August, 2024 | By: Danielle Devine | Image courtesy of CW Stockwell
It screams summer while instantly transporting you to a tropical locale, but there’s a great debate among design enthusiasts about who designed the famous banana leaf wallpaper. Was it Dorthey Draper or Don Loper? Don Loper is often mistakenly credited as the designer because of his use of the iconic paper in the Beverly Hills Hotel. Here are the facts.
In 1941, Lucile Chatain, the daughter of Clifton W. Stockwell, who started the wallpaper and textile company CW Stockwell, returned from a vacation in the South Pacific with her husband Remy Chatain. Lucile had studied architecture and interior design at Parsons, and she had a great eye. She approached her friend and neighbor, noted illustrator Albert Stockdale, to create a tropical print representing her experience in the jungle. The result was Martinique®, a handprinted large botanical pattern installed like a mural in the showroom. Around the same time, interior and Hollywood costume designer Don Loper was tasked by the Beverly Hills Hotel to help with its redesign. When Loper visited the CW Stockwell showroom and saw the bold banana leaf wallpaper, he knew it belonged in the hotel—it was a perfect complement to the iconic pink facade. It’s believed that there are about five miles of banana leaf wallpaper and fabric throughout the Beverly Hills Hotel.
The print’s fame continued to grow. In 1984, restaurateur Brian McNally used Martinique® in his new Manhattan hot spot, Indochine, frequented by celebrities like Andy Warhol, Jean-Michel Basquiat, and Madonna. It was also used in the beloved sitcom Golden Girls from the 1980s: party girl character Blanche Devereaux’s bedroom was covered in the Martinique® banana leaf print wallpaper, and she even had a matching bedspread. In 2019, after the youngest Chatain’s death, West Elm and Serena and Lily veteran Katy Polsby (who also happened to be a family friend of the Chatains) took over as CEO and owner of CW Stockwell. “Our iconic Martinique® pattern is singular and sought after because it has universal appeal for its boldness, its whimsy, and its transportive spirit,” Polsby told Veranda magazine in 2021. “It is also one of the world’s most imitated patterns, largely due to the fact that—until now—it has not been made widely accessible in its authentic form.”
There’s no denying that the pattern looks very similar to Brazilliance by Dorothy Draper. Many believe Martinque® is darker in color and has a bolder design, while Draper’s is lighter and preppier. The defining difference, though, is that Draper’s paper includes clusters of grapes instead of the bananas used in Martinique®.
Of the almost 4,000 islands in Maine, just 300 were ultimately settled, and of those, 100 eventually became year-round communities, a number that has dwindled to just 15 today. “A place is always richer when families are being raised there,” says John Fondas, who knows something about island living. Born and raised in Spanish Wells in the Bahamas, he hadn’t connected with any place quite like it until he stepped onto Little Cranberry Island’s public dock more than two decades ago. “The lobster traps, the gardens, the lobstermen’s co-op, it all reminded me of home,” he says.
The Woodlawn Inn was in terrible shape, but its history—and history-making view—captivated Fondas and his partner, John Knott. From the front porch, one can see Bunker’s Ledge, where Frederic Church made Beacon Off Mount Desert Island, the painting that put Maine on the map as a tourist destination in the late 1800s. The inn’s 19 tiny bedrooms drew notable painters—Mary Cassatt among them—as well as the era’s rusticators, who made the trip from Boston, Philadelphia, and New York City. “We meticulously preserved the exterior and took only a few liberties with the interior architecture to make it more relaxed and open,” says Fondas of the gambrel-roofed Colonial Revival. Hints at the house’s former life are everywhere—the linoleum stair runner, the room numbers, the exit signs all remain.
