Transportation

1955 Ford Country Squire

Americans have always been a people on the move—on rails, roads, and waterways (for travel through the air, visit the National Air and Space Museum). In the transportation collections, railroad objects range from tools, tracks, and many train models to the massive 1401, a 280-ton locomotive built in 1926. Road vehicles include coaches, buggies, wagons, trucks, motorcycles, bicycles, and automobiles—from the days before the Model T to modern race cars. The accessories of travel are part of the collections, too, from streetlights, gas pumps, and traffic signals to goggles and overcoats.

In the maritime collections, more than 7,000 design plans and scores of ship models show the evolution of sailing ships and other vessels. Other items range from scrimshaw, photographs, and marine paintings to life jackets from the Titanic.

Winton Touring Car, 1903

At the dawn of the twentieth century, many people believed that the automobile offered great potential as a practical means of transportation. Once expensive toys, automobiles were becoming faster and more powerful, but several obstacles hindered their widespread use.
Description
At the dawn of the twentieth century, many people believed that the automobile offered great potential as a practical means of transportation. Once expensive toys, automobiles were becoming faster and more powerful, but several obstacles hindered their widespread use. One of the most visible barriers was the extreme difficulty of driving long distances, particularly in the West with its rugged terrain and lack of improved roads. After two attempts by other motorists, H. Nelson Jackson, a physician from Burlington, Vermont, broke the cross-country barrier through sheer determination and perseverance. In the spring and summer of 1903, Jackson and his mechanic, Sewall Crocker, drove this 1903 Winton touring car from San Francisco to New York City. The trip took 64 days, including numerous delays while the two men waited for parts or paused to hoist the Winton up and over a gully. Their achievement changed the way Americans thought about long-distance automobile travel. It now seemed possible -- even desirable -- to move about the country in cars instead of trains. The pioneering 1903 trip inspired two rival teams of motorists, turning the much-publicized journey into a race. Within ten years there were plans for a coast-to-coast highway. By the late 1910s and early 1920s, hordes of vacationing autocampers with touring cars and tents ushered in the era of transcontinental motoring.
date made
1903
contributor
Firestone, Jr., Harvey S.
user
Crocker, Sewall K.
maker
Winton Engine Company
ID Number
TR.312831.01
catalog number
312831
accession number
167685

Pullman Porter Clothes Brush

Lawrence W.
Description
Lawrence W. Davis used this clothes brush during his career as a Pullman Porter from 1925 until his retirement in the 1960s.
Pullman cars were almost all sleeping cars with "sections" that converted from day seating to night-time berths, usually with a few separate, small rooms with their own toilet and sink. Each Pullman porter—one assigned per car—were on call throughout the day and night to serve their passengers. While the hours were stressful, pay was good because of union bargaining, especially when compared to many other jobs open to African Americans before the late 1960s. At home, porters were frequently leaders in their communities.
associated institution
Pullman Company
ID Number
1986.0811.03
accession number
1986.0811
catalog number
1986.0811.02

1949 GMC Pickup Truck

Ira Wertman, a farmer in Andreas, Pennsylvania, raised fruits and vegetables and peddled them with this truck to retired coal miners near Allentown. He also used the truck to take produce to market and haul supplies from town to the farm.
Description
Ira Wertman, a farmer in Andreas, Pennsylvania, raised fruits and vegetables and peddled them with this truck to retired coal miners near Allentown. He also used the truck to take produce to market and haul supplies from town to the farm. Pickup trucks have been versatile aids to a wide range of agricultural, personal, and business activities. Early pickup trucks were modified automobiles, but postwar models were larger, more powerful, and able to carry heavier loads. Some postwar pickups were used in building suburban communities. Others were used for recreational purposes such as camping, hunting, and fishing. By the 1990s, many people purchased pickups for everyday driving.
date made
1949
maker
General Motors Corporation
ID Number
1999.0057.01
accession number
1999.0057
catalog number
1999.0057.01

Bernice Palmer's Kodak Brownie camera, No. 2A Model B

Sometime around her 17th birthday, Canadian Bernice Palmer received a Kodak Brownie box camera (No. 2A Model), either for Christmas 1911 or for her birthday on 10 January 1912.
Description
Sometime around her 17th birthday, Canadian Bernice Palmer received a Kodak Brownie box camera (No. 2A Model), either for Christmas 1911 or for her birthday on 10 January 1912. In early April, she and her mother boarded the Cunard liner Carpathia in New York, for a Mediterranean cruise. Carpathia had scarcely cleared New York, when it received a distress call from the White Star liner Titanic on 14 April. It raced to the scene of the sinking and managed to rescue over 700 survivors from the icy North Atlantic. With her new camera, Bernice took pictures of the iceberg that sliced open the Titanic’s hull below the waterline and also took snapshots of some of the Titanic survivors. Lacking enough food to feed both the paying passengers and Titanic survivors, the Carpathia turned around and headed back to New York to land the survivors. Unaware of the high value of her pictures, Bernice sold publication rights to Underwood & Underwood for just $10 and a promise to develop, print, and return her pictures after use. In 1986, she donated her camera, the pictures and her remarkable story to the Smithsonian.
date made
ca 1912
user
Ellis, Bernice P.
maker
Eastman Kodak Company
ID Number
1986.0173.38
accession number
1986.0173
catalog number
1986.0173.38

Titanic Gold Medal

Founded in 1904 by wealthy financier Andrew Carnegie in Pittsburgh, Pennsylvania, the Carnegie Hero Fund Commission (CHFC) exists to honor acts of individual civilian heroism in the United States and Canada.
Description
Founded in 1904 by wealthy financier Andrew Carnegie in Pittsburgh, Pennsylvania, the Carnegie Hero Fund Commission (CHFC) exists to honor acts of individual civilian heroism in the United States and Canada. It is still active today; recipients include both the living, the dead, and persons directly affected by the loss of a heroic relative.
The emotional impact on the general public of the April 1912 loss of the ocean liner Titanic was astonishing, and the continually updated story lasted for months in the contemporary newspapers. In Pittsburgh, Pennsylvania, the Commission felt inspired to honor all the heroes who had risked their lives in the rescue of the 700 passengers, so at their April 26, 1912 meeting they authorized a nine-oz. 22-k gold medal to be struck, mounted in an elaborate bronze base, inscribed and presented to the Smithsonian. The Smithsonian accepted the gift and displayed it before adding it to the National Numismatic Collection in the National Museum of American History.
Location
Currently not on view
date made
ca 1912
maker
Flanagan, John
ID Number
NU.13650
accession number
54893
catalog number
13650

New York & Albany Steam Boat Token

The Scovill Manufacturing Company of Waterbury, Connecticut produced this time table token during the early 20th century. The Scovill Company was established in 1802 as a button manufacturer and is still in business today.
Description (Brief)
The Scovill Manufacturing Company of Waterbury, Connecticut produced this time table token during the early 20th century. The Scovill Company was established in 1802 as a button manufacturer and is still in business today. Scovill was an early industrial American innovator, adapting armory manufacturing processes to mass-produce a variety of consumer goods including buttons, daguerreotype mats, medals, coins, and tokens.
Obverse: The legend reads: NEW YORK AND ALBANY/ PEOPLES LINE OF STEAM BOATS
Reverse: The legend reads: TIME TABLE/ LEAVE N.Y./ 6 P.M./ LEAVE ALBANY/ 7 ½ P.M.
Location
Currently not on view
date made
late 19th century
referenced
People's Line of Steamboats
maker
Scovill Manufacturing Company
ID Number
1981.0296.1602
accession number
1981.0296
catalog number
1981.0296.1602

Presentation Vase

This elegant silver vase was presented to Willard A. Smith, Chief of the Department of Transportation exhibits at the World’s Colombian Exposition in 1893. The Exposition was held in Chicago to celebrate the 400th anniversary of Christopher Columbus’s “discovery” of America.
Description
This elegant silver vase was presented to Willard A. Smith, Chief of the Department of Transportation exhibits at the World’s Colombian Exposition in 1893. The Exposition was held in Chicago to celebrate the 400th anniversary of Christopher Columbus’s “discovery” of America. The Exposition was a great success as a world’s fair, and demonstrated to the international community that Chicago had recovered from the Great Chicago Fire of 1871.
Presenting silver objects has always been a means of expressing gratitude and acknowledging deeds and accomplishments in American culture. It took Tiffany & Co. six months to construct this costly Art Nouveau style vase. Its decoration takes the form of the Transportation Building. The distinct semi-circular arches are the work of architect James Sullivan, who designed the building that housed the Department of Transportation exhibits. Medallions circling the vase celebrate the progress in the modes of land and water transportation, while representations of the Department of Transportation exhibitions adorn the vase as well.
Date made
1894
user
Smith, Willard A.
maker
Tiffany & Co.
ID Number
DL.63.821
catalog number
63.821
63.281
accession number
245502

"Hamons Court" Neon Sign

The Hamons family business exemplifies the culture of roadside communities that sprang up as long-distance automobile travel increased. Carl and Lucille Hamons lived on Carl's mother's farm until the late 1930s, when they moved to the town of Hydro, Oklahoma.
Description
The Hamons family business exemplifies the culture of roadside communities that sprang up as long-distance automobile travel increased. Carl and Lucille Hamons lived on Carl's mother's farm until the late 1930s, when they moved to the town of Hydro, Oklahoma. In 1941 they used Carl's inheritance to purchase a gasoline station with seven tourist cabins at Provine, a sparsely settled crossroads on Route 66 one mile southwest of Hydro. Neighboring businesses included a Texaco station and the Hill Top Café. Carl drove a truck for a living, and Lucille operated the gas station and cabins. They lived in the second story of the gas station; Lucille prepared breakfast and sandwiches for travelers on a hotplate in the first story. Lucille lived in the gas station until her death in 2000.
Social interaction in communities like Provine differed greatly from traditional villages. Strangers on the move were brought together briefly in a remote, ephemeral setting. This was a culture of mobility; motor travel was the only reason for Provine's existence. In her autobiography, Lucille describes the isolation of her gas station home, her frequent interaction with travelers on Route 66, and her travel-oriented duties and services in addition to running the gas station and cabins. She helped travelers in financial straits by accepting objects for payment or by purchasing their cars and putting the travelers on a bus. During World War II, when rubber and metal were in short supply, she sold tires and parts stripped from the used cars that she had bought.
Lucille witnessed the second wave of migration on Route 66 in the early 1940s, when midwesterners sought defense jobs in California, as well as postwar vacation trips and household moves. In recent years, as interest in the historical and cultural aspects of Route 66 has grown, Mrs. Hamons has been celebrated as the "Mother of the Mother Road." Her gas station was placed on the National Register of Historic Places in 1997. Cheryl Hamons Nowka, who was born in the second story of the gas station, created a Lucille Hamons web site in the mid-1990s.
date made
1941
maker
Gillingham Sign Company, Weatherford, Oklahoma
ID Number
2001.0327.01
accession number
2001.0327

Scrimshaw Sperm Whale’s Tooth

This carved sperm whale tooth is only engraved on one side, but it has an unusual subject. Instead of the more common full-rigged sailing ship, this tooth depicts a steamboat in profile moving from left to right.
Description
This carved sperm whale tooth is only engraved on one side, but it has an unusual subject. Instead of the more common full-rigged sailing ship, this tooth depicts a steamboat in profile moving from left to right. Below the vessel is engraved the legend “STEAMER RIGHT ARM”, which identifies the vessel as the wrecking tugboat RIGHT ARM. Measuring 135 ft. in length by 26.5 ft. beam (width), the ship was purpose built in New England in the early 1890s as a wrecker, or salvage vessel. These uncommon vessels helped to refloat grounded or stranded ships, or recovered useful parts from a ship that was wrecked. The forward deckhouse contained a powerful steam windlass and several tons of 2-in. chain, and the pumps were so strong that the ship could pump coal--as well as water--from damaged ships. The RIGHT ARM had the capability to support divers as well, with dive gear, air compressors and special equipment.
The RIGHT ARM is best known as the salvage ship for the infamous wreck of the American warship USS MAINE in Havana harbor, Cuba, an early event in the Spanish-American War. The RIGHT ARM recovered some of the MAINE’s artillery; the ship’s safe containing ca. $25,000; valuable chalices from the chaplain’s stateroom, and sailors’ bodies from the colossal explosion on 15 February 1898 that sank the warship.
Although this tooth was not carved by a whaler during the classical Age of Sail, it still represents the latter-day art of scrimshaw through its style, material and treatment.
Location
Currently not on view
ID Number
DL.65.1135
catalog number
65.1135
accession number
256396

Scrimshaw Sperm Whale Tooth, 19th-20th Centuries

This large, highly polished sperm whale tooth is carved on both sides. The obverse is etched with a large full-rigged three-masted ship sailing towards the observer with all sails set.
Description
This large, highly polished sperm whale tooth is carved on both sides. The obverse is etched with a large full-rigged three-masted ship sailing towards the observer with all sails set. Atop the mainmast is a homeward bound pennant, and fifteen gunports are aligned along the starboard side of the ship. Below the sailing ship is etched in upper case letters "MONMOUTH-L.Is." (for Long Island). The reverse has a large heart with a keyhole in the center, with a forked pennant swirling around it marked "SARAH THE KEY IS WITH THEE 1864". Below the name "Wm. BAYLES" is etched along the same line as the lettering on the other side. There were no whalers named Monmouth in the records, and William Bayles does not appear in the New Bedford Whaling Museum Whaling Crew List Database.
Location
Currently not on view
date made
19th-20th century
ID Number
1978.0052.25
accession number
1978.0052
catalog number
1978.52.25

Hank Williams, Jr.

Henry Horenstein photographed Hank Williams Jr., the son of legendary singer Hank Williams, leaving his tour bus. Williams Jr. (b. 1949) spent his early career singing his father's songs in his own style.
Description
Henry Horenstein photographed Hank Williams Jr., the son of legendary singer Hank Williams, leaving his tour bus. Williams Jr. (b. 1949) spent his early career singing his father's songs in his own style. After a 1974 suicide attempt and a mountain climbing accident in 1975, he revamped his own image, modeling it after rowdy southern rockers. Later he was considered part of the Outlaw Country Movement.
Location
Currently not on view
negative
1973
print
2003
maker
Horenstein, Henry
ID Number
2003.0169.074
accession number
2003.0169
catalog number
2003.0169.074

Tootle

Original artwork, of page 41, for the book Tootle, written by Gertrude Crampton with illustrations by Tibor Gergely, published by Golden Press in New York, New York, in 1945.Born in Budapest, Hungary into a middle-class Jewish family, Tibor Gergely (1900-1978) was captivated by a
Description (Brief)

Original artwork, of page 41, for the book Tootle, written by Gertrude Crampton with illustrations by Tibor Gergely, published by Golden Press in New York, New York, in 1945.

Born in Budapest, Hungary into a middle-class Jewish family, Tibor Gergely (1900-1978) was captivated by art and culture at a young age. Known as a graphic illustrator and a caricature artist, Gergely’s early works documented Jewish life before the rise of Hitler. By 1939 the political situation in Europe was dire, and Gergely and his wife immigrated to America. They settled in New York and his love affair with the city never waned. He was enchanted with his new life in a postwar New York that included skyscrapers, rushing traffic and the excitement of life in the big city.

By 1940 Gergely was working for the American Artists and Writers Guild and became a popular illustrator for Little Golden Books, providing drawings for more than seventy books, including illustrations for The Taxi that Hurried, Make Way for the Thruway, Five Little Firemen and Tootle. His portrayals of America's rapidly expanding transportation systems and the recognition of public servants foretold the dramatic social and cultural events that would impact American society in the 1950s.

Location
Currently not on view
Date made
1945
maker
Gergely, Tibor
ID Number
1992.0634.066.16
accession number
1992.0634
catalog number
1992.0634.066.16

Scrimshaw Sperm Whale’s Tooth, Mid-19th Century

Nearly every spot on this small sperm whale tooth is decorated. The center of the main side contains a generic US warship in the center, with a swallowtail pennant on the foremast, a homeward bound pennant on the main mast and a big American flag off the stern.
Description
Nearly every spot on this small sperm whale tooth is decorated. The center of the main side contains a generic US warship in the center, with a swallowtail pennant on the foremast, a homeward bound pennant on the main mast and a big American flag off the stern. Above it floats a thistle; below is a crosshatch basket of flowers. Vines connect the edges of the tooth to the other side, the bottom of which is etched with an American eagle shield with thistles in its beak and crossed American flags in its talons. Above it floats a heart with a star in the middle. Three arrows and a horn pierce it through the middle, and above floats another vine. On the final edge is a head-on view of a ship with studding sails flying. It appears to be an alternate view of the ship on the other side of the tooth, judging from its visible flags. Around the base of the tooth, a sharp dentil molding draws all the images together into one composition.
Scrimshaw began in the late 18th or early 19th century as the art of carving whale bone and ivory aboard whale ships. The crew on whalers had plenty of leisure time between sighting and chasing whales, and the hard parts of whales were readily available on voyages that could last up to four years.
In its simplest form, a tooth was removed from the lower jaw of a sperm whale and the surface was prepared by scraping and sanding until it was smooth. The easiest way to begin an etching was to smooth a print over the tooth, prick the outline of the image with a needle and then “connect-the-dots” once the paper was removed. This allowed even unskilled craftsmen to create fine carvings. Some sailors were skilled enough to etch their drawings freehand. After the lines were finished, they were filled in with lamp black or sometimes colored pigments.
Scrimshaw could be decorative, like simple sperm whale teeth, or they could be useful, as in ivory napkin rings, corset busks (stiffeners), swifts for winding yarn or pie crimpers. The sailor’s hand-carved scrimshaw was then given to loved ones back on shore as souvenirs of the hard and lonely life aboard long and dangerous voyages.
Location
Currently not on view
ID Number
TR.67.723
accession number
248268
catalog number
67.723

Half Model of the Pilot Schooner Hesper

Hesper was a Boston pilot schooner, designed for speed in order to be the first to reach offshore merchant vessels and escort them through the treacherous harbor islands into the port.
Description
Hesper was a Boston pilot schooner, designed for speed in order to be the first to reach offshore merchant vessels and escort them through the treacherous harbor islands into the port. The fastest boat got to the client first, and Hesper had the reputation of being the fastest of the fast throughout her working career. Designed in 1884 by Boston naval architect Dennison J. Lawlor, the schooner measured 102 feet on deck by 23 feet in beam, with a 12-foot draft.
Location
Currently not on view
designer
Lawlor, Dennison J.
ID Number
TR.076037
catalog number
76037
accession number
15228

1935 Simplex Servi-Cycle Motorbike

Beginning in 1935, the Simplex Manufacturing Corporation of New Orleans made motorbikes, which were smaller and lighter than motorcycles. Their simple designs made personal transportation accessible to young people and adults.
Description
Beginning in 1935, the Simplex Manufacturing Corporation of New Orleans made motorbikes, which were smaller and lighter than motorcycles. Their simple designs made personal transportation accessible to young people and adults. Owners found many uses for Servi-Cycles, including errands, pleasure rides, and package delivery using a three-wheeled model. Top speed was 40 miles per hour, and average cruising speed was 30 miles per hour. Postwar sales were strong, but Servi-Cycle sales declined in the 1950s because of the growing popularity of imported motor scooters. Simplex ended motorbike production in 1960 but made motor scooters until 1972, when the company went out of business.
Location
Currently not on view
date made
1935
maker
Simplex Manufacturing Company
ID Number
TR.317365
accession number
230387
catalog number
317365

Ford Mustang Pedal Car

Americans learn to love cars at a very early age. More than just play, ownership of pedal cars, bicycles, and motor scooters is a progressive initiation into the culture of personal mobility, climaxing with an automobile learner’s permit and driver’s license in adolescence.
Description
Americans learn to love cars at a very early age. More than just play, ownership of pedal cars, bicycles, and motor scooters is a progressive initiation into the culture of personal mobility, climaxing with an automobile learner’s permit and driver’s license in adolescence. One pedal car manufacturer coined the slogan “Raise the Kiddies on Wheels” to express this extended bonding experience with personal, mechanized transportation. Pint-sized, pedal-powered cars for children became available in the first decade of the twentieth century, soon after automobiles appeared on the market, and they were mass-marketed by 1910. Pedal cars remained very popular for decades and came in a wide selection of styles. Some pedal cars even resembled specific makes and models of automobiles. This Ford Mustang pedal car celebrated the popular “pony car” introduced by Ford in April 1964 at the New York World’s Fair. By the 1960s, many adults and maturing baby boomers were discovering that driving could be fun. They were more inclined to think of their cars as personal possessions and bought models that offered some of the thrill of sports cars and high-performance cars. Manufacturers responded with cars that looked sporty, ran well, handled better than a family sedan or station wagon, and made the owner feel youthful, active, and socially accepted. Ford correctly interpreted this emerging market. Baby boomers were reaching driving age, more families were buying second cars, and women and single people were buying cars. Many consumers were looking for affordable models with flair, excitement, and optional equipment that enhanced comfort and performance. Ford developed the Mustang with these qualities in mind. Its spring debut (instead of a traditional fall debut), world’s fair publicity, and the Mustang’s instant appeal among consumers made this event one of the most memorable new car introductions in history. For children, a Ford Mustang pedal car was the ultimate in trendy playthings.
Location
Currently not on view
ID Number
2000.0265.03
catalog number
2000.0265.03
accession number
2000.0265

One of a Pair of Scrimshaw Sperm Whale’s Teeth, late 19th Century

This is one of a pair of decorative whales teeth (374507 and 374508). Both are the same size, have similar subjects by the same hand and identical mahogany bases for vertical display.
Description
This is one of a pair of decorative whales teeth (374507 and 374508). Both are the same size, have similar subjects by the same hand and identical mahogany bases for vertical display. Originally, they would have decorated a family parlor, or a gentleman’s bureau or dressing room. This tooth has a heavily costumed couple on the obverse, depicting a couple at a moment of parting, perhaps Tristan and Isolde or Romeo and Juliet.
Scrimshaw began in the late 18th or early 19th century as the art of carving whale bone and ivory aboard whale ships. The crew on whalers had plenty of leisure time between sighting and chasing whales, and the hard parts of whales were readily available on voyages that could last up to four years.
In its simplest form, a tooth was removed from the lower jaw of a sperm whale and the surface was prepared by scraping and sanding until it was smooth. The easiest way to begin an etching was to smooth a print over the tooth, prick the outline of the image with a needle and then “connect-the-dots” once the paper was removed. This allowed even unskilled craftsmen to create fine carvings. Some sailors were skilled enough to etch their drawings freehand. After the lines were finished, they were filled in with lamp black or sometimes colored pigments.
Scrimshaw could be decorative, like simple sperm whale teeth, or they could be useful, as in ivory napkin rings, corset busks (stiffeners), swifts for winding yarn or pie crimpers. The sailor’s hand-carved scrimshaw was then given to loved ones back on shore as souvenirs of the hard and lonely life aboard long and dangerous voyages.
Location
Currently not on view
ID Number
DL.374507
catalog number
374507
accession number
136263

Burma-Shave Sign

In the early years of motoring, the Burma-Vita Company found a novel way to advertise its brushless shaving cream.
Description
In the early years of motoring, the Burma-Vita Company found a novel way to advertise its brushless shaving cream. Burma-Shave advertising signs, with their humorous, serial jingles, were spaced far apart on the roadside and made sense only to someone traveling at 35 miles per hour. From the 1920s to the 1960s, motorists had fun piecing the rhymes together, one phrase at a time, and reaching the wry, witty punch line. They memorized favorite verses and looked forward to the entertainment value of the signs, especially during long trips. Burma-Shave signs were the equivalent of the prize in a Cracker Jack box or the saying in a fortune cookie. They became a classic American form of visual communication in a league with comic strips and greeting cards, and like those whimsical media, the signs became part of twentieth century popular culture. Burma-Shave signs became a national favorite because they humanized highway travel and gave motorists a new way to consume the roadside. They touched many facets of American life; farmers repaired them, radio comedians satirized them, and college students pilfered them. Verses supported the war effort during World War II and anti-inflation efforts after the war. At the height of the program, there were 7,000 sets of signs in 45 states. But by the 1950s, television advertising made rival products more popular than Burma-Shave, and televised ads were more cost-effective than sending a team of sign installers out on the road. Increased highway speeds and limited-access highways also contributed to the decline of the Burma-Shave phenomenon. The sign program ended in 1963.
Location
Currently not on view
user
Bryant, Fred K.
ID Number
1986.0661.04
accession number
1986.0661
catalog number
1986.0661.04
86.0661.04

Framed Scrimshaw Sperm Whale Teeth, 1865

The backs of two large, matched sperm whale teeth were sawn off, and the front sides were scrimshawed freehand and mounted in an unusual glass-top wooden display case.
Description
The backs of two large, matched sperm whale teeth were sawn off, and the front sides were scrimshawed freehand and mounted in an unusual glass-top wooden display case. The tooth on the left displays the stern of a large sailing ship flying an American flag, sailing away from the viewer. At the top are the numbers “18”, matched by the numbers “65” in the same place on the right side tooth. The bow of a large ship engraved on the right tooth is sailing toward the viewer, and it is almost certainly a different view of the same ship on the other tooth. Above and below the main image of the ship on the sea are matching rope and floral motifs.
The sailing ship depicted is a merchant vessel, as shown by the absence of a warship’s guns or the try works characteristic of a whaler. It appears to be a packet ship designed to carry mail, passengers and cargo together, judging from the number of lifeboats over the side on davits.
Below the teeth is a small bone plaque engraved in cursive “Dr. Charles E. Smith”. There was a Dr. Charles E. Smith in Whitesboro, NY during the Civil War, but the 1865 connection between Dr. Smith and a ship or a piece of framed scrimshaw artwork is unknown. The village of Whitesboro is near the precise middle of the state of New York, about the same distance from Long Island Sound and the Great Lakes. The nearest body of water was the Erie Canal passing through the village.
Scrimshaw began in the late 18th or early 19th century as the art of carving whale bone and ivory aboard whale ships. The crew on whalers had plenty of leisure time between sighting and chasing whales, and the hard parts of whales were readily available on voyages that could last up to four years.
In its simplest form, a tooth was removed from the lower jaw of a sperm whale and the surface was prepared by scraping and sanding until it was smooth. The easiest way to begin an etching was to smooth a print over the tooth, prick the outline of the image with a needle and then “connect-the-dots” once the paper was removed. This allowed even unskilled craftsmen to create fine carvings. Some sailors were skilled enough to etch their drawings freehand. After the lines were finished, they were filled in with lamp black or sometimes colored pigments.
Scrimshaw could be decorative, like simple sperm whale teeth, or they could be useful, as in ivory napkin rings, corset busks (stiffeners), swifts for winding yarn or pie crimpers. The sailor’s hand-carved scrimshaw was then given to loved ones back on shore as souvenirs of the hard and lonely life aboard long and dangerous voyages.
Location
Currently not on view
date made
1865
ID Number
1978.0052.03
accession number
1978.0052
catalog number
1978.52.3

Scrimshaw Sperm Whale Tooth, mid 19th Century

The main surface of this large sperm whale tooth is etched with the famous scene of Washington crossing the Delaware River on Christmas 1776 into New Jersey.
Description
The main surface of this large sperm whale tooth is etched with the famous scene of Washington crossing the Delaware River on Christmas 1776 into New Jersey. The river was filled with ice, and the rowers had to push it out of their way to get across the river in their heavy, flat-bottom Durham cargo boats. In all, Washington transported ca. 2,400 troops across the Delaware that day. After crossing, they marched nine miles to Trenton, NJ, where they surprised and conquered the British Hessian troops.
The absence of any pinholes indicates that the artist of this piece carved it freehand, but its subject indicates that the artist had a good look at the many images of the famous scene before he began carving. The back of the tooth is smoothed but uncarved, with a large piece missing from the bottom edge.
Scrimshaw began in the late 18th or early 19th century as the art of carving whale bone and ivory aboard whale ships. The crew on whalers had plenty of leisure time between sighting and chasing whales, and the hard parts of whales were readily available on voyages that could last up to four years.
In its simplest form, a tooth was removed from the lower jaw of a sperm whale and the surface was prepared by scraping and sanding until it was smooth. The easiest way to begin an etching was to smooth a print over the tooth, prick the outline of the image with a needle and then “connect-the-dots” once the paper was removed. This allowed even unskilled craftsmen to create fine carvings. Some sailors were skilled enough to etch their drawings freehand. After the lines were finished, they were filled in with lamp black or sometimes colored pigments.
Scrimshaw could be decorative, like simple sperm whale teeth, or they could be useful, as in ivory napkin rings, corset busks (stiffeners), swifts for winding yarn or pie crimpers. The sailor’s hand-carved scrimshaw was then given to loved ones back on shore as souvenirs of the hard and lonely life aboard long and dangerous voyages.
Location
Currently not on view
date made
mid 19th century
ID Number
DL.374497
catalog number
374497
accession number
136263

Scrimshaw Sperm Whale Tooth, 20th Century

The obverse of this large sperm whale tooth is filled with the etching of a large, unidentified three-masted ship sailing from left to right with all sails flying.
Description
The obverse of this large sperm whale tooth is filled with the etching of a large, unidentified three-masted ship sailing from left to right with all sails flying. Although it has an American flag at the stern, the vessel is unidentified and there are no visible crew on deck handling the sails or rigging.
The reverse is decorated with a dove perched in a small bouquet of flowers over a heart with "1863 Susanna" carved in the middle. A pennant at the top of the tooth is inscribed "SAMUAL WIGGENS". There is no one named Wiggens in the New Bedford Whaling Museum Whaling Crew List Database.
Location
Currently not on view
date made
20th century
ID Number
1978.0052.26
accession number
1978.0052
catalog number
1978.52.26

Andy Granatelli's sport coat

Currently not on view
Location
Currently not on view
ID Number
2017.0091.05
catalog number
2017.0091.05
accession number
2017.0091

Model of Towboat Valley Belle

The sternwheel steamer Valley Belle was built as a packet boat at Harmar, Ohio, in 1883. It measured 127.4’ long by 22.9’ in beam and a shallow 3.4’ in draft.
Description
The sternwheel steamer Valley Belle was built as a packet boat at Harmar, Ohio, in 1883. It measured 127.4’ long by 22.9’ in beam and a shallow 3.4’ in draft. As a packet delivering people, cargo and the mails, the Belle worked for decades along several rivers from the Ohio to the Kanawha in West Virginia. In 1891, the Belle transported 8,320 tons of cargo and 6,241 passengers along the Ohio River.
In 1917, the Valley Belle was operating along the Ohio River between Marietta and Middleport, Ohio. In March 1919 it was purchased by Billy Bryant of the famous showboating family. Bryant had just built a fancy new showboat and needed a larger towboat than they owned to tow it.
The Belle towed Bryant’s New Showboat for several years down the Kanawha, Ohio, Monongahela, