Natural Resources

The natural resources collections offer centuries of evidence about how Americans have used the bounty of the American continent and coastal waters. Artifacts related to flood control, dam construction, and irrigation illustrate the nation's attempts to manage the natural world. Oil-drilling, iron-mining, and steel-making artifacts show the connection between natural resources and industrial strength.

Forestry is represented by saws, axes, a smokejumper's suit, and many other objects. Hooks, nets, and other gear from New England fisheries of the late 1800s are among the fishing artifacts, as well as more recent acquisitions from the Pacific Northwest and Chesapeake Bay. Whaling artifacts include harpoons, lances, scrimshaw etchings in whalebone, and several paintings of a whaler's work at sea. The modern environmental movement has contributed buttons and other protest artifacts on issues from scenic rivers to biodiversity.

This handmade object—a carved likeness of a miniature cod fish lying in a wooden coffin—was made by fisherman Dan Murphy of Dunville, Newfoundland. Made in response to Canada’s moratorium on cod fishing, Murphy sold these items at local flea markets and from his home.
Description
This handmade object—a carved likeness of a miniature cod fish lying in a wooden coffin—was made by fisherman Dan Murphy of Dunville, Newfoundland. Made in response to Canada’s moratorium on cod fishing, Murphy sold these items at local flea markets and from his home. This folk art cod-in-a-coffin, carved from wood and lined with fabric, represents the death of many Newfoundlanders’ livelihood. The fishing ban was declared on July 2, 1992, in an attempt to replenish the distressed levels of North Atlantic cod. Since then, over 40,000 fishers and workers at processing plants in Canada have lost their jobs.
The Canadian province of Newfoundland, like coastal New England in the United States, has a long history of cod fishing. When John Cabot first explored the region in 1497, he reported that cod off the rocky coast of Newfoundland were so plentiful that his crew could scoop up loads of the fish in buckets. Exploration and settlement of the area followed, and, over the course of the next four centuries, the North Atlantic fisheries became major industries that supported a significant number of families and communities in Atlantic Canada and along the New England coast.
In the 20th century, as new technology increased the efficiency of harvesting, the population of cod and other species in the North Atlantic began to decline. Before the 1960s, around 150,000 to 300,000 tons of cod were caught each year. But with the rise of diesel-powered factory trawlers, millions more fish could be hauled in and trawlers from all over the world converged in the productive waters of the North Atlantic. In 1977 foreign trawlers were banned, opening the door for the expansion of Canadian and American fishing fleets. But within a generation, the stocks of cod were depleted to the brink of collapse. The Canadian government reacted by banning cod fishing. The moratorium was extended indefinitely in 1993, giving jobless fishers little hope for a return to their way of life. According to a 2007 study, the North Atlantic cod population was estimated to be at one percent of its 1977 numbers.
date made
1994
date of fishing ban
1992-07-02
foreign trawlers banned
1977
maker
Murphy, Dan
ID Number
1999.0078.01
accession number
1999.0078
catalog number
1999.0078.01
This panbone, or section of the back of a sperm whale’s jaw, served as the canvas for a whaleman’s freehand drawing of a busy whale hunt off the coast of the volcanic island of Ternate, one of the Spice Islands in Indonesia and the world’s main source of cloves until the 18th cen
Description
This panbone, or section of the back of a sperm whale’s jaw, served as the canvas for a whaleman’s freehand drawing of a busy whale hunt off the coast of the volcanic island of Ternate, one of the Spice Islands in Indonesia and the world’s main source of cloves until the 18th century.
In the lower left, a woman reaches out for her whaleman, who symbolically stands across the sea with one hand over his heart and a harpoon in the other. In her background is a tranquil domestic scene, probably their home. In the center, a fenced precinct labels the main scene. Above, on the right are the named whalers Margaret of London and Sophia of Nantucket. The remainder of the lively scene portrays seven whaleboats chasing a pod of six whales.
The artist has managed to convey loneliness between loved ones, great distance from home, an exotic and remote tropical locale, and a busy whale hunt on a single stretch of whalebone.
Date made
mid 19th Century
depicted
late 18th century
ID Number
DL.057605A
catalog number
57605A
accession number
2009.0206
This model represents the fishing schooner Dauntless, built at Essex, Mass., about 1855. Its hull is of the “sharpshooter” type, meaning the bottom has a sharp V-shape, as distinct from the rounded hulls of most fishing craft built in New England.
Description
This model represents the fishing schooner Dauntless, built at Essex, Mass., about 1855. Its hull is of the “sharpshooter” type, meaning the bottom has a sharp V-shape, as distinct from the rounded hulls of most fishing craft built in New England. The model shows the typical deck arrangement for a schooner sailing to or from the offshore fishing grounds, with the dory boats nested together and lashed bottom-up on the deck. All of the sails are set, including the jib and flying jib on the vessel’s long bowsprit.
Fishing on the shallow banks stretching from Georges Bank east of Massachusetts to the Grand Bank off the coast of Newfoundland was a dangerous enterprise. Thousands of lives were lost in the race to catch more fish and deliver them to market before the competition. The demand for fast schooners led to designs that favored speed over safety. The Dauntless is an example of a mid-century schooner with a fast hull and a great deal of sail. The sailing rig would have required crewmen to venture out on the bowsprit to furl the jib, a dangerous proposition, especially in rough weather.
Details of what happened to the Dauntless and its crew in September 1870 are unknown. But the schooner was lost at sea with all hands aboard, while making a passage to the Bay of St. Lawrence from Gloucester. Those lost included Jas. G. Craig, master, John La Pierre, Martin Costello, John Todd Jr., George Todd, Daniel Herrick, Edward Smith, James Smith, James Welch, George Goodwin, and two others, whose names are unknown.
Date made
1894
date made
1855
model built
ca 1855
schooner was lost at sea
1870-09
master of schooner's crew
Craig, Jas. G.
sailor
La Pierre, John
Costello, Martin
Todd, Jr., John
Todd, George
Herrick, Daniel
Smith, Edward
Smith, James
Welch, James
Goodwin, George
ID Number
TR.076244
catalog number
076244
accession number
028022
Each February since 1998, poets, musicians, and tellers of tall tales descend upon Astoria, Oregon, for the Fisher Poets Gathering, a weekend filled with stories, songs, camaraderie, and reverence for the fishing way of life.
Description
Each February since 1998, poets, musicians, and tellers of tall tales descend upon Astoria, Oregon, for the Fisher Poets Gathering, a weekend filled with stories, songs, camaraderie, and reverence for the fishing way of life. Inspired by the National Cowboy Poetry Festival in Elko, Nevada, a group of poets and teachers, all tied in some way to the commercial fishing industry, founded the event. The gathering has grown every year, attracting fisher poets from California to Cape Cod, and Alaska to Florida. It has also been designated as a Local Legacies Project by the Library of Congress’s American Folklife Center. This button is from the 2005 Fisher Poets Gathering, held at the Wet Dog Café on the Astoria waterfront.
People have created stories, songs, and poems about their working lives for millennia, and American folklore is awash in tales of people working the water. Fishermen’s narratives often reveal a profound sensory awareness, reflecting their close relationship with the natural world. Likewise, the inherent dangers of fishing typically inspire stories and poems featuring strong spiritual elements. Although the aesthetic and spiritual sophistication of fishermen’s narratives often come as a surprise to outsiders, they are celebrated during performances at the Fisher Poets Gathering.
Astoria, established near the mouth of the Columbia River, was the hub of commercial salmon fishing in the 19th and early 20th centuries. With thousands of resident fishermen and scores of canneries lining the river, the town’s identity was wrapped up in the salmon industry. As salmon populations in the river declined, many in the industry relocated, at least seasonally, to Alaska. The Fisher Poets Gathering honors the history of Pacific Coast fishing, as well as the men and women who still live the fishing life. With odes to herring scales, dirges about those lost at sea, and tales of fishers remarkably attuned to nature, the tradition of fisher poets continues to thrive in Astoria.
Date made
2005
American Folklife Center designated the Fisher Poets Gathering as a Local Legacies Project
Library of Congress
ID Number
2005.0149.03
catalog number
2005.0149.03
accession number
2005.0149
Pound for pound, ambergris was the most valuable product produced by the whale. It was—and is—also the rarest and most enigmatic whale product.
Description
Pound for pound, ambergris was the most valuable product produced by the whale. It was—and is—also the rarest and most enigmatic whale product. An opaque, waxy substance from a sperm whale’s intestines, it was found occasionally in the stomachs of whales being processed on whale ships. More commonly, it was found floating on the surface of the world’s oceans or washed up on the shore in pieces that could weigh several hundred pounds. It was used by western cultures as a fixative to prolong the scent of perfumes into the later 20th century.
But why it is formed—and from which end of a sperm whale it is expelled—remains unknown. Fragments of squid beaks are often found inside the pieces, and some scientists believe that ambergris forms around the sharp, indigestible squid beaks to prevent irritating or cutting a whale’s intestines. Others consider it the cetacean equivalent of human gallstones.
ID Number
1991.0083.01
catalog number
1991.0083.01
accession number
1991.0083
The skipjack is the last in a long line of sailing craft designed for work in the Chesapeake Bay oyster industry.
Description
The skipjack is the last in a long line of sailing craft designed for work in the Chesapeake Bay oyster industry. First built in the late 1800s, this sloop-rigged, single masted vessel was easy to maneuver even in light winds, and its V-shaped hull allowed oystermen to work in shallow waters. This model represents the Gertrude Wands, a skipjack built by John Branford on the Eastern Shore of Maryland in 1899. It is named after a little girl who lived in the community of Inverness.
Like bugeyes, skipjacks were built for oyster dredging under sail. But unlike the round-bottomed bugeye, the skipjack had a V-shaped hull, which was easier to build and did not require the huge logs of the traditional bugeye. Skipjacks were also smaller than bugeyes, ranging in size from 25 to 50 feet.
By the early 20th century, skipjacks had replaced bugeyes and were the main dredging craft on the bay. An 1865 Maryland law restricting dredging to sail-powered vessels ensured the continued use of sailing craft for oystering. Only in 1967 was the law amended to allow the use of a gasoline-powered push boat on Mondays and Tuesdays of each week. A push boat is shown on davits at the stern (back) of this model.
Maryland’s skipjacks are the last commercial fishing boats operating under sail in North America. In 1985, the skipjack was named Maryland’s official state boat. With the steep decline of the oyster population in the Chesapeake Bay, most skipjacks have become floating classrooms for public education programs about the bay. Several have been donated to museums for preservation. Still, many people who live in the Chesapeake region harbor a sense of longing and nostalgia for the days when the large white sails of skipjacks filled the horizon.
date made
1968
date Gertrude Wands was built
1899
built Gertrude Wands
Branford, John
ID Number
TR.328687
accession number
276670
catalog number
328687
Pie crimpers or jagging wheels are among the most common scrimshaw items carved by American 19th century whalemen. They were useful, as well as decorative kitchen implements.
Description
Pie crimpers or jagging wheels are among the most common scrimshaw items carved by American 19th century whalemen. They were useful, as well as decorative kitchen implements. The fluted wheel was used to cut dough or seal the top of a pie crust to the sides before baking.
This example’s shaft is in the form of a snake or sea serpent, with a tongue in the shape of a three-tine fork. The fork was used to decorate or poke holes in the upper pie crust to vent the steam created by baking.
date made
19th century
Associated Date
19th century
ID Number
DL.388597
catalog number
388597
accession number
182022
“Straight edges” or rulers were used aboard ships as writing guides on the unlined pages of letters, journals and logbooks.
Description
“Straight edges” or rulers were used aboard ships as writing guides on the unlined pages of letters, journals and logbooks. The back side of this long stick is marked in 2-1/4, 4-1/2 and 9-inch sections, indicating another usage, probably by the ship’s cooper to measure the level of liquid (water, wine, beer or whale oil) in his wooden casks.
date made
1800s
collected
1960-07-26
ID Number
DL.61.0049
catalog number
61.49
accession number
231930
catalog number
61.0049
For much of the nineteenth century, ladies' fashion required very small waists. The most common way to achieve this was to wear a tight laced corset, which could be adjusted according to the specific garment it accompanied.
Description
For much of the nineteenth century, ladies' fashion required very small waists. The most common way to achieve this was to wear a tight laced corset, which could be adjusted according to the specific garment it accompanied. Like this example, many of them were handmade to fit an individual, although they were also available in shops.