And then they went to town. Or, rather, to sea. Like a pair of New England sea captains, they furnished the house with exotica [sic] that might have been brought back from excursions to the Far East. But Fondas and Knott, mindful that the best old vacation houses are those in which a motley mix of family cast-offs land, looked no further than their own cache; all of the furnishings came out of homes they had owned in the past. “It’s that grand recycling that makes these houses so idiosyncratic. They’re filled with bits and pieces of people’s lives,” says Fondas. For this pair, the principals of the textile company Quadrille, that includes miles of fabric and wallcoverings deployed with joyful abandon—just the way they like it. Which is why, when summer rolls around and the sheets come off the furniture, the shutters are opened, and the pipes come to life, Fondas is content to stay right here. “I don’t want to be dancing on some Mediterranean island. I want to smell the soil, listen to the loons, and share the view with our friends,” he says. The rewards of island living, he finds, far outweigh the inconveniences. “You actually appreciate your bottle of water, your screwdriver, and your ballpoint pen.”
Excerpted from The Maine House II by Maura McEvoy, Basha Burwell, and Kathleen Hackett (Vendome Press, 2024). Reprinted with permission from the publisher.
Growing up in Cambodia, Chenda Cameroun ate this simple noodle dish with sweet and sour sauce. Today, Cameroun works in the quality assurance department at Luke’s Lobster’s production facility, ensuring that each piece of lobster that’s been steamed and hand-picked is in perfect condition to be shipped around the world. The Luke’s team asked Cameroun to show them how to make this weeknight noodle salad with lobster instead of the typical ground pork, and the resulting dish is perfect for a warm summer evening in Maine.
Serves 4
SWEET & SOUR SAUCE
INGREDIENTS 4 cups cold water 2 cups sugar 1 cup fish sauce 1 cup vinegar 1/2 cup sweet chili sauce (optional) 1 carrot, shredded (optional) 1/2 cup peanuts, chopped (optional) Chilies (optional)
INSTRUCTIONS Combine the water, sugar, fish sauce, vinegar, and sweet chili sauce (if using) in a bowl and stir together. If desired, add shredded carrot, chopped peanuts, and chilies.
NOODLE SALAD
INGREDIENTS 1 pound lobster meat 1 package vermicelli noodles Sweet and Sour Sauce (see above) 1 cucumber, sliced 2 cups chopped lettuce Mint, for garnish
INSTRUCTIONS 1. To cook the noodles, place them in a bowl and cover with boiling water. Let soak for 3 to 5 minutes. Drain in a colander and refill the bowl with cold water. Return the drained noodles to the bowl and soak for 3 to 5 minutes to stop the cooking. Drain. 2. Place the noodles in a serving bowl and separate using a fork or your hands. 3. Pour the sweet and sour sauce over the noodles and add the lobster meat, cucumber, and lettuce. Toss, then garnish with mint.
MH+D partnered with Moss Galleries to host an exclusive group of design VIPs at nationally acclaimed artist Charlie Hewitt’s Electric Greenhouse in Portland. Guests enjoyed light bites and refreshments provided by Experience Maine Culinary while being among the first to see the debut collection of Hewitt’s one-of-a-kind carved ceramic wall sculptures. Inspired by biblical motifs, the colorful ceramic pieces feature a muted palette compared to the brightly lit neon signs Hewitt is known for. Stay tuned for a full feature on Hewitt’s unique gallery space in our upcoming September issue!
Maine artists Katarina Weslien and Charlie HewittGoat cheese and beet skewers make the rounds.Louisa Donelson, artist and designer; Amanda Cleary, Woodhull; Shannon Richards, founder of Hay Runner; and Elizabeth Moss, owner of Moss GalleriesLauren Donovan, assistant director at Moss GalleriesLeandra Fremont-Smith, founder and principal designer at Leandra Fremont-Smith Interiors, and Danielle Devine, MH+D editorGuests enjoy small bites provided by Experience Maine Culinary.Jared Levin; Karen Bowe, MH+D director of business development and partnerships; and Jen Levin, owner of Chilton FurnitureHewitt’s work on display at the Electric Greenhouse.Charlie Hewitt explains the inspiration and process behind his newly unveiled ceramic wall sculptures.Attendees pose with Hewitt’s iconic “Hopeful” sign.
“Moss Galleries was honored to cosponsor this intimate eventwith MH+D showcasing Charlie Hewitt’s diverse art mediums tothe designers and architectural community of Greater Portland.It was a lovely evening filled with insights into Charlie’s ceramics,sculptural pieces, and iconic marquee signs.”
