Homeowner Carol Wagner doesn’t take her view from the Blue Hill Peninsula for granted. In fact, those watery dream-scapes, shimmering in nearly every window of her home, are what first convinced her and her husband of the space. “The house was very different from what we were looking for,” she says, “but we chose it because of the views.”
It is revealing, then—in a house chosen for its (indeed spectacular) views—that Carol is most eager to discuss its art collection.
Based in Texas, Carol began collecting art nearly forty years ago. “We brought a few pieces with us from Austin,” she says,“but we really committed to sourcing fromMaine artists. There is so much talent to be discovered here. We like supporting artists so they can work and thrive in the state. That’s really important to us.”
In many ways, the home’s art collection—as well as the extensive remodel undertaken to accommodate it—began with the fireplace.“Early on, Carol engaged the BairdArchitects team to design and build the Rumford fireplace you see in the living room,” says designer Melanie Millner. “Originally, there was this big, hulking 7,000 pound Tulikivi stove.” Not only did construction of the bespoke fireplace set off a renovation project that would span the next four years (work was spread over multiple winters to keep the house occupiable in summer), but the new chimney cried out for a large-scale work of art.
“We’d seen a huge installation by Ian Trask at the Center for Maine Contemporary Art, and we loved it,” Carol recalls. She got in touch with the Brunswick-based artist and commissioned the piece that now hangs over the fireplace, a sculpture of various pulleys and belts that can’t help but make one wonder what task this delightful machinery might perform. Ian visited the space, produced the initial sketches, and installed the piece on site. “He uses all repurposed materials,”Carol says, “so the wheels you see are slide carousels from old slide projectors.”
From there, it was off to the races—renovation-wise and art-wise. Over the next several winters,Melanie oversaw redesigns of the kitchen—including the transformation of a pantry into a wet bar, and the addition of an exquisite cabinetry program courtesy of millworker Brian Billings—the upstairs bathrooms, a mother-in-law apartment above the garage, and an exterior boardwalk leading to the front entry. “We really wanted our fingerprint on things,” Carol says, “and one thing just led to another.”
The same went for the art. Having learned that Carol intended to showcase local artists, Ian arranged several studio visits and introduced her more broadly to the Maine art community. These meetings led to the acquisitions of many of the home’s standout pieces.
501 N. 32nd St. by Brunswick-based painter Carla Weeks hangs over the living room sofa. The image is a 2-D schematic-like stunner. In the foyer, above an antique bench, is the ghostly Ephemera by Jeffery Becton of Stonington, and at the base of the stairs is a post-impressionistic maritime scene titled Low Tide Port Isaacs by Brooklin’s William Irvine. “Bill is such a charming and interesting man,” Carol says. “We’ve been lucky to become friends with him. Jeff too. We’ve always loved going to galleries, and especially meeting the artists.” Both Bill and Jeffery show at Courthouse Gallery Fine Art in Ellsworth.
“All of the local art is so well curated,” Melanie says,“so well curated.”
It is also worth noting that the home is a Deck House. Deck House was founded in Massachusetts in 1959 with the goal of providing affordable mid-century modern homes to the post-war generation. “Deck Houses are designed and fabricated in a facility, then the component packages are delivered to local builders and assembled on-site,” Carol says. “They have a Frank Lloyd Wright quality. Simple construction. Large windows. No molding. And what’s cool is: if you need a new window or something, you can order it directly from the company.” For Melanie, the home presented a welcome challenge. “A Deck House doesn’t necessarily speak to the Maine aesthetic,” she says, “because there are no shingles, no coastal style. But between the views and the art, I think we created a lot of character, and I think the whole thing really works.”
