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Photo: © Museum of Fine Arts, Boston
inv. 47
Owl's Head, Penobscot Bay, Maine
1862
Oil on canvas
15 3/4 x 26 1/8 in. (40 x 66.4 cm)
Inscribed and dated verso (prior to relining): Owl's Head – Penobscot Bay, by F.H. Lane, 1862
Commentary

Owl's Head, Penobscot Bay, Maine is probably Lane's best-known work. He greatly simplified a popular artistic motif—the idyllic harbor view—in virtually every detail. The viewer looks out onto a contemporary coastal town with its commercial traffic, but sees few props in the foreground and background that would preoccupy one with thoughts of daily affairs. Instead there is a single boatman gazing at a seemingly unpopulated bay. Lane recorded the distinctive profile of Owl's Head with its tiny lighthouse clearly silhouetted against the evening sky.

Geometric clarity and simplicity set Lane's work apart from landscape scenes of the previous century. In Owl's Head, Penobscot Bay, Maine nature is a presence that envelops and transfixes the solitary boatman, but the picture that presents this vision retains the modest format and a bit of the decorative appeal of an earlier era.

– Text has been adapted from Theodore Stebbins, Carol Troyen, and Trevor J. Fairbrother, A New World: Masterpieces of American Painting, 1760–1910 (BostonMuseum of Fine Arts1983).

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Historical Materials

Below is historical information related to the Lane work above. To see complete information on a subject on the Historical Materials page, click on the subject name (in bold and underlined).
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The Camden Mountains, also called the Camden Hills, are located just northeast of the town of Camden. The range includes Mount Megunticook, upon whose shoulders Mount Battie sits, Cameron Mountain, and Bald Rock Mountain. They stand high above West Penobscot Bay between Camden and Lincolnville, looking east toward Mount Desert and the rising sun. The Wabenaki, loosely defined as the "people of the dawn," greeted their maritime world, "the dawn land," from the Camden Hills, and other high points, including Mount Wallamatogus in Penobscot (460 feet), Awan-adjo  (at Bluehill), Caterpillar Hill in Sedgwick (with its panoramic sweep which stretches from the Camden Hills to Mount Desert and far out into Penobscot Bay), and atop Cadillac Mountain, Mount Desert. It is from the same peaks that artists and pilgrims alike still climb to view Penobscot Bay.

Mad-kam-ig-os'-sek, "big high land," is the Wabenaki word for Camden, and Meg-un-ti-cook, "big mountain harbor," the name for the harbor, is now used for Mount Megunticook. The inner harbor, quiet and safe, would have been the ideal place for a large, oceangoing canoe to lay up when the sea was rough. Capt. John Smith visited this place in 1614, during the Beaver Wars, and noted that the high mountains were used as a refuge from the Mik'maq of the Maritimes who fought the Wabenaki of Penobscot Bay to maintain their place as middlemen in the fur trade. These raiders would travel along the Downeast coast in their shallops. Mount Battie, of many spellings, was noted as Mount Betty in documents dating from 1757. It is a European corruption of a word borrowed from another place, the Madambettox Hills of Rockland. 

-Mark Honey

References:

Eckstorm, Fannie Hardy, "Indian Place-Names of the Penobscot Valley and the Maine Coast," University of Maine Studies, 2nd Series, #55, November 1941, reprinted 1960 by the University of Maine Press. DeLorme's Atlas. Frank G Speck's "Penobscot Man," University Of Pennsylvania Press, 1940.

publication
1862 Gloucester Telegraph 3.8.1862
3.8.1862
Newsprint
Gloucester Telegraph

"The Reef of Norman's Woe ... is now commemorated in painting too, one of the finest pictures from Lane's easel. ... The sketch was made at the pretty spot commonly called, we believe, Master Moore's Cove.  Being some little way off the main track to Rafe's Chasm, it is seldom visited, except by the more inquisitive lovers of nature who leave the beaten road to pry out such pleasant places. ... We wish it might find a home buyer, rather than go off to enrich another community." Flowery description follows, then "There is another and larger work in the artist's studio, which, happily, is to be retained. It received much well deserved notice and commendation. The subject is a view southward from the 'Cut,' with the picturesque promontory commonly known as 'Stage Fort,' and historically interesting as the supposed spot of the 'Landing at Cape Ann' in the middle distance, and Eastern Point on the extreme left." More description follows, "Among other attractions of the studio, and particularly worthy of mention, is a cabinet picture with an effect similar to the Norman's Woe. The subject is chosen from the many sketches of the grand scenery of the Maine sea-coast with which the artist's portfolio is rich. It is a view of the Camden mountains sketches from the Graves, a jagged ledge far out in the bay, which is accessible in only the smoothest water."