One of the most intimate pieces of scrimshaw a whaleman could produce was a bone or baleen busk, or corset stiffener. These were carved and given to a crewman's loved one, who then inserted it into a matching sleeve on her corset as a unique memento of her beloved's feelings.
One side of this whalebone busk contains three cityscapes, two of which have busy ports with lots of shipping. The other side has eight vertical pictures, topped by a full frontal portrait of a beautiful young woman. She may represent the recipient of this busk. Below her is a city scene with multiple church steeples over a flag in a precinct. A multi-colored circular geometric pattern is at the center, above a garden scene over a delicate basket of flowers. Next is a three-masted warship, and at the bottom is a large rural villa overlooking a walled garden. Can these pictures be woven into a story?
date made
mid-nineteenth century
mid-1800s
fashion
19th century
ID Number
DL.374478
catalog number
374478
accession number
136263
For much of the 19th century, ladies’ fashion required very small waists. The most common way to achieve this was to wear a tightly laced corset, which could be adjusted according to the specific dress it accompanied.
Description
For much of the 19th century, ladies’ fashion required very small waists. The most common way to achieve this was to wear a tightly laced corset, which could be adjusted according to the specific dress it accompanied. Like this example, many corsets were handmade to fit an individual, although they were also available in shops.
One of the most intimate pieces of scrimshaw a whaleman could produce was a bone or baleen busk, or corset stiffener. These were carved and given to a crewman’s loved one, who then inserted it into a matching sleeve on her corset as a unique memento of her beloved’s feelings.
Each of these busks has a cityscape etched into one side. The other side of one has eight pictures, topped by a portrait of a beautiful young woman. The other has a plaintive love poem on the back.
date made
mid-1800s
collected
1951-06-29
fashion
19th century
ID Number
TR.388604
catalog number
TR*388604
accession number
182022
Women and ships were the most popular subjects for scrimshaw carved by crewmen on long, slow whaling voyages.
Description
Women and ships were the most popular subjects for scrimshaw carved by crewmen on long, slow whaling voyages. In this deeply engraved example, a beautifully coiffed and fashionable young lady, possibly in mourning dress, has pulled a locket from her bodice and is gazing at the image of a smiling young man. The curls of her girlish hairstyle would indicate that she is unmarried, although the traditional ring finger of her left hand is not shown. The mid-19th-century date of this tooth is suggested by the style of the dress.
Date made
ca 1840
maker
unknown
ID Number
TR.374506
catalog number
374506
accession number
136263
Every whaling voyage began with assembling a crew from whatever labor pool was available in a port city at a particular time. In New Bedford in late May 1876, 31 men signed to work aboard the 106-foot bark Bartholomew Gosnold for its next voyage.
Description
Every whaling voyage began with assembling a crew from whatever labor pool was available in a port city at a particular time. In New Bedford in late May 1876, 31 men signed to work aboard the 106-foot bark Bartholomew Gosnold for its next voyage. Less than half were from the United States; the rest were from Portugal, England, Ireland, Germany, France and Scotland. The two Frenchmen and one of the eight Portuguese were listed as blacks; the remaining men were of light or brown complexion. Four each of the crew were in their forties and thirties; 16 were in their twenties, and six were in their teens. Three of these teenagers, all from the New Bedford area, were only 16 years old when they shipped out.
date made
1876-05
ID Number
TR.103009.03
catalog number
103009.03
accession number
12006
Carved from the teeth of captured sperm whales, whale stamps were used to record the type of whale and number of barrels of oil they yielded.The stamps were inked onto the page of whaleship logbooks or sailors’ journals, with an empty space in the whale’s body for writing in the
Description
Carved from the teeth of captured sperm whales, whale stamps were used to record the type of whale and number of barrels of oil they yielded.
The stamps were inked onto the page of whaleship logbooks or sailors’ journals, with an empty space in the whale’s body for writing in the number of barrels. This example in the form of a sperm whale is decorated with steel pin heads and a turned handle.
date made
1800s
ID Number
1978.0052.06
accession number
1978.0052
catalog number
1978.52.6
Part of the navigator’s tool kit, parallel rules were used to transfer compass points, course lines and other directional information across large charts without change. This large wooden set has a carved ivory whale inlaid into its surface, with a brass tack for the whale’s eye.
Description
Part of the navigator’s tool kit, parallel rules were used to transfer compass points, course lines and other directional information across large charts without change. This large wooden set has a carved ivory whale inlaid into its surface, with a brass tack for the whale’s eye.
ID Number
1978.0052.08
accession number
1978.0052
catalog number
1978.52.31
Made of hard wood, bone, or ivory and tapering to a point, fids were used mostly for ropework, such as splicing. On deck, they were also used for breaking knots that might be frozen from overtightening, wet weather, or other conditions.
Description
Made of hard wood, bone, or ivory and tapering to a point, fids were used mostly for ropework, such as splicing. On deck, they were also used for breaking knots that might be frozen from overtightening, wet weather, or other conditions. In a pinch, one could also serve as a temporary belaying pin to tie off a line, or even as a weapon.
date made
1800s
ID Number
AG.025650
catalog number
025650
accession number
4798
Seam rubbers were part of a sail maker’s tool kit. They were used to smooth and flatten the seams of heavy canvas sailcloth, where two pieces were joined or the edges were hemmed before they were sewn.
Description
Seam rubbers were part of a sail maker’s tool kit. They were used to smooth and flatten the seams of heavy canvas sailcloth, where two pieces were joined or the edges were hemmed before they were sewn. This unusually large example was probably carved from the panbone, part of a whale’s jaw.
date made
1800s
ID Number
AG.025793
accession number
4957
catalog number
025793
Very little is known of Lewis Temple's early life. Born around 1800 to slave parents in Richmond, Virginia , by 1829 he had moved to New Bedford, Massachusetts, where he married.
Description
Very little is known of Lewis Temple's early life. Born around 1800 to slave parents in Richmond, Virginia , by 1829 he had moved to New Bedford, Massachusetts, where he married. By 1836, he had a blacksmith shop on a local wharf, where he made shipsmithing items like spikes, harpoons, rigging elements, cargo hooks, barrel hoop and other iron ship fittings.
Temple developed a simple but significant refinement to the harppon: the so-called Temple toggle iron or gig. This feature at the tip of a harpoon offered a more secure way to hook into a whale. Unfortunately, Temple never patented his idea, which swiftly achieved widespread application throughout the world's whale fisheries. He died in May 1854, unrecognized and in debt.
While Lewis Temple did not invent the toggle, his invention made it better. The first barb at the tip of the dart was designed to penetrate the whale's flesh, and the second barb also went straight in. A small wooden peg holding the lower barb in place would then break when the whale pulled away, allowing the barbed head to swivel away from the shaft. The new T-shape of the barb prevented the dart from pulling out of its wound.
date made
ca 1859
inventor
Temple, Lewis
ID Number
TR.330535A
catalog number
330535a
accession number
294088
Even whalemen with little or no artistic talent could carve highly detailed scenes, through use of the pinprick technique. In this method, a picture was cut from a contemporary magazine and then pasted or dampened to stick to the polished surface of a sperm whale's tooth.
Description
Even whalemen with little or no artistic talent could carve highly detailed scenes, through use of the pinprick technique. In this method, a picture was cut from a contemporary magazine and then pasted or dampened to stick to the polished surface of a sperm whale's tooth. A sharp pin was then pushed through the lines of the image, which was then removed. This left lines of dots; when these were connected with engraved lines, they formed a copy of the original picture. Most commonly, lamp black (soot) was then rubbed into the engraved lines to make them stand out from the background of the tooth, although colored pigments like those on this tooth also could be applied for variety. The high fashion of this lady's garments bracket a date just a few years after the end of the Civil War.
Date made
1865 - 1869
ID Number
DL.374502
catalog number
374502
accession number
136263
Once a whale was caught, killed, and brought alongside the mother ship, the outer flesh and fat layer, or blubber, was peeled off the carcass.
Description
Once a whale was caught, killed, and brought alongside the mother ship, the outer flesh and fat layer, or blubber, was peeled off the carcass. Then the remains were drawn onto the vessel’s deck for further processing.
The heavy head spade was used for decapitating the whale, by chopping through the vertebrae at the base of the animal’s skull. Then the head and bone could be further processed.
ID Number
1990.0018.102
catalog number
1990.0018.102
accession number
1990.0018
After the whale skin and attached fat, together called blubber, was hauled aboard the mother ship for processing in large strips, it was chopped into small pieces with different tools to expose more surface area to the melting heat of the boiling oil in the try-pot.
Description
After the whale skin and attached fat, together called blubber, was hauled aboard the mother ship for processing in large strips, it was chopped into small pieces with different tools to expose more surface area to the melting heat of the boiling oil in the try-pot. This chopper was one of those tools.
ID Number
1990.0018.085
catalog number
1990.0018.085
accession number
1990.0018
After a whale’s blubber was melted down into oil in the try-pots, a few solids, like skin and gristle, remained floating on the surface of the oil. These were removed with a skimmer. The tool’s long handle helped keep the crew from being burned or splashed with hot oil.
Description
After a whale’s blubber was melted down into oil in the try-pots, a few solids, like skin and gristle, remained floating on the surface of the oil. These were removed with a skimmer. The tool’s long handle helped keep the crew from being burned or splashed with hot oil. The leftover oily pieces of flesh, or “fritters,” were then tossed under the pots and recycled into fuel to keep the fires burning.
date made
1880s
ID Number
1990.0018.066
catalog number
1990.0018.066
accession number
1990.0018
The most dangerous act in the dangerous business of whaling was “spading flukes.” The whaleboat drew up close alongside a desperate, unpredictable whale on the water surface, and a crewman used a boat spade or fluke lance to sever the whale’s tail tendons.
Description
The most dangerous act in the dangerous business of whaling was “spading flukes.” The whaleboat drew up close alongside a desperate, unpredictable whale on the water surface, and a crewman used a boat spade or fluke lance to sever the whale’s tail tendons. This effectively immobilized the prey, for the whale couldn’t swim without its tail.
According to James Temple Brown, who wrote the 1883 catalog of the Smithsonian’s whaling collection, the fluke lance was exceedingly rare and was regarded as “a monstrosity by all the fraternity”. This rare inscribed example was used aboard the starboard whaleboat of the bark Sea Fox.
Date made
ca 1880-1889
authored whaling reference material
Brown, James Temple
maker
Driggs, James D.
ID Number
TR.056358
catalog number
056358
accession number
012298
By the later 19th century, guns had replaced most hand harpoons and lances, since they were far more efficient and deadly to the prey. They also could be shot from a safer distance from the prey than the hand tools could be wielded.
Description
By the later 19th century, guns had replaced most hand harpoons and lances, since they were far more efficient and deadly to the prey. They also could be shot from a safer distance from the prey than the hand tools could be wielded. The darting gun was one of the more popular types. Loaded with different darts, this versatile weapon could be used both for harpooning and killing whales.
This particular gun was displayed at the 1883 International Fisheries Exhibition in London, England. After the display ended, it was donated to the Smithsonian by its inventor, Capt. Eben Pierce of New Bedford, Mass.
date made
1880s
guns replaced hand tools
late 19th century
displayed at the International Fisheries Exhibition
1883
maker
Pierce, Eben
ID Number
TR.316550
catalog number
316550
accession number
66767
The work of carving blubber from a whale carcass and hauling the long, narrow strips of flesh, called “blanket pieces,” aboard the ship onto the deck was called “boarding.” The boarding knife was an extremely sharp, double-edged sword blade at the end of a short wooden pole.
Description
The work of carving blubber from a whale carcass and hauling the long, narrow strips of flesh, called “blanket pieces,” aboard the ship onto the deck was called “boarding.” The boarding knife was an extremely sharp, double-edged sword blade at the end of a short wooden pole. It served a variety of purposes, from cutting a hole in the whale’s flesh for the blubber hook, to cutting the long strips of flesh into shorter sections for further processing.
These tools were kept extremely sharp to cut the whale’s flesh easily. With the decks and tools so slippery from the whale processing, using them was reserved for the ship’s officers.
date made
1876
collected
1876
ID Number
AG.026608
catalog number
026608
accession number
4927

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