and over the resource View our <a href="https://portsmouthexhibits.org/copyright-information" target="_blank" rel="noreferrer noopener">Terms of Use and Copyright Information</a> Format The file format, physical medium, or dimensions of the resource mp3 02:26 minutes Language A language of the resource eng Type The nature or genre of the resource Sound Identifier An unambiguous reference to the resource within a given context The Beauty Around Us Track 7 https://portsmouthexhibits.org/files/original/d1c90b3219660bd34c823e76b4742a13.pdf 5c6e1e5c9cccec094b7da49c66687596 PDF Text Text Te4- P~,, / o i.:.-' • ITED . u th , . -- ---·-- SOU,ND: Passe. er train up ---·- ---­ . ANNOUNCER: ----: -- 6 . 30 PY . H. 5 sec. and fade••• E Jtbound Limited! Roar1 n from Wash1 ton, Philadelphia, New York, and great inland cities into the land of mountains, lakes, and ' .. seashore-a 1ft. air-conditioned parlor cars thundering 1 to the heart ·• ot the New E ·> t·· . land Vacationland. Eastbound Limited, . •·w1tp., ·..: . .. '\ . : ;"Ir'" . . yo· r com entator, Ted Dayl, •• SOUND·: Pa \senger train u·p 15 sec. nd fade out ••• -------TED: ' .Lim,:teq --- Good eveni • everyone. This !ta Ted Day, cond, ctor of Eastbound -eetl you f'rom the New E land Vacationla'.rld: :BE3f-ore ·W: Ef' tell you t�e- .• _. fantastic story of the the .le�, ,-leave Ship, a.rie Celeste, • the Phantom . . .: " ' ... . . . , . _, mainland of- New Hampshire and look out across ·ten I1111 � of �·tumblin5.... waves . .,. ' to the dark, low-lying rooks of the Isles of Shoals. The Isles of Shoals, Sta; Island ••• Smutty Nos ••• Appledore-st ern mountain peaks all but ,l lf d by fifty fat oms of Atlantic water. These :rugged:, treeless rocka have resounded with the sound of tramping feet and . , . the zt1 of cutlas·ses aa old Captain Kidd. {they say} unfurled his Jplly Roger and wried his treasur& ot Spanish dubloons and pieces ot e1g- t. !he .old �isherm.en confirm this story by telling of a ghost on A pledol'e Ialand-th& ghost ot a irate k_illed for the prot ction of Captain Kidd's g♦ld. At one time nothing· short of gun point would have induced an 1n- · · ha'b1 tant ot one ot �he other islands to set toot on Appledore after One tsl�der swore tat he really encountered ,his grisly makin its solitary rounds, and he described it aa lumninous and unearthly appearance, lik ce of that ot a glow- aatly and pale-as ashen as the bleached sails of a oste on the Isles of Shoals---Before the Shoals were . �r ght•mares for 'the mariner. One January n1 SOUNDCin diet nt =:::=== back roundj : t, the Islands were plunged into terror and darkness ot a blinding snow.storm and gale which at� the coast with WIND, CREAKING reeks from cape Hatteras to the penobsoott. Bro wn raced salts OF TIMBERS ••• squinted with their weather-eyes into the screaming (CONTINUING . blackness and.��ook their wise old heads TO BOTTOM OF PAGE) ominously. "'Ta1n't fit night for man or beast," they MIii grunted and watched the barometer aa11 lower and lower. Somewhere in th1e turmoil of snow and .ounding sea rides a sturdy ship, her ic�encrusted t1mbera creak1 · with every wild lu.rch, and the wind shrieking throu her haul-ta:rds. The helmsman scrapes 1n vain the frost-covered windows of the pilot-house. The deck p1tchesxw1ldly beneath the feet of the snow-blinded crew. For one terriblt instant the 11 ts or the ship tlash upon vague , forms blacker than the black of the ho ling night. Even as thec.:helmsman spine the great wheel h�rd. aport, (CRASH) (Pianol the doo�ed vessel bear down on the rocks, A m1ghtJ shockl The vessel JOtl8Jlll' leaps, swerves; ber masts snap asunder like dry twigs; her stout timbers are crushed like egg-shells. The hissing CREAKING TI BERS ••• the ta iave• brealt. over le or beams and ropes to t1n1sh the work ot destruction-ALL HANDS LOST! Tlut � morning on lDDDf10I.X.ilJ{ blizzard-swept beaches ot the Islands the ragged. beachcombers found proot that the ill-starred era.ft was r y ladenraisins, almonds from dlaga. One f 1sherman t,lcked up, a sto ped ticking at four o'clook-another found a �terlo ed letters and the initials "P. remained t s." engr ved itn someiseals. tell the story of that bitte.r Janu ry nl.$ht tt the ba ol1tfs of the Isles of Shoalal In 1939 the historic islands are a blessing,11111 not a curse, to IXll New Hampshire and the N<" England Vacationland. The Isles aite ot world.;.f'a ous religious conferences at Goa :rt, or lhoale are the f marine-study .. ' courses, and of care-free fishing and swimming parties-the Isles of Shoals, .. · , New HampShire"s last outpost of e1v111zat1on, whose wave•da.shed crags hail :··,: _; . 11'� . , . t,o ahips from chaotic lands beyond the seas the peace and charm of New .� . . �-. _Engla.ndl And now the story of the Marie Celeste, another unsolved IIJ,dl" dXID tragedy or the �ea: THE PHANTOM SHIP ••• · a:';== HESTRA: Legend of the Sea, �P 25 sec. and fade, keep1 - - in background. (a1stantJ· . "" Marie Celeste set sail from New York in the year 1872, with a cargo ot alcohol IJOOOOCR 1n her hold. A smacking breeze filled her saUa· and a carefree crew manned her ropes as she plowed outside the harbor bar and furrowed the White.capped' waves of the open water. Some weeks later a British ship, pursuing her routine course al<ing the trade routes, si ted a eratt heading toward her. The En liah crew hailed the unknown bOat, but received no reply. '' The Captain ordered a number ot the crew to man a small- boat and board the strange vessel. Some or the auper3t1t1ous obs heotitated to look into the mystery, tor t.he sight ot a tuU-r1gg 4 ship-all ca.nvasa unfurled-with no orew visible to sail her brou t eohoe.a ot dark tales of phantom ab.1.pe with ghostly orews. When the men boarded the vessel they tound what you have exper.ted-no one present-the daily rep0rt in the log-book half-written, a dinner partly eat­ en, a baby's high-chair at the capt,ain's table1 not a sign of oo,mot1on, �e Marie Celeste apparently ro ,)bed of her pass en ers and crew by ,iie sweep ot The Fr1t1sh mere antman took the mystery ip into port, �re , it.: Ol 0RCH&3T =�. ;;.:::-::;<,:...::::; TBlH A t f l ; L....�.,,.i;....,_ e ••• n/ t d. • u nov r v n S no let • ri t l i tan ): A , • .:::::.-::: lEB�: ER -•·--•..-,�..... ...... .. .,...,.,...,�.,..,-., "' l -11, I 4:t.1nl.. 1t ot he 0 n 1t1ah 0 � t le <'It 1n. · luston a to ft i ft ':1 inly �. t k r ,. e () 1 . V 1n � .. t t. 1 u a fl r�D: And th t e�,1 ;....= e Cu • t ., h loa on., l"' ve l. Olt th: t r t ats uldJ1 • t tmn The oapt 1n nd c eet.e , 1n th 003t oat I lrJ t her- to ah.ore. BR11181- I' , B 1 tusos1 ••• ., � r 1t .. . t). «• 1 at,fl 1 th." ♦.,., �d14n •t. see t'ne p1ct.ure) 1\. t,oltl ·d •.� � ....• . .., "'' ' ' . u03t 1nllulllBn' CU.m\i�t "•.111:·...:__.Ml ;{J •mb&re ot �• o. ��· . . l • . . · w1tn ut � t ... Qo• cau·�ed others" to c�\ ,�u1c 1 de, � ... .: open:f7 t1ll� mu.tll\Q.,'1t-e 1n -ef. · \BG qf · \h� Ca�1.n• �� , �I\,. �'tt'ned )If"',/' •. ' . _ '" · , _ . _ . ., , . ,;, ' _ . , -. '.'. . . � ;: . .. , 0 . t? � �!� Ml:, i . by hlaselt, 'he {�a &me. �d· o_tt\' :'1.�cl::t�G- _,����\j ·� · a'f11n{1,1?1$ boom. · .· , ., :;TDI · .. ' �;-• ,'.' ,'• ·; , ..:· i•'r· - . · , • •. . g 11.10, U&, t.b..�: s.tte:np��n _ . ,'l'hen \be -�r�G'.,��i'�at�: fl(a:1..i.�·rin: �;:;h��i,,� �...,xwaxrtAld4. , � .. . ·, .· :�/···<�;. irea. i. "alt &tiii:) l:ia :.tot;i-.�:ir.l, m, · 1u10w t ·". · 'lftlmSt, ,1.•11 be\ . .,.;. a.on' �.:.�-·- ·-: ··-:-.\"r-,.: _;-, " .• , . ■I . ei � __ .; '!, �dl b a eh:�60 . , �1rae, : · lon �oz . tb.1 1ne; IDI l'w bt#ttU ex!)80t .• � .. •,·>· , ', 14 �� .. ta.in��� .. & St. .'1,t,e _;ai�sc-'t, lfell.;: .. norm. ., =• -l we.,.l, Oo ll:! · · n .. • p · J.�.o. ·· .- · · · :i:"' · '7f«tr r;,;:·· 11 . . .-t,ctl.ls" wt,.y- a, �sh in is • "oh8 I'"' U_..,tmtQS�J1L�\1'lflf ,_; .)._ •, .: . . -·_:: ·: .. .•.-·:, :-- . �. ___ , .... ,.?;·. _·. -.- •, ::_e,�-�··?�f �.. _.··-;�-,._,· '\' '. . . :·,' curu:ird · re t' , ' r �'" . nAf'te� considerable re�· a�h,'' he MY .. "l .. origin of·��- c:u.st.o . 1a loot 1. the oonclusion that 't V --�- 1 t.rrad1t1eitll of the eea. rJi.xt. the 'gfm ' l o. ln 1on of e ·because a ship 1s difficult.. to handle, ea,. e tally in coni'ln •. I ,· '. • . ..... er,Pl&>,t,o 1m.e , . t it t•: \,:, . , epn-0ea." tan• well, tbat t a t�t.wa: bt.lt ser1oualy,the �ar of su.rt and a .tatit � J'W'tn1ng tide do hold a str · e tasc 1nat1on tor ue on the Bew ��.ant. ..a•bc>�. Me.rty. of us 1th s· 11:s and �hors in our blood get a i-eollJ' · great tick out of · tob.ing � ondlo a regatta ot coast-wise eoa t?"af t1C even today.• .mot-or ln.u.nohea, tro.J$p sto meris. 1':re!gnt.ero, pa.sa9!1Sff' b.,aa. and -nwt gN.Ceful achoo�cre a.."id o1eel old br1es to1lrrJlnS· a\ th• bo• esom.owb.e:re oute-1de the blteakwe.ter. YOtt et1ll. h� · · let.,. a., of ) . · th• aea, eomo lau htlble. some 1'h.ich send tho cb.111 of rive· to . t�ue,,, JOU?' marrow. One quaint ocenl\ trad1tto"1 1e rel ted by old Billy the Dane . - ln ·JObrt uaaett�ld • a aea Oha.nt,e,t 11 .JOfXJCJIXnXI · • •Goneys -and gull1os _ an' l 1 ot t. e -b.1.rde ' the oea ,. n.et a.in• t no b11'd-a, net really, • 15,.. ' .. . E1lly the n�.ne. · .. ...,,�,mllllee, nor gullies,. ·nol·� n1;tc t , ll; ' said he., 't..�,· t --��' ��r,ly the eperr1ts of m:1r1nere ·11v1ng again.• · , \ i V i I (· J' I r ! �thin• but soul . of t . e drowned.• . ,, _., · Soule d • t mod n • t!: e l! ct d , An ' the.~ thero re navel' n reJ round. o ru1 i.¥1 t ne11·e e' , !'•Ail,' mewy ·, the lite · oy · 110 ,'ihey tleh s, t ey ne •e17 vii , tnn s l oy sottle a.ad d1p., at,che , they _&Ml e tho1r ·•1nss; When a 1lb1. c :io .... by, t :y fly t,o 1 o� at t..'le , Mp 'l' an frew::;1�, ru ( XhOll� ooyb -n n t li t u A nc:i:>·.o l'I t 0 l".!ig an)--""I .., ERNEST t I. "'-Y over ll o• t !J bi o' : t.he sea. •,._ ea- co t.f tt It ;v · you. a -t . I .V . , ·etel': in th t pile ot j tnk? ··adgst hero n xt 'C'lintarl int � y, ho · .83. � y u , o lt doOC "'_-�:;;:. we ,:1, a.ny , n.y, you tu:l'!l _tll1 · d1, ·-•er-•-you-••ah-••loo ,,_ into it I .e A 1oturo a· oea == na C . !UlC-n Y<>u bGt I do. t h urit ln r,, ' t e.l th� so o ld y �- 9tlf!Mlnr!t F on1 ,. u lins -me�J, en y u · 4 e:r-ef 1ae t. 1 D 1 ,,,,.: · '."'•�t at 1:�•I her � t · t one t.heite y. · here • s the d t clo-8811 t 1.1 • o by E�ntbound ..1 it ?co · doos. lt wortt, · und. and round an co e. out nt r TED f e . 1n . TE!H o. , • • aiek Ro -�r , tum tt on� · y t.. e TEO: -� ul b8 tam bl wtn• . t t t ure, in ta t, - I ly t e .D ... • ••• � 1 ns o,I' f1sb ·And co 1 . . TEDt • you 1Bb.-........ I tel so:met otoh. In tho di :t.mnco · aton · ~e s:no nto the st ti · n at rorth Train oodet.ook. m<l r;a · e tu. b't in 011\ ot \he . J"1 :r oare t The:,• re bJ ming two a t1ow tor �- sno"1 r1de �? the tftdlllfay. S!',Y, Wh<ire• s that., � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Eastbound Limited" Scripts Subject The topic of the resource Portsmouth (N.H.) Radio scripts Radio plays New Hampshire Description An account of the resource “Eastbound Limited” was a scripted, weekly radio drama that aired on WHEB, a station owned by Granite State Broadcasting Corp. and operated out of Portsmouth, New Hampshire. Each episode functioned as a show-within-a-show with the program guided by the conductor of the Eastbound Limited, a train that traversed the tracks of New England, heavily favoring New Hampshire. The conductor would introduce a stand-alone drama based on the location of the train. The radio show had a cast and crew that included Ted Day, Ernest C. Maby (1919-2004), Ida Gerry, Charles Day, Jacqueline Foster, and Virginia Tirrell. The scripts in this collection were originally owned by Theodore “Ted” Chipman Day, one of the original producers of “Eastbound Limited.” His son Mark C. Day gave them to Edward W. Maby, son of Ernest Maby, in 2008. Mr. Maby donated them to the library in November 2021. This collection is permanently housed in the Portsmouth Public Library Special Collections. The digital images are available here for research and public viewing. Date A point or period of time associated with an event in the lifecycle of the resource circa 1939 Identifier An unambiguous reference to the resource within a given context PPL-MS: 2021.5 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Phantom Ship script Subject The topic of the resource Radio plays Radio scripts Mary Celeste (Brig) Description An account of the resource Partial script (pages 1-6) for the radio play, "The Phantom Ship." The script recounts the story of the Marie (Mary) Celeste, a ship found abandoned near the Azores Islands in 1872. Ted Day and Ernest Maby are the two narrators of the script. Source A related resource from which the described resource is derived Eastbound Limited Scripts Collection Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource circa 1939 Rights Information about rights held in and over the resource View our <a href="http://portsmouthexhibits.org/copyright-information" target="_blank" rel="noreferrer noopener">Terms of Use and Copyright Information</a> Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource eng Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context PPL-MS: 2021.5.062-067 https://portsmouthexhibits.org/files/original/e8d8bfd2c778e1e093807b14993a77bd.jpg c88afa9f4999c1d7bcd507618625e92d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portsmouth, New Hampshire and Strawbery Banke Slide Collection Subject The topic of the resource Portsmouth (N.H.) Strawbery Banke, Inc. Slides (Photography) Gardens Description An account of the resource English colonists established a settlement in Portsmouth in 1623 and called it “Strawbery Banke.” This area of Portsmouth, which came to be known as Puddle Dock, has cultural and historical importance to the city. In order to help tell the story of the area, Strawbery Banke Museum was developed in 1958, following urban renewal efforts that demolished much of Puddle Dock and the South End. Today, Strawbery Banke Museum sits on 10 acres of land and is home to 32 historic buildings. <br /><br />The 29 slides in this collection depict scenes from Portsmouth and Strawbery Banke Museum, including several historic houses and street views. They offer a unique view into the early years at Strawbery Banke Museum, prior to many of the houses' restoration efforts. <br /><br />To learn more about Strawbery Banke Museum, its historic houses, and local preservation efforts, visit <a href="https://www.strawberybanke.org/" target="_blank" rel="noreferrer noopener">strawberybanke.org</a> or visit Special Collections on the 2nd floor of the Portsmouth Public Library. Source A related resource from which the described resource is derived Portsmouth, New Hampshire and Strawbery Banke Slide Collection Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 1930s-1960s Rights Information about rights held in and over the resource View our <a href="https://portsmouthexhibits.org/copyright-information" target="_blank" rel="noreferrer noopener">Terms of Use and Copyright Information</a> Format The file format, physical medium, or dimensions of the resource JPG derived from TIF Language A language of the resource eng Type The nature or genre of the resource StillImage Identifier An unambiguous reference to the resource within a given context PPL-P: 2014.1 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Yeaton-Walsh House at Strawbery Banke Subject The topic of the resource Historic buildings Portsmouth (N.H.) Strawbery Banke, Inc. Description An account of the resource Exterior photograph of the Yeaton-Walsh House, partially obstructed by a tree, located on the corner of Puddle Lane and Atkinson Streets at Strawbery Banke Museum, Portsmouth. The house was built around 1794. Source A related resource from which the described resource is derived Portsmouth, New Hampshire and Strawbery Banke Slide Collection Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 1960s Rights Information about rights held in and over the resource View our <a href="https://portsmouthexhibits.org/copyright-information" target="_blank" rel="noreferrer noopener">Terms of Use and Copyright Information</a> Format The file format, physical medium, or dimensions of the resource JPG derived from TIF Language A language of the resource eng Type The nature or genre of the resource StillImage Identifier An unambiguous reference to the resource within a given context PPL-P: 2014.1.022 historic building Strawbery Banke https://portsmouthexhibits.org/files/original/888c10e1239d14d1586edb266c9c9034.jpg 0bc0681f6de4f79a03ba046e8f991d75 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portsmouth, New Hampshire and Strawbery Banke Slide Collection Subject The topic of the resource Portsmouth (N.H.) Strawbery Banke, Inc. Slides (Photography) Gardens Description An account of the resource English colonists established a settlement in Portsmouth in 1623 and called it “Strawbery Banke.” This area of Portsmouth, which came to be known as Puddle Dock, has cultural and historical importance to the city. In order to help tell the story of the area, Strawbery Banke Museum was developed in 1958, following urban renewal efforts that demolished much of Puddle Dock and the South End. Today, Strawbery Banke Museum sits on 10 acres of land and is home to 32 historic buildings. <br /><br />The 29 slides in this collection depict scenes from Portsmouth and Strawbery Banke Museum, including several historic houses and street views. They offer a unique view into the early years at Strawbery Banke Museum, prior to many of the houses' restoration efforts. <br /><br />To learn more about Strawbery Banke Museum, its historic houses, and local preservation efforts, visit <a href="https://www.strawberybanke.org/" target="_blank" rel="noreferrer noopener">strawberybanke.org</a> or visit Special Collections on the 2nd floor of the Portsmouth Public Library. Source A related resource from which the described resource is derived Portsmouth, New Hampshire and Strawbery Banke Slide Collection Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 1930s-1960s Rights Information about rights held in and over the resource View our <a href="https://portsmouthexhibits.org/copyright-information" target="_blank" rel="noreferrer noopener">Terms of Use and Copyright Information</a> Format The file format, physical medium, or dimensions of the resource JPG derived from TIF Language A language of the resource eng Type The nature or genre of the resource StillImage Identifier An unambiguous reference to the resource within a given context PPL-P: 2014.1 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jones House at Strawbery Banke Subject The topic of the resource Historic buildings Portsmouth (N.H.) Strawbery Banke, Inc. Description An account of the resource Exterior photograph of the Jones House at Strawbery Banke Museum. Today the house operates as the Discovery Center for Families. It is located on Puddle Lane, Portsmouth. Source A related resource from which the described resource is derived Portsmouth, New Hampshire and Strawbery Banke Slide Collection Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 1960s Rights Information about rights held in and over the resource View our <a href="https://portsmouthexhibits.org/copyright-information" target="_blank" rel="noreferrer noopener">Terms of Use and Copyright Information</a> Format The file format, physical medium, or dimensions of the resource JPG derived from TIF Language A language of the resource eng Type The nature or genre of the resource StillImage Identifier An unambiguous reference to the resource within a given context PPL-P: 2014.1.009 historic building Strawbery Banke https://portsmouthexhibits.org/files/original/a0787a4aaba1e80a83fd28ae6285ca4f.mp4 ca417daf2873ed95128ccfd3cffd10db https://portsmouthexhibits.org/files/original/072f3a4727ad82e2255878e94b6cf169.JPG 4327f8e91683749c2bff3c2f63a2478d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cold War Portsmouth Subject The topic of the resource Cold War Portsmouth (N.H.) 1950s Portsmouth Naval Shipyard (U.S.) Pease Air Force Base Description An account of the resource The Cold War was a 45-year standoff between the United States and the Soviet Union and their respective allies. In the years following WWII, the US and the USSR began building and testing atomic weapons and the threat of nuclear annihilation was never far from anyone’s mind. Thus began a nuclear stalemate that would last until the 1990s. <br /><br />Arguably, it was the 1950s that experienced the strongest impact of the standoff. America had just survived WWII and now had to watch an arms race escalate on their tv sets. Bomb shelters were built and school children practiced attack drills. Films turned atomically mutated creatures into horrifying monsters while the public vilified Hollywood actors accused of being communists. And the space race began. It was in 1957 that Sputnik was launched by the Russians and the US followed suit one year later with Explorer I and President Eisenhower signing a public order that created NASA. <br /><br />The major events that were happening on the global stage catalyzed change in Portsmouth. The 1950s were a time of rapid growth as the Seacoast Region was transformed by military expansion. <br /><br />Pease Air Force Base was built to house bomber jets capable of delivering nuclear bombs to the Soviet Union, and the Portsmouth Naval Shipyard transitioned to the production of nuclear-powered, fully submersible submarines. Between 1950 and 1960, Portsmouth’s population increased by about 8,600 people to reach 26,900, which was larger than the current population of around 22,000. This era saw the birth of the “Baby Boomers” when World War II veterans had growing families. Transportation, mobility, and popular culture were transformed, and the vintage style now known as “Mid-century Modern” was new. Housing developments of colonial capes and ranch houses were built at the outer edges of the city. Highways bypassed the downtown to move an increasing number of automobiles on the roads. Businesses flourished and began to move out of town as well. <br /><br />This collection serves as historical documentation of Portsmouth's economic, social, and cultural life during the Cold War period. Historical photos and citizens' recollections were used to capture a snapshot of what life was like in Portsmouth during the Cold War - from where people lived, shopped, and ate to urban renewal and other social and cultural aspects of daily life. <br /><br />The items in this collection were created by Preservation Company (Kensington, NH) in collaboration with the City of Portsmouth's Community Development Department and the NH Division of Historic Resources as part of an agreement when the federal Paul A. Doble Army Reserve Center was transferred to the City for its adaptation and reuse as the new Senior Activity Center. <span>This historic and photo documentation mitigation effort was funded with Portsmouth Community Development Block Grant Funds.</span><br /><br />On May 18th, Portsmouth Public Library hosted a program in conjunction with Portsmouth's Community Development. The program included a screening of the Cold War video included in this collection, along with recollections shared by former and current Portsmouth citizens about life during the 1950s. You can view the recording of this program on the library's <a href="https://youtu.be/RHs81R8v6so" target="_blank" rel="noreferrer noopener">YouTube channel</a>. Creator An entity primarily responsible for making the resource City of Portsmouth and Preservation Company Source A related resource from which the described resource is derived Cold War Portsmouth Collection Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 2020 Rights Information about rights held in and over the resource © 2020, Materials prepared by Preservation Company for the City of Portsmouth, All rights reserved by the City of Portsmouth. View our <a href="https://portsmouthexhibits.org/copyright-information" target="_blank" rel="noreferrer noopener">Terms of Use and Copyright Information</a> Format The file format, physical medium, or dimensions of the resource PDF MP4 Language A language of the resource eng Type The nature or genre of the resource Text MovingImage Contributor An entity responsible for making contributions to the resource Metadata and Omeka entry by K. Czajkowski, May 2021 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 15 m 35 s Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cold War Portsmouth: A Snapshot of Life in the 1950s Video Subject The topic of the resource Cold War Portsmouth (N.H.) 1950s Pease Air Force Base Portsmouth Naval Shipyard Description An account of the resource This 16-minute video provides an overview of what life was like in Portsmouth, New Hampshire during the 1950s. The video was produced by Preservation Company for the City of Portsmouth in collaboration with the New Hampshire Division of Historic Resources and funded with Portsmouth Community Development Block Grant funds.<br /><br />Sources for the video include the Portsmouth Athenaeum, Strawbery Banke Museum, Portsmouth Public Library, and interviews with Sherm Pridham, Ted Connors, Valerie Cunningham, Sarah Bodge, Kevin MacLeod, S. Lorraine Boston, and Harold Whitehouse, Jr. <br /><br />This video is also available on the City of Portsmouth, New Hampshire's YouTube channel: <a href="https://www.youtube.com/watch?v=44THcW2Lh2s" target="_blank" rel="noreferrer noopener">https://www.youtube.com/watch?v=44THcW2Lh2s</a> Creator An entity primarily responsible for making the resource City of Portsmouth and Preservation Company Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 2020 Contributor An entity responsible for making contributions to the resource Community Development, City of Portsmouth Rights Information about rights held in and over the resource © 2020, Materials prepared by Preservation Company for the City of Portsmouth, All rights reserved by the City of Portsmouth View our <a href="https://portsmouthexhibits.org/copyright-information" target="_blank" rel="noreferrer noopener">Terms of Use and Copyright Information</a> Format The file format, physical medium, or dimensions of the resource MP4 Language A language of the resource eng Type The nature or genre of the resource MovingImage https://portsmouthexhibits.org/files/original/47c5fd76169bcc81e9bd277ba452b609.pdf 9cacbd727a0641beee56326a92eb0b2a PDF Text Text ����������������������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Haven School Parent-Teacher Association (PTA) Collection Subject The topic of the resource Parents' and teachers' associations Associations, institutions, etc Parents Teachers Portsmouth (N.H.) Schools Elementary schools Minstrel shows Blackface Description An account of the resource Parent-Teacher Associations have existed since the late 1890s. These groups advocate for improvements in the lives of children as demonstrated by the instrumental role they played in the adoption of school lunches, the institution of child labor laws, and the promotion of transportation safety, sex education, and tobacco and alcohol education. <br /><br />Through the years, Portsmouth schools adopted their own PTAs, including Haven School in the South End which opened in 1846. The Haven School PTA was a volunteer organization and many parents were actively involved throughout the years. A robust Procedure Handbook was compiled each year and contained information about the National Parent-Teacher Association, a listing of the by-laws, newspaper clippings featuring Haven School and its students, and flyers and programs from school events including minstrel shows and "Lawn Fetes," among other documents and ephemera. The school closed in 1969 when Little Harbor School was built as a replacement. The last Haven School PTA president was Jean Pecunies (1927-2013). <br /><br />It must be noted that several of the volumes in the Haven School Parent-Teacher Association Collection contain photographs that depict performers in blackface and other racist costumes. These performers took part in Haven School's annual minstrel shows. Minstrel shows or minstrelsy was a form of racist musical theater that developed in the early 1830s, decades before the Civil War. These shows were primarily performed by white people donning blackface makeup whose comedic acts relied on stereotypical depictions of Black people. These depictions contributed to the codification of blackness as caricature. While minstrel shows saw a decline on the professional scene around 1910, amateur performances, including school shows, remained popular until the 1960s. <br /><br />This collection was donated to the Portsmouth Public Library by Margaret Pecunies Olson in the summer of 2019. It is permanently housed in the Portsmouth Public Library Special Collections. Materials will continue to be digitized as time and staffing allow.<br /><br />In 1982, a reunion was organized to bring together former residents of the Puddle Dock neighborhood, also known as the Haven School neighborhood. Photographs gathered as part of that effort have been digitized and are available for viewing on <a href="https://portsmouthexhibits.org/collections/show/2" target="_blank" rel="noreferrer noopener">The Haven School Neighborhood Project</a> page. Creator An entity primarily responsible for making the resource Pecunies, Jean L. (Moran) (1927-2013) Source A related resource from which the described resource is derived Haven School Parent-Teacher Association (PTA) Collection Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 1900-1974 Contributor An entity responsible for making contributions to the resource Scanning, metadata, and Omeka entry by K. Czajkowski, March 2021 Rights Information about rights held in and over the resource View our <a href="https://portsmouthexhibits.org/copyright-information" target="_blank" rel="noreferrer noopener">Terms of Use and Copyright Information</a> Format The file format, physical medium, or dimensions of the resource Jpg derived from Tif Language A language of the resource eng Type The nature or genre of the resource StillImage Identifier An unambiguous reference to the resource within a given context PPL-MS: 2019.1 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1949-50 Haven School PTA Scrapbook Subject The topic of the resource Scrapbooks Portsmouth (N.H.) Parents' and teachers' associations Elementary schools Minstrel shows Blackface Description An account of the resource A scrapbook-style procedure manual in the shape of Haven School created by the Haven School Parent-Teacher Association. The book contains black and white photographs of students, the building, and events including minstrel shows; newspaper clippings; an envelope of correspondence; reports from committees including the Athletic Committee; local and national by-laws; students' drawings; programs from events; napkins; and budgets. Creator An entity primarily responsible for making the resource Haven School Parent-Teacher Association Source A related resource from which the described resource is derived Haven School Parent-Teacher Association (PTA) Collection Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 1949-50 Rights Information about rights held in and over the resource View our <a href="https://portsmouthexhibits.org/copyright-information" target="_blank" rel="noreferrer noopener">Terms of Use and Copyright Information</a> Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource eng Type The nature or genre of the resource Text StillImage Identifier An unambiguous reference to the resource within a given context PPL-MS: 2019.1 PTA Procedure Book, 1949-1950 20th century Haven School South End https://portsmouthexhibits.org/files/original/f5ddc68d0b58e08f24ce4698a1a714a9.jpg 23df861814e4cfcaa104556827991fc2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Helen Pearson Portfolio Subject The topic of the resource Art portfolios Drawing Still-life in art Figure drawing Watercolor painting Illustration of books Creator An entity primarily responsible for making the resource Pearson, Helen (1870-1949) Source A related resource from which the described resource is derived Helen Pearson Portfolio Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource Late 19th century-early 20th century Rights Information about rights held in and over the resource View our <a href="http://portsmouthexhibits.org/copyright-information">Terms of Use and Copyright Information</a> Format The file format, physical medium, or dimensions of the resource Jpg derived from Tif Language A language of the resource eng Italian Type The nature or genre of the resource StillImage Identifier An unambiguous reference to the resource within a given context PPL-AA: 2020.3-61 Description An account of the resource The items in this collection are part of Helen Pearson's portfolio of work that she created around the time she attended Cowles School of Art in Boston. Portsmouth Herald newspaper articles place her there in 1890, though some of her pieces are dated in the surrounding years.<br /><br />Many of the original pieces included in the portfolio are unfinished drawings and sketches. Pearson primarily used charcoal and graphite pencil. She continued to work with graphite throughout her career, most notably in her drawings for <em>Vignettes of Portsmouth</em>. For some of the works in the portfolio, Pearson used live models, but many of her drawings are of busts or statues, likely drawn from casts or other references. Other works collected in the portfolio include prints of pieces by Maxfield Parrish, William Roffe, and Jacques Lubin, among others, as well as an original painting by Boston artist C.E. Heil.<br /><br />Helen Pearson was born on November 13, 1870 to parents Amos and Susan Pearson. Amos Pearson was a florist and music teacher originally from Ipswich, MA. Susan E. (Miller) Pearson was an artist and musician from Portsmouth. Helen Pearson attended the Cowles School of Art in Boston sometime around 1890. She also trained as a concert pianist, playing with the Schenectady Symphony Orchestra in New York. In 1913, Pearson’s drawings were featured in <em>Vignettes of Portsmouth, New Hampshire</em>, a book she collaborated on with Harold Hotchkiss Bennett. She died on July 19, 1949 at her home on Broad Street in Portsmouth.<br /><br />This collection was gifted to the Portsmouth Public Library by Richard Candee in January 2020. It is permanently housed in the Portsmouth Public Library Special Collections. The digital images are available here for research and public viewing.<br /><br />More of Helen Pearson's work can be seen in <a href="https://portsmouthexhibits.org/collections/show/8">The Helen Pearson Drawings Collection</a>. Her <a href="https://portsmouthexhibits.org/collections/show/7">collection of bookplates</a> is also viewable and includes her own bookplate which features an original drawing of a meteor over Portsmouth. Contributor An entity responsible for making contributions to the resource Scanning, metadata, and Omeka entry by K. Czajkowski and P. Vassiliev, December 2020 Miscellaneous Miscellaneous Put whatever you want in here. The digital images in this collection were captured using a HoverCam Flex 11. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cast drawing of three busts, 1893 Subject The topic of the resource Busts Drawing Michelangelo Buonarroti, 1475-1564. Dying slave Description An account of the resource A cast drawing by Helen Pearson. Charcoal or graphite on paper. Three busts are drawn side-by-side; right is possibly the bust of The Dying Slave by Michelangelo (1475-1564), carved between 1513 and 1516. "Helen Pearson '93" is handwritten in the bottom right corner. Paper is mounted on thin cardboard. Creator An entity primarily responsible for making the resource Pearson, Helen (1870-1949) Source A related resource from which the described resource is derived Helen Pearson Portfolio Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 1893 Contributor An entity responsible for making contributions to the resource Michelangelo Buonarroti (1475-1564) Rights Information about rights held in and over the resource View our <a href="http://portsmouthexhibits.org/copyright-information">Terms of Use and Copyright Information</a> Format The file format, physical medium, or dimensions of the resource Jpg derived from Tif Language A language of the resource eng Type The nature or genre of the resource StillImage Identifier An unambiguous reference to the resource within a given context PPL-AA:2020.56 19th Century drawing Pearson https://portsmouthexhibits.org/files/original/13b9edfdfa214fe8037580b80498ee61.jpg 8ca86b2039b2fc5f4f4ba13dfea046c0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Henry Clay Barnabee Collection Subject The topic of the resource Henry Clay Barnabee Description An account of the resource Henry Clay Barnabee was born in Portsmouth, New Hampshire, in 1833, the son of a stage-driver turned innkeeper in Portsmouth. At the age of twenty, Barnabee moved to Boston, where he worked in the dry goods business while also pursuing acting and amateur singing. In 1859, he married Clara George of Portsmouth in Warner, New Hampshire, where her family originated. They made their home in Jamaica Plain, Massachusetts. In 1865, Barnabee made his formal performance debut and began touring New England with a concert troupe. In 1878, he joined the Boston Ideals, a group formed to present Gilbert and Sullivan’s operetta, H.M.S Pinafore, though the Ideals would go on to perform other operettas. Barnabee and two other actors from the Boston Ideals formed the Bostonians in 1887. The latter group toured widely, making a number of transcontinental trips, until it finally disbanded in 1904. Its mainstay production was Smith and DeKoven’s comic opera, Robin Hood, in which Barnabee played the role of the Sheriff of Nottingham. Clara George Barnabee died in 1906, the year in which Barnabee’s career essentially ended. Henry Clay Barnabee published his autobiography, My Wanderings, in 1913 and died in 1917. According to the Library Trustee Meeting Minutes Volume, Dec. 1883 – Oct. 1939, page 62, meeting of September 24, 1907, the Henry Clay Barnabee Collection was offered to Portsmouth Public Library in September of 1907 by Barnabee himself. The Library Trustees accepted the gift and were to confer with Barnabee about his wishes for the collection. An article in the States and Union newspaper, September 9, 1909, leads one to wonder when the collection actually physically arrived at the Library. Plans were being made at that time to house the collection in a special room described in great detail in the article. Barnabee was working on an exhibition to be mounted in the Library in 1909. It is unclear from available materials if that exhibition ever materialized or if the collection was even on site at that time. The original collection was assembled between 1866 and 1906 by Henry Clay Barnabee and his wife, Clara George Barnabee. Some of the collection was reportedly transferred to the Lamb Club in New York City according to Hannah Fernald in 1943, as quoted in the Portsmouth Herald April 23, 1943. The current collection consists of approximately 10 linear feet of materials, including scrapbooks, photograph albums, loose photographs, musical scores, and books, as well as a small number of other loose items such as a large daguerreotype of a child (probably Barnabee) and two framed watercolors of Barnabee in costume. Most of the material dates from 1866-1906. There are a few items before and after that range, most notably the program from a testimonial held in Barnabee’s honor in Boston during March of 1907. It is arranged in eight series, outlined in a series-level finding aid. The collection was arranged by Woodard D. Openo, an Archives student in the Simmons College Graduate School of Library and Information Science at the time, in the fall of 1995. Library staff and Simmons College interns have been working on a detailed finding aid since spring of 2010. During the spring of 2014, the New England Archivists Community Outreach Project spent time indexing and scanning parts of the Barnabee collection. In 2018, funds from the Rosamond Thaxter Foundation were procured for the specific use of cleaning and rehousing items from Box Series II B. 1-9 and Box VII Libretto Series. Source A related resource from which the described resource is derived The collection was assembled by Henry Clay Barnabee and his wife, Clara George Barnabee between 1866 and 1906. It was donated to the Portsmouth Public Library between 1907 and 1909 by Henry Clay Barnabee, himself. Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections, Portsmouth, New Hampshire. Date A point or period of time associated with an event in the lifecycle of the resource Donated to the Portsmouth Public Library between 1907 and 1909. Collection arranged, 1995. Finding aid created, 2010. Collection partially indexed and scanned, 2014. Grant funds procured for a collection-level assessment by the Northeast Document Conservation Center (NEDCC), 2015. Grant funds procured for the cleaning and re-housing of the collection, 2018. Digital collection created in OMEKA, 2019. Contributor An entity responsible for making contributions to the resource Collected by Henry Clay Barnabee and Clara George Barnabee. Arranged by Woodard D. Openo, 1995. Digitized by Nicole Luongo Cloutier, Jessica Ross, Alexa Moore with assistance from Portsmouth Public Library volunteers and the New England Archivists Community Outreach Program, 2010-2017. Omeka addition and metadata by Katie Czajkowski. Poleena Vassiliev, and Robyn Nielsen. Rights Information about rights held in and over the resource These images are intended for research and reference use only. The library holds copyright to the digital images of this collection. Please see the copyright information page (link at bottom of page) for information about obtaining permission for image use and reproduction. Relation A related resource This is a small part of a larger collection. Other items from the collection may be viewed by contacting Special Collections at the Portsmouth Public Library. Note that viewing of the physical collection is at the discretion of the Library staff. Some pieces of the collection may be deemed too fragile for in-person viewing. Additional parts of the collection will be scanned and added to the digital archive at a later time. Vertical Files in the Special Collections Room contain historical information about Henry Clay Barnabee. Format The file format, physical medium, or dimensions of the resource The images appearing in this database are JPG format, they are derived from archival TIF files. Type The nature or genre of the resource The Henry Clay Barnabee Collection is comprised of scrapbooks, albums, photographs, musical scores, books, a daguerreotype, and watercolors. Miscellaneous Miscellaneous Put whatever you want in here. --title::Henry Clay Barnabee Collection --text::The collection was assembled by Henry Clay Barnabee and his wife, Clara George Barnabee between 1866 and 1906. It was donated to the Portsmouth Public Library between 1907 and 1909 by Henry Clay Barnabee, himself. --images::2125,2120 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of Henry Clay Barnabee by I.W. Taber, San Francisco, 1895 Subject The topic of the resource Barnabee, Henry Clay (1833-1917) Hand coloring Iridium Single-sitter portraits Description An account of the resource Hand-colored portrait of Henry Clay Barnabee dressed in a suit and looking to his left. "Iridium Photo / Taber / 121 Post Street Between Kearny St. and Grant Ave. San Francisco." imprinted on page. Creator An entity primarily responsible for making the resource Taber, I.W. (1830-1912) Source A related resource from which the described resource is derived Henry Clay Barnabee Collection Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 1895 Format The file format, physical medium, or dimensions of the resource Jpg derived from Tif Type The nature or genre of the resource StillImage Identifier An unambiguous reference to the resource within a given context PPL2017IIPhotoA_4_5 Language A language of the resource eng 1895 19th Century Bostonians Color Hand-colored Henry Clay Barnabee I.W. Taber Iridium Photo Portrait San Francisco https://portsmouthexhibits.org/files/original/c620a7ad2257addab56a8cf14a301e0e.jpg cbf0deda3f3fb97bd205cc6d772d9673 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portsmouth 350, Inc.: 350th Anniversary Materials Subject The topic of the resource Portsmouth, New Hampshire Description An account of the resource Historic materials from the 350th anniversary of the City of Portsmouth, celebrated in 1973. Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 1973 Contributor An entity responsible for making contributions to the resource Digitization and database creation, Jessica Ross, January 2018 Omeka additions and metadata, Jessica Ross, January 2018 Format The file format, physical medium, or dimensions of the resource PDF, JPG derived from TIF Miscellaneous Miscellaneous Put whatever you want in here. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portsmouth 350 Celebration Photo 4-10 Subject The topic of the resource City of Portsmouth, NH Anniversary Creator An entity primarily responsible for making the resource Portsmouth 350, Inc. Source A related resource from which the described resource is derived Vertical Files, Portsmouth Public Library Special Collections Publisher An entity responsible for making the resource available Portsmouth Public Library Special Collections Format The file format, physical medium, or dimensions of the resource Jpeg derived from Tif Type The nature or genre of the resource Photograph https://portsmouthexhibits.org/files/original/1aa0f4fca224d5e310106049718cf4c2.jpg 10b7db6de4f2648f4b77a544a2c64588 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Helen Pearson Drawings Subject The topic of the resource Portsmouth (N.H.) Historic buildings Description An account of the resource A series of drawings created between 1908-1913 by local artist and Portsmouth native, Helen Pearson (1870-1949). In 1993, local historian and long-time editor of the Portsmouth Herald, Ray Brighton called Helen Pearson “…one of the best artists Portsmouth ever produced whose talent has been largely forgotten.” Born in Portsmouth on Nov. 13, 1870, Pearson was trained as a concert pianist and attended Boston’s Cowles Art School. She played piano with the Schenectady Symphony Orchestra in New York but was most recognized throughout the Seacoast for her pen and ink drawings in local publications. Her “Open Door” drawing especially, was used for many years in Portsmouth publicity pamphlets. This collection includes 14 original Helen Pearson drawings, 12 of which were created for her 1913 volume Vignettes of Portsmouth, New Hampshire, produced in collaboration with Harold Hotchkiss Bennett. This collection was gifted to the Portsmouth Public Library by Helen Pearson as a bequest from her estate. Each item underwent evaluation and conservation in 1992 and are permanently housed in the Portsmouth Public Library Special Collections. The digital images are available here for research and public viewing. Creator An entity primarily responsible for making the resource Pearson, Helen (1870-1949) Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 1908-1913 Format The file format, physical medium, or dimensions of the resource Jpg derived from Tif Type The nature or genre of the resource Original graphite drawings with pen and ink overlaid; some finished with black and white watercolors. Contributor An entity responsible for making contributions to the resource Digitization and database creation by Jessica Ross and Lael Dalal, Fall 2017 Omeka additions and metadata by Jessica Ross, Fall 2017 Rights Information about rights held in and over the resource <span>These images are intended for research and reference use only. The Library holds copyright to the digital images of this collection. </span>Please see our <a href="http://www.portsmouthexhibits.org/copyright-information">Terms of Use and Copyright Information</a>. Language A language of the resource eng Miscellaneous Miscellaneous Put whatever you want in here. --title::The Helen Pearson Drawings --text::This collection of 14 original drawings, which shows buildings and scenes of Portsmouth and the Seacoast area, was a bequest of the Helen Pearson estate in 1949. --images::1897,1886 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Drawing Physical Dimensions The actual physical size of the original image. 25 x 39 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Point of Graves Subject The topic of the resource Portsmouth (N.H.) Cemeteries Description An account of the resource Original graphite drawing overlaid in pen and ink. Created for Pearson's publication of Vignettes of Portsmouth, New Hampshire. Point of Graves Burial Ground is located on the south side of Mechanic Street, Portsmouth, NH. Creator An entity primarily responsible for making the resource Pearson, Helen (1870-1949) Source A related resource from which the described resource is derived The Helen Pearson Drawings Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 1913 Format The file format, physical medium, or dimensions of the resource Jpg derived from Tif Type The nature or genre of the resource StillImage Identifier An unambiguous reference to the resource within a given context PPL-AA1993.2 Language A language of the resource eng Rights Information about rights held in and over the resource View our <a href="http://www.portsmouthexhibits.org/copyright-information">Terms of Use and Copyright Information</a> 20th century cemetery drawing New Hampshire Pearson Portsmouth https://portsmouthexhibits.org/files/original/7fa5f1933333deafd13e38c6b08e9dd5.jpg e754af76639dd5a3cc1a70a243cfd4eb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Helen Pearson Bookplate Collection Creator An entity primarily responsible for making the resource Helen Pearson was the original collector of these bookplates. Contributor An entity responsible for making contributions to the resource Collected and arranged by Helen Pearson & Dorothy Vaughan, beginning 1925. Digitization and database creation, Jessica Ross, Spring/Summer 2017. Omeka additions and metadata, R. Nielsen, 2023. Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Identifier An unambiguous reference to the resource within a given context PPL-MS 1925.1 Subject The topic of the resource Historic bookplates Description An account of the resource A collection of 336+ historic bookplates and corresponding material from local artist and musician Helen Pearson. These bookplates were accumulated from her travels, acquaintances, other collectors and membership into several national and international bookplate societies. The collection was initially created and organized by Pearson. It arrived at Portsmouth Public Library as a bequest upon her passing on August 19, 1949. The collection was added to and at least partially mounted by then Library Director, Dorothy Vaughan. One of the highlights of this collection is Pearson's own bookplate, sketched by her in 1927 and inspired by a comet she saw in Portsmouth. Born Nov. 13, 1870, Pearson was a Portsmouth native and raised in an artistic family. Her father, Amos Pearson, was a florist and music teacher originally from Ipswich, MA. Pearson's mother, Susan, also from Portsmouth, was both an artist and musician as well. The Pearson family boarded local artists, including Susan's sister, Mary E.B. Miller. Miller, who earned her living as a portrait painter, lived with the family for much of Pearson’s childhood. Other tenants in the Pearson home included illustrator Max Parrish and Ulysses Tenney, best known for his portraits of New Hampshire statesman, notably Franklin Pierce. Pearson was an accomplished concert pianist and attended Cowles Art School in Boston and was known for her pen and ink drawings in local publications. She spent time in both Boston and New York but preferred to live in Portsmouth where she continued her father's nursery and served as a patron of the arts. Bookplates have existed since the fifteenth century and serve today as both historical records of ownership as well as biographical, societal, institutional, artistic and/or cultural statements. Various letters that accompany this bookplate collection acknowledge Pearson's interest in the artistic quality of the bookplates and the individuality displayed in each. Her collection features bookplates from around the globe and range from simple, typographic inserts for institutions to elaborate personal bookplates for European royalty. They have been digitized here for greater accessibility. Date A point or period of time associated with an event in the lifecycle of the resource The materials were first arranged first by Helen Pearson and then Library Director Dorothy Vaughan between the years of 1925 and 1949. Nicole Luongo Cloutier, Reference & Special Collections Supervisor, added these items to the city inventory and assigned an accession number to them on April 25, 2011. Jessica Ross, Special Collections Librarian, created the finding aid and inventory of materials and began digitally scanning the bookplates individually in January of 2017. Format The file format, physical medium, or dimensions of the resource The images appearing in this database are JPG format, they are derived from archival TIF files. Rights Information about rights held in and over the resource This collection was transferred to the Portsmouth Public Library from the estate of Helen Pearson upon her death in 1949 according to the terms of her will. These images are intended for research and reference use only. The library holds copyright to the digital images of this collection. Please see the copyright information page (link at bottom of page) for information about obtaining permission for image use and reproduction. Miscellaneous Miscellaneous Put whatever you want in here. --title::The Helen Pearson Bookplate Collection <br />--text::A collection of 336+ historic bookplates and corresponding material by local artist and musician, Helen Pearson, from her travels, acquaintances, other collectors and membership into several national and international bookplate societies.<br />--images::1814,1551 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Paper Physical Dimensions The actual physical size of the original image. 2 and ½”H x 3 and ¼”W Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bookplate for Flora Neil Davidson Subject The topic of the resource Bookplates Description An account of the resource A pictorial-style bookplate in black ink on white paper featuring a bookshelf with art and travel books. There is a black cat book end, an open book with a drawing of a landscape, and a vase of flowers to the right of it. Inset text reads "Ex libris, Flora Neil Davidson." Creator An entity primarily responsible for making the resource J.W. Jameson Source A related resource from which the described resource is derived The Helen Pearson Bookplate Collection Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Date A point or period of time associated with an event in the lifecycle of the resource 1936 Format The file format, physical medium, or dimensions of the resource Jpg derived from Tif Type The nature or genre of the resource StillImage Identifier An unambiguous reference to the resource within a given context PPL-MS: 1925.1.056 Contributor An entity responsible for making contributions to the resource Pearson, Helen (1870-1949) Rights Information about rights held in and over the resource View our <a href="https://portsmouthexhibits.org/copyright-information">Terms of Use and Copyright Information</a>. Language A language of the resource enh bookplate Davidson ex libris Pearson pictorial https://portsmouthexhibits.org/files/original/305d3d3f32527bebd9aca23b3a5caa5c.jpg 6055e16ac2261070e927911761fff575 https://portsmouthexhibits.org/files/original/f511c870c94cecfb24169dbbda1c3679.jpg 0ab07c5cfd7bdebc31896d6c64d1801f https://portsmouthexhibits.org/files/original/2fcd96b41773702ae725bc2c4bc30096.jpg ec250c9d022a7255002f32763a978aa9 https://portsmouthexhibits.org/files/original/a7fce3bb3ce7bd9cfd9472fa5f877a46.jpg 467e2439369cd3fbd56ec96f8abb7492 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Adams Collection Subject The topic of the resource Hand carved folk art wildlife, boats, birds, etc., created by Captain Adams, Captain of the Gundalow. Source A related resource from which the described resource is derived The Adams Collection. Property of the City of Portsmouth, Trustees of the Trust. Cared for by the Portsmouth Public Library. Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections. Date A point or period of time associated with an event in the lifecycle of the resource Collection inventoried and relocated by the City, and the Trustees of the Trust, to the Portsmouth Public Library, 2009 Collection re-inventoried, re-housed, and photographed by Jessica Ross, and Nicole Luongo Cloutier, 2015/2016 Digital Archive created Spring/Summer 2016 Contributor An entity responsible for making contributions to the resource Photographs and database creation, Jessica Ross. Omeka addition and metadata creation by Jessica Ross and Nicole Cloutier. Rights Information about rights held in and over the resource These images are intended for research and reference use only. The library holds copyright to the digital images of this collection. Please see the copyright information page (link at bottom of page) for information about obtaining permission for image use and reproduction. Relation A related resource The physical Adams' Collection is located in the Portsmouth Public Library, cared for by the Special Collections staff. Vertical Files contain historic information about Adams, the Gundalow, and the collection of carvings. Format The file format, physical medium, or dimensions of the resource The files for these items are .jpg derived from .tif archival files. Images have been post-edited for cropping and lighting deficiencies only. Type The nature or genre of the resource Folk art wood artifacts. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant This collection is relevant to Portsmouth, Maritime history, Portsmouth people, and Gundalow history. Description An account of the resource This collection is an assemblage of work by Captain Edward H. Adams. They are photographic representations of The Adams Collection which includes about 175 of his original models and carvings. The Adams Collection was previously housed at the Sheafe Warehouse, and is now cared for by the Special Collections staff at Portsmouth Public Library, on behalf of the City of Portsmouth Trustees of the Trust. The Captain was born Edward Hamlin Adams to Joseph and Olive Adams on October 22, 1860. Influenced by his artist mother, he began carving as a child, and started modelling his first scale gundalow in 1882. He completed it in 1886 and spent decades hauling freight and navigating the Piscataqua earning himself the title of “Captain.” Adams was a skilled builder and artist who completed his last gundalow, the Driftwood, in 1950 with his son and business partner Edward Cass Adams. Adams passed away on April 9, 1951 at the age of 91. Between Adams’ earliest carvings and those completed by Cass after his death, more than ninety years of animal and fish carvings, ship models and other folk art are represented in this collections, each of which offer singularly unique interactions with the region’s environmental and maritime past. As comprehensive as this collection is, it is only a portion of Capt. Adams work. Additional pieces of the Captain’s legacy exist in other local institutions and include artifacts and holdings at the Portsmouth Athenaeum, the Portsmouth Historical Society, and the Durham Historic Association Museum. Further holdings also range from the Adams family papers located in the University of New Hampshire archives, to a stunning replica gundalow, inspired by and aptly named for the man himself and sailing today courtesy of the Portsmouth Gundalow Company. The artifacts themselves range from intricately built ship models, carved waterfowl and other regionally-specific animals to miscellaneous household items and tools. They vary widely in size and condition causing the preservation and longevity concerns of this collection to remain a chief priority and part of the emphasis in digitization. Preservation care has included painstaking inventories with special attention paid to both long-term housing requirements, (i.e. size/weight/physical condition) and to the organization of the pieces, (i.e. chronological, thematically etc.) for the purposes of consistent tracking and physical access. The artifacts have also been photographed in order to aid in the efficiency of visual access to the physical artifacts once they are individually wrapped, while minimizing the disturbance of surrounding pieces. The dual roles required to both maintain and preserve a physical collection alongside the creation of a digital one is a purposeful process and specific to the individual collection. In this case, the process for preserving and digitizing the Adams Collection is both driven and compounded by his beloved status in our regional history and the integrity of his contributions as a skilled gundalow captain, navigator and builder. The work of Capt. Adams remains relevant and sought after in any number of fields and venues, rendering diversity of access to his work necessary as well. All preservation and digitization research, quality control, rehousing and organization was completed by PPL Special Collections staff, Nicole Luongo Cloutier and Jessica Ross. Creator An entity primarily responsible for making the resource Edward H. Adams Miscellaneous Miscellaneous Put whatever you want in here. --title::The Adams Collection --text::This collection is an assemblage of work by Captain Edward H. Adams. They are photographic representations of The Adams Collection which includes about 175 of his original models and carvings. The... --images::1397,1529 Adams Collection City Inventory # This will be the record # found in the Goodman Report (database held at library) 370 Adams Collection # This is the original number found on each object Vault, 0002FA Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Open-Hold Gundalow, Large Subject The topic of the resource Folk art wood carving Creator An entity primarily responsible for making the resource Edward H. Adams Source A related resource from which the described resource is derived The Adams Collection Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Relation A related resource City of Portsmouth, Trustees of the Trust Format The file format, physical medium, or dimensions of the resource JPEG derived from TIFF Type The nature or genre of the resource Three dimensional wood artifact Identifier An unambiguous reference to the resource within a given context 35.25"L x 7.75"W Adams Collection boat Captain Adams Edward Adams gundalow Portsmouth wood https://portsmouthexhibits.org/files/original/2e36271eae08f7a809e7151cd8ae9677.jpg 362cc24226fb142c2bf49ab2670d054b https://portsmouthexhibits.org/files/original/2e00777ae91c15c8f875b29cb98c98ed.jpg 8ea14692a98afd9a4eb39b3a1b777cee https://portsmouthexhibits.org/files/original/5eb4aa4d92cb90aac36690de9e2a2d78.jpg 733b25edf5d0106a56a6e1d77565e9e5 https://portsmouthexhibits.org/files/original/d681c2ba200afa98c66606deb32694c5.jpg 1d534665665b972186c49cf9d9c4a22f https://portsmouthexhibits.org/files/original/4ce8af3a9e37fe6693db2a8d239a1924.jpg a8e37592b2b34fb3452ff11d392c801c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Adams Collection Subject The topic of the resource Hand carved folk art wildlife, boats, birds, etc., created by Captain Adams, Captain of the Gundalow. Source A related resource from which the described resource is derived The Adams Collection. Property of the City of Portsmouth, Trustees of the Trust. Cared for by the Portsmouth Public Library. Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections. Date A point or period of time associated with an event in the lifecycle of the resource Collection inventoried and relocated by the City, and the Trustees of the Trust, to the Portsmouth Public Library, 2009 Collection re-inventoried, re-housed, and photographed by Jessica Ross, and Nicole Luongo Cloutier, 2015/2016 Digital Archive created Spring/Summer 2016 Contributor An entity responsible for making contributions to the resource Photographs and database creation, Jessica Ross. Omeka addition and metadata creation by Jessica Ross and Nicole Cloutier. Rights Information about rights held in and over the resource These images are intended for research and reference use only. The library holds copyright to the digital images of this collection. Please see the copyright information page (link at bottom of page) for information about obtaining permission for image use and reproduction. Relation A related resource The physical Adams' Collection is located in the Portsmouth Public Library, cared for by the Special Collections staff. Vertical Files contain historic information about Adams, the Gundalow, and the collection of carvings. Format The file format, physical medium, or dimensions of the resource The files for these items are .jpg derived from .tif archival files. Images have been post-edited for cropping and lighting deficiencies only. Type The nature or genre of the resource Folk art wood artifacts. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant This collection is relevant to Portsmouth, Maritime history, Portsmouth people, and Gundalow history. Description An account of the resource This collection is an assemblage of work by Captain Edward H. Adams. They are photographic representations of The Adams Collection which includes about 175 of his original models and carvings. The Adams Collection was previously housed at the Sheafe Warehouse, and is now cared for by the Special Collections staff at Portsmouth Public Library, on behalf of the City of Portsmouth Trustees of the Trust. The Captain was born Edward Hamlin Adams to Joseph and Olive Adams on October 22, 1860. Influenced by his artist mother, he began carving as a child, and started modelling his first scale gundalow in 1882. He completed it in 1886 and spent decades hauling freight and navigating the Piscataqua earning himself the title of “Captain.” Adams was a skilled builder and artist who completed his last gundalow, the Driftwood, in 1950 with his son and business partner Edward Cass Adams. Adams passed away on April 9, 1951 at the age of 91. Between Adams’ earliest carvings and those completed by Cass after his death, more than ninety years of animal and fish carvings, ship models and other folk art are represented in this collections, each of which offer singularly unique interactions with the region’s environmental and maritime past. As comprehensive as this collection is, it is only a portion of Capt. Adams work. Additional pieces of the Captain’s legacy exist in other local institutions and include artifacts and holdings at the Portsmouth Athenaeum, the Portsmouth Historical Society, and the Durham Historic Association Museum. Further holdings also range from the Adams family papers located in the University of New Hampshire archives, to a stunning replica gundalow, inspired by and aptly named for the man himself and sailing today courtesy of the Portsmouth Gundalow Company. The artifacts themselves range from intricately built ship models, carved waterfowl and other regionally-specific animals to miscellaneous household items and tools. They vary widely in size and condition causing the preservation and longevity concerns of this collection to remain a chief priority and part of the emphasis in digitization. Preservation care has included painstaking inventories with special attention paid to both long-term housing requirements, (i.e. size/weight/physical condition) and to the organization of the pieces, (i.e. chronological, thematically etc.) for the purposes of consistent tracking and physical access. The artifacts have also been photographed in order to aid in the efficiency of visual access to the physical artifacts once they are individually wrapped, while minimizing the disturbance of surrounding pieces. The dual roles required to both maintain and preserve a physical collection alongside the creation of a digital one is a purposeful process and specific to the individual collection. In this case, the process for preserving and digitizing the Adams Collection is both driven and compounded by his beloved status in our regional history and the integrity of his contributions as a skilled gundalow captain, navigator and builder. The work of Capt. Adams remains relevant and sought after in any number of fields and venues, rendering diversity of access to his work necessary as well. All preservation and digitization research, quality control, rehousing and organization was completed by PPL Special Collections staff, Nicole Luongo Cloutier and Jessica Ross. Creator An entity primarily responsible for making the resource Edward H. Adams Miscellaneous Miscellaneous Put whatever you want in here. --title::The Adams Collection --text::This collection is an assemblage of work by Captain Edward H. Adams. They are photographic representations of The Adams Collection which includes about 175 of his original models and carvings. The... --images::1397,1529 Adams Collection City Inventory # This will be the record # found in the Goodman Report (database held at library) 372 Adams Collection # This is the original number found on each object Box 13, 0004FA Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Coaster Boat, Small Subject The topic of the resource Folk art wood carving Creator An entity primarily responsible for making the resource Edward H. Adams Source A related resource from which the described resource is derived The Adams Collection Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Relation A related resource City of Portsmouth, Special Collections Format The file format, physical medium, or dimensions of the resource JPEG derived from TIFF Type The nature or genre of the resource Three dimensional wood artifact Identifier An unambiguous reference to the resource within a given context 11"H x 30.5"L x 6"W Adams Collection boat Captain Adams coaster Edward Adams Portsmouth wood https://portsmouthexhibits.org/files/original/8d8de8a6f9621741216b265376f1f4d3.jpg 6db8a86d1dcb73f6aed4317fbd806c82 https://portsmouthexhibits.org/files/original/80c81f9f3a9aff26260f735094069526.jpg e61ff0c1a79000befd55aaf06a5fc597 https://portsmouthexhibits.org/files/original/8b0cf58ec02833b787c56635e2e621d4.jpg 7b20f43924482d0f097a31fb55a7951d https://portsmouthexhibits.org/files/original/1186bf874ceeb2200e5856a550997c1c.jpg 18804870e845d03dc379d36ec332fc45 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Adams Collection Subject The topic of the resource Hand carved folk art wildlife, boats, birds, etc., created by Captain Adams, Captain of the Gundalow. Source A related resource from which the described resource is derived The Adams Collection. Property of the City of Portsmouth, Trustees of the Trust. Cared for by the Portsmouth Public Library. Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections. Date A point or period of time associated with an event in the lifecycle of the resource Collection inventoried and relocated by the City, and the Trustees of the Trust, to the Portsmouth Public Library, 2009 Collection re-inventoried, re-housed, and photographed by Jessica Ross, and Nicole Luongo Cloutier, 2015/2016 Digital Archive created Spring/Summer 2016 Contributor An entity responsible for making contributions to the resource Photographs and database creation, Jessica Ross. Omeka addition and metadata creation by Jessica Ross and Nicole Cloutier. Rights Information about rights held in and over the resource These images are intended for research and reference use only. The library holds copyright to the digital images of this collection. Please see the copyright information page (link at bottom of page) for information about obtaining permission for image use and reproduction. Relation A related resource The physical Adams' Collection is located in the Portsmouth Public Library, cared for by the Special Collections staff. Vertical Files contain historic information about Adams, the Gundalow, and the collection of carvings. Format The file format, physical medium, or dimensions of the resource The files for these items are .jpg derived from .tif archival files. Images have been post-edited for cropping and lighting deficiencies only. Type The nature or genre of the resource Folk art wood artifacts. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant This collection is relevant to Portsmouth, Maritime history, Portsmouth people, and Gundalow history. Description An account of the resource This collection is an assemblage of work by Captain Edward H. Adams. They are photographic representations of The Adams Collection which includes about 175 of his original models and carvings. The Adams Collection was previously housed at the Sheafe Warehouse, and is now cared for by the Special Collections staff at Portsmouth Public Library, on behalf of the City of Portsmouth Trustees of the Trust. The Captain was born Edward Hamlin Adams to Joseph and Olive Adams on October 22, 1860. Influenced by his artist mother, he began carving as a child, and started modelling his first scale gundalow in 1882. He completed it in 1886 and spent decades hauling freight and navigating the Piscataqua earning himself the title of “Captain.” Adams was a skilled builder and artist who completed his last gundalow, the Driftwood, in 1950 with his son and business partner Edward Cass Adams. Adams passed away on April 9, 1951 at the age of 91. Between Adams’ earliest carvings and those completed by Cass after his death, more than ninety years of animal and fish carvings, ship models and other folk art are represented in this collections, each of which offer singularly unique interactions with the region’s environmental and maritime past. As comprehensive as this collection is, it is only a portion of Capt. Adams work. Additional pieces of the Captain’s legacy exist in other local institutions and include artifacts and holdings at the Portsmouth Athenaeum, the Portsmouth Historical Society, and the Durham Historic Association Museum. Further holdings also range from the Adams family papers located in the University of New Hampshire archives, to a stunning replica gundalow, inspired by and aptly named for the man himself and sailing today courtesy of the Portsmouth Gundalow Company. The artifacts themselves range from intricately built ship models, carved waterfowl and other regionally-specific animals to miscellaneous household items and tools. They vary widely in size and condition causing the preservation and longevity concerns of this collection to remain a chief priority and part of the emphasis in digitization. Preservation care has included painstaking inventories with special attention paid to both long-term housing requirements, (i.e. size/weight/physical condition) and to the organization of the pieces, (i.e. chronological, thematically etc.) for the purposes of consistent tracking and physical access. The artifacts have also been photographed in order to aid in the efficiency of visual access to the physical artifacts once they are individually wrapped, while minimizing the disturbance of surrounding pieces. The dual roles required to both maintain and preserve a physical collection alongside the creation of a digital one is a purposeful process and specific to the individual collection. In this case, the process for preserving and digitizing the Adams Collection is both driven and compounded by his beloved status in our regional history and the integrity of his contributions as a skilled gundalow captain, navigator and builder. The work of Capt. Adams remains relevant and sought after in any number of fields and venues, rendering diversity of access to his work necessary as well. All preservation and digitization research, quality control, rehousing and organization was completed by PPL Special Collections staff, Nicole Luongo Cloutier and Jessica Ross. Creator An entity primarily responsible for making the resource Edward H. Adams Miscellaneous Miscellaneous Put whatever you want in here. --title::The Adams Collection --text::This collection is an assemblage of work by Captain Edward H. Adams. They are photographic representations of The Adams Collection which includes about 175 of his original models and carvings. The... --images::1397,1529 Adams Collection City Inventory # This will be the record # found in the Goodman Report (database held at library) 379 Adams Collection # This is the original number found on each object Box 8, 0012FA Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Owl on Stand, Medium Subject The topic of the resource Folk art wood carving Creator An entity primarily responsible for making the resource Edward H. Adams Source A related resource from which the described resource is derived The Adams Collection Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Relation A related resource City of Portsmouth, Trustees of the Trust Format The file format, physical medium, or dimensions of the resource JPEG derived from TIFF Type The nature or genre of the resource Three dimensional wood artifact Identifier An unambiguous reference to the resource within a given context 12.25"H x 4"W Adams Collection bird Captain Adams carved Edward Adams Owl Portsmouth wood https://portsmouthexhibits.org/files/original/37bb9336fdd8166e8711d687a681f7bb.jpg 8c15b0619f026c4740f9f2583fc88476 https://portsmouthexhibits.org/files/original/929518fb2df352b68a96a75c89448c18.jpg c1729ce0a548d9761ef818f3ed92642f https://portsmouthexhibits.org/files/original/8af12f3d1366a6427aec37b561b9743b.jpg add56037690efb861e4f844475547d52 https://portsmouthexhibits.org/files/original/3ca758c5ffa03f9fe82237b6005a056c.jpg e7fcfcf196e7bd5426813b758a8905e5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Adams Collection Subject The topic of the resource Hand carved folk art wildlife, boats, birds, etc., created by Captain Adams, Captain of the Gundalow. Source A related resource from which the described resource is derived The Adams Collection. Property of the City of Portsmouth, Trustees of the Trust. Cared for by the Portsmouth Public Library. Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections. Date A point or period of time associated with an event in the lifecycle of the resource Collection inventoried and relocated by the City, and the Trustees of the Trust, to the Portsmouth Public Library, 2009 Collection re-inventoried, re-housed, and photographed by Jessica Ross, and Nicole Luongo Cloutier, 2015/2016 Digital Archive created Spring/Summer 2016 Contributor An entity responsible for making contributions to the resource Photographs and database creation, Jessica Ross. Omeka addition and metadata creation by Jessica Ross and Nicole Cloutier. Rights Information about rights held in and over the resource These images are intended for research and reference use only. The library holds copyright to the digital images of this collection. Please see the copyright information page (link at bottom of page) for information about obtaining permission for image use and reproduction. Relation A related resource The physical Adams' Collection is located in the Portsmouth Public Library, cared for by the Special Collections staff. Vertical Files contain historic information about Adams, the Gundalow, and the collection of carvings. Format The file format, physical medium, or dimensions of the resource The files for these items are .jpg derived from .tif archival files. Images have been post-edited for cropping and lighting deficiencies only. Type The nature or genre of the resource Folk art wood artifacts. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant This collection is relevant to Portsmouth, Maritime history, Portsmouth people, and Gundalow history. Description An account of the resource This collection is an assemblage of work by Captain Edward H. Adams. They are photographic representations of The Adams Collection which includes about 175 of his original models and carvings. The Adams Collection was previously housed at the Sheafe Warehouse, and is now cared for by the Special Collections staff at Portsmouth Public Library, on behalf of the City of Portsmouth Trustees of the Trust. The Captain was born Edward Hamlin Adams to Joseph and Olive Adams on October 22, 1860. Influenced by his artist mother, he began carving as a child, and started modelling his first scale gundalow in 1882. He completed it in 1886 and spent decades hauling freight and navigating the Piscataqua earning himself the title of “Captain.” Adams was a skilled builder and artist who completed his last gundalow, the Driftwood, in 1950 with his son and business partner Edward Cass Adams. Adams passed away on April 9, 1951 at the age of 91. Between Adams’ earliest carvings and those completed by Cass after his death, more than ninety years of animal and fish carvings, ship models and other folk art are represented in this collections, each of which offer singularly unique interactions with the region’s environmental and maritime past. As comprehensive as this collection is, it is only a portion of Capt. Adams work. Additional pieces of the Captain’s legacy exist in other local institutions and include artifacts and holdings at the Portsmouth Athenaeum, the Portsmouth Historical Society, and the Durham Historic Association Museum. Further holdings also range from the Adams family papers located in the University of New Hampshire archives, to a stunning replica gundalow, inspired by and aptly named for the man himself and sailing today courtesy of the Portsmouth Gundalow Company. The artifacts themselves range from intricately built ship models, carved waterfowl and other regionally-specific animals to miscellaneous household items and tools. They vary widely in size and condition causing the preservation and longevity concerns of this collection to remain a chief priority and part of the emphasis in digitization. Preservation care has included painstaking inventories with special attention paid to both long-term housing requirements, (i.e. size/weight/physical condition) and to the organization of the pieces, (i.e. chronological, thematically etc.) for the purposes of consistent tracking and physical access. The artifacts have also been photographed in order to aid in the efficiency of visual access to the physical artifacts once they are individually wrapped, while minimizing the disturbance of surrounding pieces. The dual roles required to both maintain and preserve a physical collection alongside the creation of a digital one is a purposeful process and specific to the individual collection. In this case, the process for preserving and digitizing the Adams Collection is both driven and compounded by his beloved status in our regional history and the integrity of his contributions as a skilled gundalow captain, navigator and builder. The work of Capt. Adams remains relevant and sought after in any number of fields and venues, rendering diversity of access to his work necessary as well. All preservation and digitization research, quality control, rehousing and organization was completed by PPL Special Collections staff, Nicole Luongo Cloutier and Jessica Ross. Creator An entity primarily responsible for making the resource Edward H. Adams Miscellaneous Miscellaneous Put whatever you want in here. --title::The Adams Collection --text::This collection is an assemblage of work by Captain Edward H. Adams. They are photographic representations of The Adams Collection which includes about 175 of his original models and carvings. The... --images::1397,1529 Adams Collection City Inventory # This will be the record # found in the Goodman Report (database held at library) 420 Adams Collection # This is the original number found on each object Box 8, 0082FA Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource White Owl, Small Subject The topic of the resource Folk art wood carving Creator An entity primarily responsible for making the resource Edward H. Adams Source A related resource from which the described resource is derived The Adams Collection Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Relation A related resource City of Portsmouth, Trustees of the Trust Format The file format, physical medium, or dimensions of the resource JPEG derived from TIFF Type The nature or genre of the resource Three dimensional wood artifact Identifier An unambiguous reference to the resource within a given context 7"L x 2.5"W Adams Collection bird Captain Adams carved Edward Adams Owl Portsmouth wood https://portsmouthexhibits.org/files/original/406a10e4d51675c727421337a8955dd6.jpg 2d793b5e4073746a65eee0be2f6dd529 https://portsmouthexhibits.org/files/original/93e038679ba2996f9bb58a51194ba4bd.jpg fbd8d8c26212495b36e2dbb8401b6030 https://portsmouthexhibits.org/files/original/e455800522c8347ec652245767191db6.jpg 20668902bd94dd250ba22d86ed9b6030 https://portsmouthexhibits.org/files/original/384b1e797b60041fe37b6ad6791fb46e.jpg 30214a18ab2123b68e36d0183bf6e390 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Adams Collection Subject The topic of the resource Hand carved folk art wildlife, boats, birds, etc., created by Captain Adams, Captain of the Gundalow. Source A related resource from which the described resource is derived The Adams Collection. Property of the City of Portsmouth, Trustees of the Trust. Cared for by the Portsmouth Public Library. Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections. Date A point or period of time associated with an event in the lifecycle of the resource Collection inventoried and relocated by the City, and the Trustees of the Trust, to the Portsmouth Public Library, 2009 Collection re-inventoried, re-housed, and photographed by Jessica Ross, and Nicole Luongo Cloutier, 2015/2016 Digital Archive created Spring/Summer 2016 Contributor An entity responsible for making contributions to the resource Photographs and database creation, Jessica Ross. Omeka addition and metadata creation by Jessica Ross and Nicole Cloutier. Rights Information about rights held in and over the resource These images are intended for research and reference use only. The library holds copyright to the digital images of this collection. Please see the copyright information page (link at bottom of page) for information about obtaining permission for image use and reproduction. Relation A related resource The physical Adams' Collection is located in the Portsmouth Public Library, cared for by the Special Collections staff. Vertical Files contain historic information about Adams, the Gundalow, and the collection of carvings. Format The file format, physical medium, or dimensions of the resource The files for these items are .jpg derived from .tif archival files. Images have been post-edited for cropping and lighting deficiencies only. Type The nature or genre of the resource Folk art wood artifacts. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant This collection is relevant to Portsmouth, Maritime history, Portsmouth people, and Gundalow history. Description An account of the resource This collection is an assemblage of work by Captain Edward H. Adams. They are photographic representations of The Adams Collection which includes about 175 of his original models and carvings. The Adams Collection was previously housed at the Sheafe Warehouse, and is now cared for by the Special Collections staff at Portsmouth Public Library, on behalf of the City of Portsmouth Trustees of the Trust. The Captain was born Edward Hamlin Adams to Joseph and Olive Adams on October 22, 1860. Influenced by his artist mother, he began carving as a child, and started modelling his first scale gundalow in 1882. He completed it in 1886 and spent decades hauling freight and navigating the Piscataqua earning himself the title of “Captain.” Adams was a skilled builder and artist who completed his last gundalow, the Driftwood, in 1950 with his son and business partner Edward Cass Adams. Adams passed away on April 9, 1951 at the age of 91. Between Adams’ earliest carvings and those completed by Cass after his death, more than ninety years of animal and fish carvings, ship models and other folk art are represented in this collections, each of which offer singularly unique interactions with the region’s environmental and maritime past. As comprehensive as this collection is, it is only a portion of Capt. Adams work. Additional pieces of the Captain’s legacy exist in other local institutions and include artifacts and holdings at the Portsmouth Athenaeum, the Portsmouth Historical Society, and the Durham Historic Association Museum. Further holdings also range from the Adams family papers located in the University of New Hampshire archives, to a stunning replica gundalow, inspired by and aptly named for the man himself and sailing today courtesy of the Portsmouth Gundalow Company. The artifacts themselves range from intricately built ship models, carved waterfowl and other regionally-specific animals to miscellaneous household items and tools. They vary widely in size and condition causing the preservation and longevity concerns of this collection to remain a chief priority and part of the emphasis in digitization. Preservation care has included painstaking inventories with special attention paid to both long-term housing requirements, (i.e. size/weight/physical condition) and to the organization of the pieces, (i.e. chronological, thematically etc.) for the purposes of consistent tracking and physical access. The artifacts have also been photographed in order to aid in the efficiency of visual access to the physical artifacts once they are individually wrapped, while minimizing the disturbance of surrounding pieces. The dual roles required to both maintain and preserve a physical collection alongside the creation of a digital one is a purposeful process and specific to the individual collection. In this case, the process for preserving and digitizing the Adams Collection is both driven and compounded by his beloved status in our regional history and the integrity of his contributions as a skilled gundalow captain, navigator and builder. The work of Capt. Adams remains relevant and sought after in any number of fields and venues, rendering diversity of access to his work necessary as well. All preservation and digitization research, quality control, rehousing and organization was completed by PPL Special Collections staff, Nicole Luongo Cloutier and Jessica Ross. Creator An entity primarily responsible for making the resource Edward H. Adams Miscellaneous Miscellaneous Put whatever you want in here. --title::The Adams Collection --text::This collection is an assemblage of work by Captain Edward H. Adams. They are photographic representations of The Adams Collection which includes about 175 of his original models and carvings. The... --images::1397,1529 Adams Collection City Inventory # This will be the record # found in the Goodman Report (database held at library) 8172 Adams Collection # This is the original number found on each object Box 11, 0066FA Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Female Pintail Duck Subject The topic of the resource Folk art wood carving Creator An entity primarily responsible for making the resource Edward H. Adams Source A related resource from which the described resource is derived The Adams Collection Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Relation A related resource City of Portsmouth, Trustees of the Trust Format The file format, physical medium, or dimensions of the resource JPEG derived from TIFF Type The nature or genre of the resource Three dimensional wood artifact Adams Collection Captain Adams carved duck Edward Adams pintail Portsmouth wood https://portsmouthexhibits.org/files/original/86632f4dd8c90c5f012518bfa8faa743.jpg f0b912abe57d4ac89f508326f0a0fda8 https://portsmouthexhibits.org/files/original/d606f7a236225b78632e27f897b8b9ea.jpg b29c65cd9481c6f3443e32b89a5e835d https://portsmouthexhibits.org/files/original/404705642b191da97a6a22077924cada.jpg 74848249136948b8f6bbcf485d0326af Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Adams Collection Subject The topic of the resource Hand carved folk art wildlife, boats, birds, etc., created by Captain Adams, Captain of the Gundalow. Source A related resource from which the described resource is derived The Adams Collection. Property of the City of Portsmouth, Trustees of the Trust. Cared for by the Portsmouth Public Library. Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections. Date A point or period of time associated with an event in the lifecycle of the resource Collection inventoried and relocated by the City, and the Trustees of the Trust, to the Portsmouth Public Library, 2009 Collection re-inventoried, re-housed, and photographed by Jessica Ross, and Nicole Luongo Cloutier, 2015/2016 Digital Archive created Spring/Summer 2016 Contributor An entity responsible for making contributions to the resource Photographs and database creation, Jessica Ross. Omeka addition and metadata creation by Jessica Ross and Nicole Cloutier. Rights Information about rights held in and over the resource These images are intended for research and reference use only. The library holds copyright to the digital images of this collection. Please see the copyright information page (link at bottom of page) for information about obtaining permission for image use and reproduction. Relation A related resource The physical Adams' Collection is located in the Portsmouth Public Library, cared for by the Special Collections staff. Vertical Files contain historic information about Adams, the Gundalow, and the collection of carvings. Format The file format, physical medium, or dimensions of the resource The files for these items are .jpg derived from .tif archival files. Images have been post-edited for cropping and lighting deficiencies only. Type The nature or genre of the resource Folk art wood artifacts. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant This collection is relevant to Portsmouth, Maritime history, Portsmouth people, and Gundalow history. Description An account of the resource This collection is an assemblage of work by Captain Edward H. Adams. They are photographic representations of The Adams Collection which includes about 175 of his original models and carvings. The Adams Collection was previously housed at the Sheafe Warehouse, and is now cared for by the Special Collections staff at Portsmouth Public Library, on behalf of the City of Portsmouth Trustees of the Trust. The Captain was born Edward Hamlin Adams to Joseph and Olive Adams on October 22, 1860. Influenced by his artist mother, he began carving as a child, and started modelling his first scale gundalow in 1882. He completed it in 1886 and spent decades hauling freight and navigating the Piscataqua earning himself the title of “Captain.” Adams was a skilled builder and artist who completed his last gundalow, the Driftwood, in 1950 with his son and business partner Edward Cass Adams. Adams passed away on April 9, 1951 at the age of 91. Between Adams’ earliest carvings and those completed by Cass after his death, more than ninety years of animal and fish carvings, ship models and other folk art are represented in this collections, each of which offer singularly unique interactions with the region’s environmental and maritime past. As comprehensive as this collection is, it is only a portion of Capt. Adams work. Additional pieces of the Captain’s legacy exist in other local institutions and include artifacts and holdings at the Portsmouth Athenaeum, the Portsmouth Historical Society, and the Durham Historic Association Museum. Further holdings also range from the Adams family papers located in the University of New Hampshire archives, to a stunning replica gundalow, inspired by and aptly named for the man himself and sailing today courtesy of the Portsmouth Gundalow Company. The artifacts themselves range from intricately built ship models, carved waterfowl and other regionally-specific animals to miscellaneous household items and tools. They vary widely in size and condition causing the preservation and longevity concerns of this collection to remain a chief priority and part of the emphasis in digitization. Preservation care has included painstaking inventories with special attention paid to both long-term housing requirements, (i.e. size/weight/physical condition) and to the organization of the pieces, (i.e. chronological, thematically etc.) for the purposes of consistent tracking and physical access. The artifacts have also been photographed in order to aid in the efficiency of visual access to the physical artifacts once they are individually wrapped, while minimizing the disturbance of surrounding pieces. The dual roles required to both maintain and preserve a physical collection alongside the creation of a digital one is a purposeful process and specific to the individual collection. In this case, the process for preserving and digitizing the Adams Collection is both driven and compounded by his beloved status in our regional history and the integrity of his contributions as a skilled gundalow captain, navigator and builder. The work of Capt. Adams remains relevant and sought after in any number of fields and venues, rendering diversity of access to his work necessary as well. All preservation and digitization research, quality control, rehousing and organization was completed by PPL Special Collections staff, Nicole Luongo Cloutier and Jessica Ross. Creator An entity primarily responsible for making the resource Edward H. Adams Miscellaneous Miscellaneous Put whatever you want in here. --title::The Adams Collection --text::This collection is an assemblage of work by Captain Edward H. Adams. They are photographic representations of The Adams Collection which includes about 175 of his original models and carvings. The... --images::1397,1529 Adams Collection City Inventory # This will be the record # found in the Goodman Report (database held at library) 486 Adams Collection # This is the original number found on each object Box 4, 0111FA Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Female Goldeneye Duck, Small Subject The topic of the resource Folk art wood carving Creator An entity primarily responsible for making the resource Edward H. Adams Source A related resource from which the described resource is derived The Adams Collection Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Relation A related resource City of Portsmouth, Trustees of the Trust Format The file format, physical medium, or dimensions of the resource JPEG derived from TIFF Type The nature or genre of the resource Three dimensional wood artifact Identifier An unambiguous reference to the resource within a given context 7"L x 3"W Adams Collection Captain Adams carved duck Edward Adams goldeneye Portsmouth wood https://portsmouthexhibits.org/files/original/12556806fc896fee979635ce7b6b13a7.jpg 840edab764c09e870b7704982b7409d7 https://portsmouthexhibits.org/files/original/ec54fa3ecd40fa2c825b52b81a296642.jpg 313dbc839d3d48777c3cb33ffaf555d1 https://portsmouthexhibits.org/files/original/e0cc7a50e115fcbc47dcf664614672a9.jpg 8abb52b824bf8c80e8344021f08fb478 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Adams Collection Subject The topic of the resource Hand carved folk art wildlife, boats, birds, etc., created by Captain Adams, Captain of the Gundalow. Source A related resource from which the described resource is derived The Adams Collection. Property of the City of Portsmouth, Trustees of the Trust. Cared for by the Portsmouth Public Library. Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections. Date A point or period of time associated with an event in the lifecycle of the resource Collection inventoried and relocated by the City, and the Trustees of the Trust, to the Portsmouth Public Library, 2009 Collection re-inventoried, re-housed, and photographed by Jessica Ross, and Nicole Luongo Cloutier, 2015/2016 Digital Archive created Spring/Summer 2016 Contributor An entity responsible for making contributions to the resource Photographs and database creation, Jessica Ross. Omeka addition and metadata creation by Jessica Ross and Nicole Cloutier. Rights Information about rights held in and over the resource These images are intended for research and reference use only. The library holds copyright to the digital images of this collection. Please see the copyright information page (link at bottom of page) for information about obtaining permission for image use and reproduction. Relation A related resource The physical Adams' Collection is located in the Portsmouth Public Library, cared for by the Special Collections staff. Vertical Files contain historic information about Adams, the Gundalow, and the collection of carvings. Format The file format, physical medium, or dimensions of the resource The files for these items are .jpg derived from .tif archival files. Images have been post-edited for cropping and lighting deficiencies only. Type The nature or genre of the resource Folk art wood artifacts. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant This collection is relevant to Portsmouth, Maritime history, Portsmouth people, and Gundalow history. Description An account of the resource This collection is an assemblage of work by Captain Edward H. Adams. They are photographic representations of The Adams Collection which includes about 175 of his original models and carvings. The Adams Collection was previously housed at the Sheafe Warehouse, and is now cared for by the Special Collections staff at Portsmouth Public Library, on behalf of the City of Portsmouth Trustees of the Trust. The Captain was born Edward Hamlin Adams to Joseph and Olive Adams on October 22, 1860. Influenced by his artist mother, he began carving as a child, and started modelling his first scale gundalow in 1882. He completed it in 1886 and spent decades hauling freight and navigating the Piscataqua earning himself the title of “Captain.” Adams was a skilled builder and artist who completed his last gundalow, the Driftwood, in 1950 with his son and business partner Edward Cass Adams. Adams passed away on April 9, 1951 at the age of 91. Between Adams’ earliest carvings and those completed by Cass after his death, more than ninety years of animal and fish carvings, ship models and other folk art are represented in this collections, each of which offer singularly unique interactions with the region’s environmental and maritime past. As comprehensive as this collection is, it is only a portion of Capt. Adams work. Additional pieces of the Captain’s legacy exist in other local institutions and include artifacts and holdings at the Portsmouth Athenaeum, the Portsmouth Historical Society, and the Durham Historic Association Museum. Further holdings also range from the Adams family papers located in the University of New Hampshire archives, to a stunning replica gundalow, inspired by and aptly named for the man himself and sailing today courtesy of the Portsmouth Gundalow Company. The artifacts themselves range from intricately built ship models, carved waterfowl and other regionally-specific animals to miscellaneous household items and tools. They vary widely in size and condition causing the preservation and longevity concerns of this collection to remain a chief priority and part of the emphasis in digitization. Preservation care has included painstaking inventories with special attention paid to both long-term housing requirements, (i.e. size/weight/physical condition) and to the organization of the pieces, (i.e. chronological, thematically etc.) for the purposes of consistent tracking and physical access. The artifacts have also been photographed in order to aid in the efficiency of visual access to the physical artifacts once they are individually wrapped, while minimizing the disturbance of surrounding pieces. The dual roles required to both maintain and preserve a physical collection alongside the creation of a digital one is a purposeful process and specific to the individual collection. In this case, the process for preserving and digitizing the Adams Collection is both driven and compounded by his beloved status in our regional history and the integrity of his contributions as a skilled gundalow captain, navigator and builder. The work of Capt. Adams remains relevant and sought after in any number of fields and venues, rendering diversity of access to his work necessary as well. All preservation and digitization research, quality control, rehousing and organization was completed by PPL Special Collections staff, Nicole Luongo Cloutier and Jessica Ross. Creator An entity primarily responsible for making the resource Edward H. Adams Miscellaneous Miscellaneous Put whatever you want in here. --title::The Adams Collection --text::This collection is an assemblage of work by Captain Edward H. Adams. They are photographic representations of The Adams Collection which includes about 175 of his original models and carvings. The... --images::1397,1529 Adams Collection City Inventory # This will be the record # found in the Goodman Report (database held at library) 444 Adams Collection # This is the original number found on each object Box 4, 0115FA Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Female Merganser, Small Subject The topic of the resource Folk art wood carving Creator An entity primarily responsible for making the resource Edward H. Adams Source A related resource from which the described resource is derived Portsmouth Public Library, Special Collections Publisher An entity responsible for making the resource available Portsmouth Public Library, Special Collections Relation A related resource City of Portsmouth, Trustees of the Trust Format The file format, physical medium, or dimensions of the resource JPEG derived from TIFF Type The nature or genre of the resource Three dimensional wood artifact Identifier An unambiguous reference to the resource within a given context 7.5"L x 2"W Adams Collection Captain Adams carved duck Edward Adams merganser Portsmouth wood