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Owls Head is a peninsula that extends into West Penobscot Bay south of Rockland. Owls Head Light also marks the point where the Muscle Ridge Channel opens into West Penobscot Bay. (Muscle may have originally been Mussle).

Owls Head Light guides mariners into the port of Rockland and her ravenous lime kilns. Monroe Island, off Owls Head, has been a landmark for navigators from the age of Champlain, and the lee has provided shelter for mariners throughout the ages, "Owls Head Harbor may well have been the most frequented transient anchorage in the entire Penobscot region until well into the 19th century." "Five Hundred sail have been passing Owl's Head in one day," a mariner writes in the 1850s." Among the many legends of Owls Head was the scalping of 2 Indians by colonial forces led by Capt. Joseph Fox in 1757.

– Mark Honey

References:

Bill Caldwell, Lighthouses of Maine (Portland, ME: Gannett Books, 1986).

Roger F. Duncan, Coastal Maine: A Maritime History (New York: W.W. Norton & Co., 1992).

Charles B. McLane, and Carol Evarts McLane, Islands of the Mid-Maine Coast: Penobscot Bay, vol. 1, rev. ed. (Gardiner, ME: Tilbury House Publishers; in association with the Island Institute, Rockland, ME),120–22.

William Hutchinson Rowe, The Maritime History of Maine: Three Centuries of Shipbuilding & Seafaring (New York: W.W. Norton & Co., 1948).

letter
Dorothy Little Stevens to F. H. Lane, Castine, 10.16.1851
Dorothy Little Stevens
1851
Letter
Cape Ann Museum Library & Archives, Gloucester, Mass.

Thanks for "View of Owl's Head", a moonlight scene:  "Mr. Lane, Dear Sir, when I expressed to you, during your visit to us, the last summer, my admiration of moonlight scenes, I did not for a moment suppose that I should ever become the possessor of one, and that so beautiful as "The View of Owls Head," which you have so kindly, and in so delicate a manner presented to me, and for which, I now beg you to accept my heartfelt thanks, also, be assured, if your pleasure in giving has been half equal to mine in receiving, you have been amply repaid for your kindness, and I alone, am the debtor. . . ."

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photo (current)
Owl's Head
Sarah Dunlap
2015
Photograph
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photo (current)
Owl's Head
Sarah Dunlap
2015
Photograph
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Hermaphrodite brigs—more commonly called half-brigs by American seamen and merchants—were square-rigged only on the fore mast, the main mast being rigged with a spanker and a gaff-topsail. Staysails were often set between the fore and main masts, there being no gaff-rigged sail on the fore mast. (1)

The half-brig was the most common brig type used in the coasting trade and appears often in Lane’s coastal and harbor scenes. The type was further identified by the cargo it carried, if it was conspicuously limited to a specialized trade. Lumber brigs (see Shipping in Down East Waters, 1854 (inv. 212) and View of Southwest Harbor, Maine: Entrance to Somes Sound, 1852 (inv. 260)) and hay brigs (see Lighthouse at Camden, Maine, 1851 (inv. 320)) were recognizable by their conspicuous deck loads. Whaling brigs were easily distinguished by their whaleboats carried on side davits (see ). (2)

 – Erik Ronnberg

References:

1. M.H. Parry, et al., Aaak to Zumbra: A Dictionary of the World's Watercraft Newport News, VA: The Mariners’ Museum, 2000), 268, 274; and A Naval Encyclopaedia (L.R. Hamersly & Co., 1884. Reprint: Detroit, MI: Gale Research Company, 1971), 93, under "Brig-schooner."

2. W.H. Bunting, An Eye for the Coast (Gardiner, ME: Tilbury House: 1998), 52–54, 68–69; and W.H. Bunting, A Day's Work, part 1 (Gardiner, ME: Tilbury House: 1997), 52.

photo (historical)
Canadian Brig "Ohio" in East Gloucester
c.1910
Photograph

Canadian brig "Ohio" iced in off Reed & Gamage Wharf, East Gloucester.

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photo (historical)
A half brig being towed to the Bay in New York Harbor
George Stacy
1859–60
Photograph
Johnson, H. and Lightfoot, F.S.: Maritime New York in Nineteenth-Century Photographs, Dover Publications, Inc., New York
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illustration
Hermaphrodite Brig
Engraving in R. H. Dana, The Seaman's Friend, 13th ed. (Thomas Groom & Co. Publisher, 1873)

An hermaphrodite brig is square-rigged at her foremast; but has no top, and only fore-and-aft sails at her main mast.

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artwork
Lumber Brig in High Seas
Fitz Henry Lane
n.d.
Oil on canvas
10 1/8 x 16 in.
Cape Ann Museum, Gloucester, Mass., Gift of the Estate of Anne K. Garland, 1990 (2676.00)

Detail of lumber brig.

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artwork
Silhouettes of vessel types
Charles G. Davis
Book illustrations from "Shipping and Craft in Silhouette" by Charles G. Davis, Salem, Mass. Marine Research Society, 1929. Selected images
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Schooners in Lane’s time were, with few exceptions, two-masted vessels carrying a fore-and-aft rig having one or two jibs, a fore staysail, gaff-rigged fore- and main sails, and often fore- and main topsails. One variant was the topsail schooner, which set a square topsail on the fore topmast. The hulls of both types were basically similar, their rigs having been chosen for sailing close to the wind. This was an advantage in the coastal trade, where entering confined ports required sailing into the wind and frequent tacking. The square topsail proved useful on longer coastwise voyages, the topsail providing a steadier motion in offshore swells, reducing wear and tear on canvas from the slatting of the fore-and-aft sails. (1)

Schooners of the types portrayed by Lane varied in size from 70 to 100 feet on deck. Their weight was never determined, and the term “tonnage” was a figure derived from a formula which assigned an approximation of hull volume for purposes of imposing duties (port taxes) on cargoes and other official levies. (2)

Crews of smaller schooners numbered three or four men. Larger schooners might carry four to six if a lengthy voyage was planned. The relative simplicity of the rig made sail handling much easier than on a square-rigged vessel. Schooner captains often owned shares in their vessels, but most schooners were majority-owned by land-based firms or by individuals who had the time and business connections to manage the tasks of acquiring and distributing the goods to be carried. (3)

Many schooners were informally “classified” by the nature of their work or the cargoes they carried, the terminology coined by their owners, agents, and crews—even sometimes by casual bystanders. In Lane’s lifetime, the following terms were commonly used for the schooner types he portrayed:

Coasting schooners: This is the most general term, applied to any merchant schooner carrying cargo from one coastal port to another along the United States coast (see Bar Island and Mt. Desert Mountains from Somes Settlement, 1850 (inv. 401), right foreground). (4)

Packet schooners: Like packet sloops, these vessels carried passengers and various higher-value goods to and from specific ports on regular schedules. They were generally better-maintained and finished than schooners carrying bulk cargoes (see The Old Fort and Ten Pound Island, Gloucester, 1850s (inv. 30), center; and Gloucester Inner Harbor, 1850 (inv. 240), stern view). (5)

Lumber schooners: Built for the most common specialized trade of Lane’s time, they were fitted with bow ports for loading lumber in their holds (see View of Southwest Harbor, Maine: Entrance to Somes Sound, 1852 (inv. 260)) and carried large deck loads as well (Stage Rocks and the Western Shore of Gloucester Outer Harbor, 1857 (inv. 8), right). Lumber schooners intended for long coastal trips were often rigged with square topsails on their fore masts (see Becalmed Off Halfway Rock, 1860 (inv. 344), left; ; and Lumber Schooner in a Gale, 1863 (inv. 552)). (6)

Schooners in other specialized trades. Some coasting schooners built for carrying varied cargoes would be used for, or converted to, special trades. This was true in the stone trade where stone schooners (like stone sloops) would be adapted for carrying stone from quarries to a coastal destination. A Lane depiction of a stone schooner is yet to be found. Marsh hay was a priority cargo for gundalows operating around salt marshes, and it is likely that some coasting schooners made a specialty of transporting this necessity for horses to urban ports which relied heavily on horses for transportation needs. Lane depicted at least two examples of hay schooners (see Gloucester Harbor, 1850s (inv. 391), left; and Coasting Schooner off Boon Island, c.1850 (inv. 564)), their decks neatly piled high with bales of hay, well secured with rope and tarpaulins.

– Erik Ronnberg

References:

1. Howard I. Chapelle, The History of American Sailing Ships (New York: W.W. Norton & Co., 1935), 258. While three-masted schooners were in use in Lane’s time, none have appeared in his surviving work; and Charles S. Morgan, “New England Coasting Schooners”, The American Neptune 23, no. 1 (DATE): 5–9, from an article which deals mostly with later and larger schooner types.

2. John Lyman, “Register Tonnage and its Measurement”, The American Neptune V, nos. 3–4 (DATE). American tonnage laws in force in Lane’s lifetime are discussed in no. 3, pp. 226–27 and no. 4, p. 322.

3. Ship Registers of the District of Gloucester, Massachusetts, 1789–1875 (Salem, MA: The Essex Institute, 1944). Vessels whose shipping or fishing voyages included visits to foreign ports were required to register with the Federal Customs agent at their home port. While the vessel’s trade or work was unrecorded, their owners and master were listed, in addition to registry dimensions and place where built. Records kept by the National Archives can be consulted for information on specific voyages and ports visited.

4. Howard I. Chapelle, The National Watercraft Collection (Washington, DC: Smithsonian Institution, 1960), 40, 42–43.

5. Ibid., 42–43, 73.

6. Ibid., 74–76.

Coasting schooner "Polly"

Photograph

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Lumber schooner in Gloucester Harbor

1852 Photograph

Also filed under: Lumber Industry »

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illustration
Topsail Schooner

In R. H. Dana, The Seaman's Friend, 13th ed. (Thomas Groom & Co. Publisher, 1873)

A topsail schooner has no tops at her foremast, and is fore-and-aft rigged at her mainmast. She differs from an hermaphrodite brig in that she is not properly square-rigged at her foremast, having no top, and carrying a fore-and-aft foresail instead of a square foresail and a spencer.

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object
1892 Gloucester Harbor Diorama (detail of marine railway)
Lawrence Jensen, Erik. A.R. Ronnberg, Jr.

Detail views: marine railway and hauling cradle for vessel Wood rails, metal rollers, chain; wood cradle. Scale: ½" = 1' (1:24) Original diorama components made, 1892; replacements made, 1993. Cape Ann Museum, from Gloucester Chamber of Commerce, 1925 (2014.071)

A schooner is shown hauled out on a cradle which travels over racks of rollers on a wood and metal track.

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Lobsterman and dory at Lane's Cove
Photographer unknown

c. 1900 Glass plate negative Collection of Erik Ronnberg

Also filed under: Lobstering »

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PDF
view ]
publication
Maine Register for 1855 (Lumber)
George Adams, publisher

"The Maine Register for the Year 1855, embracing State and County Officers, and an abstract of the law and resolves; together with a complete business directory of the state, and a variety of useful information."

Details about Maine's lumber trade in 1855, see pp. 250–52

Also filed under: Castine »   //  Lumber Industry »

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illustration
View of the Old Fort and Harbor 1837
Fitz Henry Lane, attr.

1860 In John J. Babson, History of the Town Gloucester (Gloucester, MA: Procter Brothers, 1860) Cape Ann Museum Library & Archives, Gloucester, Mass.

See p. 474.

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The Owl's Head Light is situated at the entrance to Rockland Harbor, Maine and overlooks the western Penobscot Bay. The first Owl's Head Light was built in 1825 to guide vessels partaking in the area's growing lime trade. After receiving approval from President John Quincy Adams, a thirty-foot tower was built atop a soaring promontory. In its early years the Owl's Head Light was decrepit. Seven years after its completion, repairs were already being made and a I.W.P Lewis inspection report from 1843 noted that the entire complex was "in a filthy state" and in desperate need of attention. A round brick tower was finally built in 1852 and a new keeper's house followed soon after in 1854. Two years later, in 1856, the current fourth-order Fresnel lens was installed, replacing the original lens. 

This information has been shared with the Lane Project by Jeremy D'Entremont. More information can be found at his website, www.newenglandlighthouses.net or The Lighthouse Handbook New England.

letter
Dorothy Little Stevens to F. H. Lane, Castine, 10.16.1851
Dorothy Little Stevens
1851
Letter
Cape Ann Museum Library & Archives, Gloucester, Mass.

Thanks for "View of Owl's Head", a moonlight scene:  "Mr. Lane, Dear Sir, when I expressed to you, during your visit to us, the last summer, my admiration of moonlight scenes, I did not for a moment suppose that I should ever become the possessor of one, and that so beautiful as "The View of Owls Head," which you have so kindly, and in so delicate a manner presented to me, and for which, I now beg you to accept my heartfelt thanks, also, be assured, if your pleasure in giving has been half equal to mine in receiving, you have been amply repaid for your kindness, and I alone, am the debtor. . . ."

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photo (historical)
Owl's Head Light
c.1859
Photograph
National Archives
Photography courtesy of http://www.newenglandlighthouses.net
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artwork
Owl's Head Light (Rockland, Maine)
Obpacher Brothers
c.1870
Lithograph
Library of Congress LC-USZ62-39504

Print, possibly a postcard, showing a lighthouse on the cliff above men fishing from the rocky coast at Owl's Head, Maine.

 

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Provenance (Information known to date; research ongoing.)
Mrs. John LeFavour Stanley, Gloucester, Mass.
Mrs. Louise S. Campbell, Montclair, N.J., by 1938
Charles D. Childs, Boston, 1943
Maxim Karolik, Newport, R.I., 1943
Museum of Fine Arts, Boston, 1948
Exhibition History
1954b M. Knoedler & Co.
M. Knoedler & Co, New York, Commemorative Exhibition of Karolik Private Collection Paintings by Martin J. Heade and Fitz Hugh Lane, May 3–28, 1954, no. 8.
1962 University of Delaware
University of Delaware, Newark, Delaware, American Painting, 1857–1869, January 10–February 18, 1962. (Craven 1962).
1965 Monmouth Museum
Monmouth Museum, Red Bank, New Jersey, The Spell of the Sea, May 2–31, 1965.
1966 DeCordova Museum
DeCordova Museum, Lincoln, Massachusetts, Fitz Hugh Lane: The First Major Exhibition, March 20–April 17, 1966. (Wilmerding 1966a), no. 50. Traveled to: Colby College Art Museum, Waterville, Maine, April 30–June 6, 1966.
1969 Brockton Art Center
Brockton Art Center, Brockton, Massachusetts, New England Art from New England Museum, January–March 1969.
1970 Indiana University
Indiana University Art Museum, Bloomington, Indiana, The American Scene, January 18–February 28, 1970.
1974 Farnsworth Art Museum
John Wilmerding, William A. Farnsworth Library and Art Museum, Rockland, Maine, Fitz Hugh Lane 1804-1805, July 12–September 15, 1974. (Exhibition catalogue: Farnsworth 1974), no. 45, ill.
1976 Museum of Modern Art
The Museum of Modern Art, New York, The Natural Paradise: Painting in America 1800–1950, October 1–November 30, 1976. (McShine 1976).
1980 National Gallery of Art
National Gallery of Art, Washington, D.C., American Light: The Luminist Movement, 1850–1875, February 10–June 15, 1980. (Exhibition catalogue: Wilmerding 1980a).
1983–84 Museum of Fine Arts
Museum of Fine Arts, Boston, A New World: Masterpieces of American Painting, 1760–1910, September 7–November 13, 1983. (Museum of Fine Arts, Boston 1983); (Stebbins, Troyen, and Fairbrother 1983). Traveled to: Corcoran Gallery of Art, Washington, D.C., December 6, 1983–February 12, 1984; Grand Palais, Paris, March 16–June 11, 1984.
1985a Museum of Fine Arts
Museum of Fine Arts, Boston, The Great Boston Collectors: Paintings from the Museum of Fine Arts, February 13–June 2, 1985. (Troyen and Tabbaa 1984).
1988 National Gallery of Art
National Gallery of Art, Washington, D.C., Paintings by Fitz Hugh Lane, May 15–September 5, 1988, no. 52, ill. in color, p. 119. Traveled to: Museum of Fine Arts, Boston, October 5–December 31, 1988.
2007 Cape Ann Museum
Cape Ann Historical Museum, Gloucester, Massachusetts, The Mysteries of Fitz Henry Lane, July 7–September 16, 2007. (Exhibition catalogue: Wilmerding 2007a), no. 39, ill., p. 92. Traveled to: Spanierman Gallery, New York, October 4–December 1, 2007.
Published References
Museum of Fine Arts, Boston 1949
Museum of Fine Arts, Boston. M. and M. Karolik Collection of American Paintings, 1815 to 1865. Cambridge, MA: Harvard University Press; published for the Museum of Fine Arts, Boston, 1949.
M. Knoedler & Co. 1954
Baur, John I.H. Commemorative Exhibition: Paintings by Martin Johnson Heade and Fitz Hugh Lane from the Karolik Collections in the Museum of Fine Arts, Boston. New York: M. Knoedler & Co., 1954. Exhibition brochure, no. 8, ill.
McLanathan 1956
McLanathan, Richard. Fitz Hugh Lane (Museum of Fine Arts Picture Book Number Eight). Boston: Museum of Fine Arts, 1956; 1972 second ed, p. 6.
Eliot 1957
Eliot, Alexander. Three Hundred Years of American Painting. New York: Time Inc., 1957.
Museum of Fine Arts, Boston 1957
American Paintings 1815–1865: One Hundred and Fifty Paintings from the M. and M. Karolik Collection in the Museum of Fine Arts, Boston. Boston: Museum of Fine Arts, 1957. Exhibition catalogue (1957 Museum of Fine Arts).
Craven 1962
Craven, Wayne. American Painting, 1857–1869. Newark, DE: University of Deleware, 1962. Exhibition catalogue (1962 University of Delaware).
Flexner 1962
Flexner, James Thomas. That Wilder Image: The Painting of America's Native School from Thomas Cole to Winslow Homer. Boston: Little, Brown and Co., 1962.
Wilmerding 1964
Wilmerding, John. Fitz Hugh Lane, 1804–1865: American Marine Painter. Salem, MA: The Essex Institute, 1964. Exhibition catalogue (1964 Essex Institute).
American Neptune 1965
The American Neptune, Pictorial Supplement VII: A Selection of Marine Paintings by Fitz Hugh Lane, 1804–1865. Salem, MA: The American Neptune, 1965, plate XXVIII, no. 110.
Wilmerding 1966a
Wilmerding, John. Fitz Hugh Lane: The First Major Exhibition. Lincoln, MA: De Cordova Museum; in association with Colby College Art Museum, 1966. Exhibition catalogue (1966 DeCordova Museum), no. 50, ill.
Wilmerding 1966b
Wilmerding, John. "Fitz Hugh Lane's Paintings Down East." Down East (April 1966), p. 24.
McLanathan 1968
McLanathan, Richard. The American Tradition in the Arts. New York: Harcourt, Brace & World, 1968.
Wilmerding 1968
Wilmerding, John. A History of American Marine Painting. Salem, MA: Peabody Museum; in association with Little, Brown and Co., 1968.
Wilmerding 1971a
Wilmerding, John. Fitz Hugh Lane. New York: Praeger, 1971.
Williams 1973
Williams, Herman Ward. The Britanica Encyclopedia of American Art. Chicago: Encyclopedia Britannica Educational Corp., 1973.
Farnsworth 1974
Fitz Hugh Lane 1804-1865. Rockland, ME: William A. Farnsworth Library and Art Museum, 1974. Exhibition catalogue (1974 Farnsworth Art Museum), no. 45, ill.
McShine 1976
McShine, Kynaston. The Natural Paradise: Painting in America 1800–1950. New York: The Museum of Modern Art, 1976. Exhibition catalogue (1976 Museum of Modern Art).
Harris and Levey 1978
Harris, William H., and Judith S. Levey. The New Illustrated Columbia Encyclopedia. Garden City, NY: Rockville House Publishers, 1978.
Siegel 1978
Siegel, Linda. Caspar David Friedrich and the Age of German Romanticism. Boston: Branden Press, 1978.
Wilmerding 1980a
Wilmerding, John, ed. American Light: The Luminist Movement, 1850–1875. Washington, DC: National Gallery of Art, 1980. Exhibition catalogue (1980 National Gallery of Art), fig. 113, p. 110, text, pp. 111, 211.
Novak 1980b
Novak, Barbara. Nature and Culture: American Landscape Painting, 1825–1875. New York: Oxford University Press, 1980.
Wilmerding 1980c
Wilmerding, John. "American Light: The Luminist Movement, 1850–1875; An Exhibition at the National Gallery of Art." Antiques 117 (April 1980).
Knight 1981
Knight, Christopher. "Is There a California School?" Portfolio: The Magazine of the Visual Arts 3 (September/October 1981).
Stebbins, Troyen, and Fairbrother 1983
Stebbins, Theodore, Carol Troyen, and Trevor J. Fairbrother. A New World: Masterpieces of American Painting, 1760–1910. Boston: Museum of Fine Arts, 1983. Exhibition catalogue (1983–84 Museum of Fine Arts).
Baigell 1984
Baigell, Matthew. A Concise History of American Painting and Sculpture. New York: Harper & Row Publishers, 1984.
Troyen and Tabbaa 1984
Troyen, Carol, and Pamela S. Tabbaa. The Great Boston Collectors: Paintings from the Museum of Fine Arts. Boston: Museum of Fine Arts, 1984. Exhibition catalogue (1985a Museum of Fine Arts).
Fazio 1986
Fazio, Beverly. Masterpiece Paintings from the Museum of Fine Arts, Boston. New York: Harry N. Abrams, 1986.
Wilmerding 1987
Wilmerding, John. American Marine Painting. 2nd ed. New York: Harry N. Abrams, 1987.
Wilmerding 1988a
Wilmerding, John. Paintings by Fitz Hugh Lane. Washington, DC: National Gallery of Art; in association with Harry N. Abrams, 1988. Exhibition catalogue, no. 52, fig. 31, p.151.
Moses 1991
Moses, Michael A. "Mary B. Mellen and Fitz Hugh Lane." Antiques Magazine Vol. CXL, No. 5 (November 1991), pp. 829, 833.
Shain and Shain 1991
Shain, Charles, and Samuella Shain. The Maine Reader: The Down East Experience from 1614 to the Present. Boston: David R. Godine, 1991.
Cape Ann 1993
Training the Eye and the Hand: Fitz Hugh Lane and 19th Century Drawing Books. Gloucester, MA: Cape Ann Historical Association, 1993. Exhibition catalogue (1993–94 Cape Ann Museum), fig. 21, p. 22.
Davis 1995
Davis, Elliot Bostwick. "American Drawing Books and Their Impact on Fitz Hugh Lane." Proceedings of the American Antiquarian Society 105, part 1 (1995), fig. 3, p. 90, text, p. 88.
Novak 1995
Novak, Barbara. Nature and Culture: American Landscape Painting, 1825–1875. Revised edition. New York: Oxford University Press, 1995, no. 95, p. 186, as Owl's Head, Penobscot Bay, Maine.
Wilton and Barringer 2002
Wilton, Andrew, and Tim Barringer. American Sublime: Landscape Painting in the United States, 1820–1880. London: Tate Publishing, 2002. Exhibition catalogue (2002 Pennsylvania Academy); (2002 Tate Britain), cat. 71, ill. in color, p. 198, text, pp. 198, 254, 270.
Wilmerding 2005
Wilmerding, John. Fitz Henry Lane. Gloucester, MA: Cape Ann Historical Association, 2005, ill. 41, text, pp. 55-56.
Bohlin 2006
Bohlin, Virginia. "'Owl's Head' Back from the Missing." The Boston Globe, February 19, 2006.
Keck 2006
Keck, Michaela. Walking in the Wilderness: The Peripatetic Tradition in Nineteenth-Century American Literature and Painting. Heidelberg, Germany: Universitatsverlag Winter, 2006, fig. 30, p. 256; text, pp. 255–56.
Wilmerding 2007
Wilmerding, John. "Fitz Henry Lane & Mary Blood Mellen." American Art Review 19, no. 4 (2007), pp. 170, 175.
Wilmerding 2007a
Wilmerding, John. Fitz Henry Lane & Mary Blood Mellen: Old Mysteries and New Discoveries. New York: Spanierman Gallery, 2007. Exhibition catalogue (2007 Cape Ann Museum), no. 39, fig. 28, text, pp. 35, 92.
University of Maryland 2008
Unbroken Thread: Nature Paintings and the American Imagination; The Art of Philip Koch. Adelphi, MD: University of Maryland University College, 2008.
Newton 2010
H. Travers Newton, Jr. "Fitz Henry Lane's Series Paintings of 'Brace's Rock': Meaning and Technique." Terra Foundation for American Art. , as Owl's Head, Penobscot Bay, Maine.
Record last updated March 7, 2017. Please note that the information on this and all pages is periodically reviewed and subject to change.
Citation: "Owl's Head, Penobscot Bay, Maine, 1862 (inv. 47)." In Fitz Henry Lane Online. Gloucester, MA: Cape Ann Museum. www.fitzhenrylaneonline.org/catalogue/entry.php?id=47 (accessed on August 1, 2025).