Built in 1855 for carpenter Richard Evans, the Evans-Cummings House, known colloquially as the GINGERBREAD HOUSE, is a landmark Victorian-era residence in Norway, Maine. After undergoing historic preservation over the past several years, the home has reopened to the public with an art exhibition called If You Lived Here, You Would… Presented by DRIVE BY SPACE, the exhibition features work by artists Michelle Grabner, Valerie Hegarty, Alex Jovanovich, and Adam Payne. According to a press release, “If You Lived Here You Would… is a consideration of the home’s past that offers a glimpse into its potential future through a selection of sculptures, paintings, drawings, and mixed-media pieces—brought to western Maine for the very first time—by a group of internationally recognized and acclaimed artists.” The exhibition is on view through the remainder of the summer.
The latest two-in-one appliance from FISHER AND PAYKEL is a major triumph for those who have high ceilings or prefer a streamlined, contemporary kitchen aesthetic: the 36-inch INDUCTION COOKTOP WITH INTEGRATED VENTILATION eliminates the need for a bulky range hood thanks to a nine- speed fan that removes odors, smoke, and steam. Previewed at the 2024 KITCHEN AND BATH INDUSTRY SHOW in Las Vegas, the sleek glass cooking surface, which uses induction technology to heat only the cookware and not the entire cooking surface, is more energy efficient than traditional gas and electric stovetops. Featuring precise touch-and-slide temperature controls and four different cooking zones, the elegant appliance is a game changer for the future of kitchen design.
GOVERNOR JANET MILLS signed an executive order this spring with the goal of increasing the number of women in Maine’s male-dominated construction industry. In the executive order, Mills outlines strategies for the recruitment, training, and retention of women in the construction workforce, including grant opportunities to incentivize hiring women, connecting construction businesses with women in apprenticeship and trade programs, collecting and sharing data from contractors and subcontractors in the state, and surveying organizations (including contractors, staffing agencies, and labor unions) to determine what barriers are preventing women from working in the industry. “Women are a crucial part of Maine’s workforce, and they should be welcomed and embraced in every sector of our economy, including those traditionally dominated by men, like the construction industry and the trades. This executive order will create pathways for more women to enter and succeed in these important jobs at a time when our state and the industry needs them most,” Mills said in a statement. Women currently make up about 15 percent of Maine’s construction workforce, which is slightly higher than the national average of 11 percent.
Photo: Laurent Kronental for Chatillon Architectes
In preparation for the 2024 SUMMER OLYMPICS in Paris, CHATILLON ARCHITECTES embarked on a multiyear restoration and renovation of the GRAND PALAIS DES CHAMPS-ÉLYSÉES, a dramatic Beaux Arts palace originally built for the 1900 World’s Fair. Referencing archival documents like the original building design by architects Henri Deglane, Albert Louvet, Albert Thomas, and Charles Girault, the team from Chatillon reconnected the building’s three main spaces, removed partition walls to reopen inaccessible spaces to the public, reinforced the nave’s ornate cantilevered balconies, and added modern-day technology throughout the building. Nearly 50 companies, more than 200 subcontractors, and around 900 site staff worked together on the project, which will undergo a brief pause as the building’s massive atrium hosts fencing and taekwondo competitions during the Olympics. The Grand Palais’s full rehabilitation is expected to be completed in 2025, at which point the building will host artwork from the CENTRE POMPIDOU as the modern art museum undergoes construction.
Photo: Sally Ferrand
The historic steamship KATAHDIN, the star exhibit at the MOOSEHEAD MARINE MUSEUM in Greenville, is celebrating its 110th birthday this year. Affectionately known as Kate, the boat is undergoing significant preservation efforts led by the BOOTHBAY HARBOR SHIPYARD so that it may continue to share the steam boating and marine heritage of the Moosehead Lake Region with visitors. A multiyear fundraising campaign called KEEP KATE CRUISING set an initial goal of $2 million and received $500,000 in federal funds for restoration, including a new upper deck, fantail deck, and side decking. Kate, which still cruises the lake five days a week and hosts nearly 8,500 visitors each year, is listed on the NATIONAL REGISTER OF HISTORIC PLACES.
Lauren Goodman, the Montreal-based designer behind sculptural furniture firm STUDIO LAUREN GOODMAN, is known for transforming local waste into elevated, unique objects. Her latest series, called FRESH CATCH, showcases carefully deconstructed lobster traps salvaged from the coast of Maine that have been organically rearranged and welded back together to form upcycled chairs, shelves, and side tables. “Material exploration is one of the driving forces behind my practice,” Goodman says. “I’m interested in concepts like renewal and repair. I like seeing beyond the material in front of you to expand its potential.” Having spent summers in Maine with her family since childhood, Goodman knew exactly where to look when she first considered working with a single waste stream. “Derelict traps and other fishing gear can be devastating for ocean life, and just getting them off the shores and out of marine ecosystems makes a positive impact. The lobster trap itself is such an iconic symbol for so many, especially in New England, and the opportunity to transform this otherwise unwelcome material into a functional piece of furniture is really invigorating,” she explains.
Photo: Pete Fitz of Buoy Media
Visitors to Portland’s BACK COVE TRAIL will spot some new animal friends this summer: a pair of 20-foot-tall egrets performing their distinctive mating dance. The bamboo sculpture called Dancing for Joy (By the Will of the People) is a temporary public art installation by internationally renowned artists Donna Dodson and Andy Moerlein of THE MYTH MAKERS. According to TEMPOART, the nonprofit organization that commissioned the sculpture, “The collaboration between Dodson and Moerlein [grew] out of a mutual love of the wild: Dodson takes inspiration from the mysterious nature of birds that spark her imagination, and Moerlein takes inspiration from events in the natural world that leave visual marks and strike a narrative chord in the artist. Although monumental in scale, their ephemeral bamboo sculptures are temporary in nature. Made from natural materials, they are site specific and respond to their local audience.” Dancing for Joy will be on display until 2026.
August, 2024 | Photography: Catherine Dzilenski | As told to Becca Abramson
“Our lease in the Portland Public Market was coming to an end, and we knew we didn’t want to renew, so we had been looking for the perfect space for a while. We’ve wanted a restaurant on Middle Street for a long time— it feels like the restaurants here stay open forever—so when we saw the opportunity to join the neighborhood, we reached out right away to learn more and signed the lease not long after.
“Working with Woodhull on the buildout was an extremely smooth and professional process. Teaming up with contractors can be difficult, but working with their group was a breeze, and we’re thrilled with how everything turned out. The interior was designed by Mey and Company, which we’ve worked with previously at Bar Futo. We wanted to incorporate our updated branding by Family Brothers into the restaurant, so the new fonts and colors guided our design. Carrie Dessertine is so talented, and we love that she’s local and has a team of all women working with her. She helped us bring our vision to life: we wanted something light and bright, and she infused the space with pops of pink and purple that added a touch of femininity to balance the masculine Mr. Tuna name. It’s fun and colorful, and most importantly, it brings our personalities into the space.
“All the millwork was done by Patrick McDonald of Northern Pines, and we picked maple because it’s a light, natural wood that works well with the natural lighting in the space. It gives off a clean, organic, sustainable vibe that pairs nicely with the sustainable fish we source for our dishes, and the bar face tiles are the color of tuna. The space is much smaller than Bar Futo, so it’s a bit more intimate. The counter seats offer an interactive experience because the sushi bar is exposed. Guests sit right in front of the chefs and can have conversations with them, which is really fun. It’s like they’re in on the action.
“When we were in the Public Market, we couldn’t control the feeling of the space because we were operating alongside other businesses. Now we’re able to have full control over the aesthetic and bring our energy and vibe to the space. We’re so happy to be here, and it feels like the evolution of Mr. Tuna has finally come to fruition. All our hard work and everything we’ve done has led us to this moment—it really feels like it was meant to be.”
—Jordan Rubin and Marisa Lewiecki, co-owners of Mr. Tuna, Bar Futo, and Crispy Gai
August, 2024 | By: Becca Abramson | Photography: Eric Piasecki
American architect Gil Schafer III is known for his keen ability to mix the traditional with the new, despite, as he jokes, being “deeply allergic to the trendy.” In Home at Last: Enduring Design for the New American House(Rizzoli, 2024), the final installment of his trilogy on “living modern” in classical American homes, Schafer highlights a collection of residences that are designed to adapt, evolve, and endure. Schafer explains in the book’s introduction that he has become a better listener—to both his family and his clients—and has realized that “the most indispensable quality of an enduring home is that it is adaptive to the evolution of life—the house can shape-shift, if you will, depending upon a family’s needs.”
While he believes architecture should always endure, Schafer recognizes that decorative schemes are ever-changing. The glazed porch of this Long Island compound, which Schafer designed for a sociable couple, is just one of many entertainment spaces on the property, which also includes a pool pavilion, guesthouse, greenhouse, nightclub-style basement, spa, badminton court, and entertaining barn. Decorative stone tile and wicker chairs invite guests to relax in the brightly lit room, which features an antique stone mantel found for the owners by interior designer David Netto. Grasscloth shades and potted plants bring the outdoors in, while an abstract brushstroke painting above the fireplace adds a contemporary touch to the informal gathering space. Create your own summer sanctuary with these nine finds.
DORA NATURAL OAK COFFEE TABLE TOV Furniture // tovfurniture.comCROWN TOP BANDED GLOBE LANTERN Chapman & Myers // visualcomfort.comBEACHCOMBER HANDWOVEN TOTE BASKET Pottery Barn // potterybarn.comCOASTAL RATTAN & SEAGRASS ENTRY TABLE (vintage) // palmbeachregency.comMARI TABLE LAMP Kate Spade New York for Visual Comfort Studio // lumens.comAERIN EAST HAMPTON SOFA Williams Sonoma Home // williams-sonoma.comPILEA PEPEROMIOIDES PLANT Lively Root // livelyroot.com“GREEN STROKE” BY GOLD RUSH ART CO. Four Hands Art Studio // stephaniecohenhome.comZELLIGE GLAZED TERRACOTTA TILE IN DUNE (4”x4”) Old Port Specialty Tile Co. // oldporttile.com
A thorough study of views, sight lines, and spatial adjacencies provides this Peaks Island house with striking views of Casco Bay from nearly every space. The house prudently takes advantage of southern exposure and passive solar design concepts. The central staircase acts as a meeting point on the second floor, with floor-to-ceiling windows looking out to the water, a reading nook with views to the trees, and two north-facing skylights that fill the space with a warm, ethereal glow.
The architect creatively navigated multiple site restrictions to take advantage of a buildable area while maximizing natural light, views, and privacy. The site’s location within a flood zone propelled the architect to design a pier foundation with a light touch on the land. A significant slope from the north side of the house to the south side works with the structure rather than against it: the most active entry is on the northern side (only a couple of feet above the natural grade), which eases the transition to the house for all. The land slopes nine feet on the home’s southern side, and the team took full advantage of this by turning two areas under the house into covered outdoor spaces with magical water views.
An essential element of LR/ARC’s work is to fit within the neighborhood context. This can be seen in the gabled form, weathering cedar shingles, and horizontal board siding. The interior common space was carefully curated to create distinct yet connected spaces for the kitchen, dining room, and great room. The limited and natural material palette in both the interior and exterior provides a warm and calming environment.
Location: Peaks Island Architect: LR/ARC Builder: W.E. Bunton Construction Interior Designer: Morrison Design House Engineer: Trillium Engineering Group Landscape Designer: Soren deNiord Design Studio Construction Start: Winter 2022 Construction Complete: Winter 2024
At the entrance to Donald Moffett’s newest sculptural installation, NATURE CULT, SEEDED, is a signpost in playground chartreuse, stood up in a weathered watering can, with the notice “Vacancy” spelled out in twigs painted so heavily they’re more plastic than wood. Just behind is a birdhouse—the first of many—this one planted in a rubber tire bed filled with whole pecans. What is this enigmatic, irresistible place of so many elegantly positioned birdhouses, perches, nests, and bird snacks? What is that achingly beautiful birdsong? Everywhere in the air of NATURE CULT, SEEDED is the sound of a male Kaua’i ’ō’ō, its call so distinct that the bird was named by Indigenous Hawaiians for it—’ō’ō being an onomatopoeic descriptor. The Kaua’i ’ō’ō has been extinct for more than 30 years. The very present, alive-seeming birdsong that fills the gallery is a mating call that will never be answered. Moffett, born 1955 in San Antonio, Texas, has degrees in art and biology, and he rose to prominence in the late 1980s for his art and activism in response to the AIDs epidemic. More recently, he has found personal and political resonance in the environmental crisis and, especially with NATURE CULT, an interest in “reconnecting languages of science and art, which have become estranged in recent years.”
Moffett’s reverence for Toshiko Mori’s two-story skylit gallery at the Center for Maine Contemporary Art (CMCA)—a “rational, perfect space”—is apparent. NATURE CULT, SEEDED inhabits the space in harmony with the room’s inside/outside enormity. Golden Bough, the installation’s golden tree-form centerpiece, has been exhibited only once before, without the breathing room the work has here. This is a tree that holds things, a tree that someone or many people have taken care to enshrine in weather-resistant paint, and have literally fortified and preserved with prominent hardware that juts out like bird perches. There’s a mysterious ageless quality to Golden Bough; while most of the hardware feels new, one of its outcroppings has a rusted screw.
The CMCA installation is the eighth iteration of Moffett’s NATURE CULT, which the artist defined in a 2022 interview for Hyperallergic as “a worldwide movement, powerful and fictitious, that aims to protect the biological riches of our world through art and science.” The installation presents older and new work, including several of Moffett’s iconic epoxy resin works, which are installed like sentinels on the walls surrounding Golden Bough. Their mirrorlike finishes could also be stand-ins for the artist, and they are certainly markers of time, as they are titled by the day, month, and year they were begun. One is hung at soaring bird height.
There are many surprises for the viewer that should remain just that: surprises. In other words, don’t read too much about NATURE CULT, SEEDED before seeing it. Maybe seek out what Moffett and the exhibition’s curator, Suzette McAvoy, refer to as “a core text” of the installation, The Water Will Come by Jeff Goodall (Simon and Schuster, 2017), or pick up a gallery copy to browse. For Moffett, the notion of cult has a “fearsome, even hairraising” quality, but it also has numbers and intensity embedded in it. Maybe it’s the perfect fiction, the perfect dream of a “huge collective buy-in, pulling us all in as we turn our attention to nature and its preservation.”
NATURE CULT, SEEDED will be on view at the CMCA in Rockland from May 25 to September 8, 2024.
We start our Boothbay adventure (and my husband’s birthday weekend) with a short walk through Ocean Point Preserve, part of the Boothbay Region Land Trust. The milelong Norman Van Horn Trail takes us through a wooded coniferous forest to the eastern shore of Tibbetts Pond and back to our car in the parking lot. Afterward, we stop at Color Field Coffee Company, a self-serve microroastery in East Boothbay run by artist Brad Betts and his son Sam. The roastery’s name refers to an abstract painting style characterized by large swaths of solid color spread across a canvas; examples of color field paintings decorate the tiny but adorable space.
A view of Tibbetts Pond from the Norman Van Horn Trail at Ocean Point Preserve.The cozy sitting area inside Color Field Coffee CompanyCookie dough ice cream from Downeast Ice Cream Factory.A privately owned Bridge House sits in the middle of the Boothbay Harbor Footbridge.
12:30 p.m.
A quick lunch at Footbridge Brewery provides us with some much-needed sustenance to power through the plethora of art galleries and retail shops waiting for us in Boothbay Harbor. We start at Studio 53 Fine Art Gallery and browse works by the gallery’s owners, Heidi Seidelhuber and Terry Seaman, before visiting Gleason Fine Art down the street. At Sweet Bay, I spy miniature framed sea glass art that brings a smile to my face. The store’s collection of Erin Flett bags beckons me, but I resist, buying a candle at Seawicks across the street instead. We peek into Sea Bags and the Footbridge Shop before grabbing a scoop of cookie dough with rainbow sprinkles at Downeast Ice Cream Factory. While eating our treat and enjoying the beautiful weather, we walk across the Boothbay Harbor Footbridge, which was built in 1901 and most recently renovated in spring of last year.
3 p.m.
We take our time browsing the oyster-inspired pottery at Ae Ceramics before heading up the hill to our accommodations at the Topside Inn. We’re greeted with an elderflower-cucumber cocktail, a stuffed goug.re, a warm towel, and sweeping views of the harbor from the highest vantage point in town. Innkeepers Mark Osborn and Buzz Makarewicz and general manager Leanne Cusimano show us around the space: fresh cookies await us in reception, the modest but glamorous BarOne is stocked and ready for the evening, and Virgina Shaffer of Lady Oyster is busy setting up an oyster and wine-tasting experience in the dining area. We have the luxury of staying in the Carriage House Suite, but Leanne tells us the newly renovated king room in the main house (originally built by Captain Cyrus McKown in 1865) is the place to be. Thought to be McKown’s primary bedroom, the second-floor corner room features scenic views of the harbor, a tiled and marble wet bathroom with a soaking tub and walk-in shower, dual vanities, dramatic lighting, and a navy blue paneled wall with a contemporary coastal chic aesthetic designed by the innkeepers themselves.
7 p.m.
Outside the inn, we spy a sculpture by William Royall, part of the Boothbay Region Sculpture Trail. Dinner is at the Thistle Inn Restaurant—one of several local restaurants recommended by the Topside team—where we enjoy French onion soup, steak tips, and a slice of carrot (birthday!) cake.
Looking at the Topside Inn’s main house from the sprawling lawn.Inside the Topside Inn’s private BarOne.Purple lupines brighten the Boothbay landscape.The inn’s newly renovated king room offers incredible views of the harbor.
SUNDAY 9:30 a.m.
The Topside Inn is known for its curated sweet or savory breakfast buffet, and we’re excited to try it out. Today, we’re greeted with a savory spread: two kinds of seasonal frittata, a peach and tomato caprese salad, fresh blueberry muffins, yogurt and granola, and plenty of coffee and OJ. Afterward, we walk down the hill to Pier 8, where we board the 47-foot Novelty, also known as the Squirrel Island mailboat, for a one-hour narrated tour around the bay with Balmy Days Cruises.
noon
On our way out of town, we have three stops to make. Up first, the Coastal Maine Botanical Gardens. I’ve only ever visited during Gardens Aglow, when the entire area is lit up for the winter holidays, so it’s exciting to see everything in bloom. The weather is spectacular, and we enjoy meandering through the gardens while laughing at the silly plant names we come across.
2:30 p.m.
Upon leaving the gardens, we stop at Knickerbocker Group’s Boothbay office and meet Danielle Betts, president of the organization and partner of the aforementioned artist, Brad Betts. Danielle gives us a tour of Juniper, a 500-square-foot prefab pod designed and built by skilled craftspeople at the group’s in-house manufacturing facility. The energy-efficient, move-in-ready pod (which won a 2024 AIA Design Award) features a modern aesthetic with a kitchen, bathroom, living room, and bedroom. We say goodbye to Danielle and drive down the street to meet Brad at Down East Gallery, the antique farmhouse and barn where he showcases his own art alongside works from other Maine artists. Betts’s oil paintings primarily depict summer days in Maine—blue skies, billowing sails, and shimmering seas—which are the perfect summation of my weekend in the Boothbay region.
A giant troll named Lilja hides in the Coastal Maine Botanical Gardens.Knickerbocker Group’s Juniper prefab pod makes the most of small living.Sculptures made by local artists in the style of Mike Lewis at Down East Gallery.Painter Brad Betts poses with a recent work of art.
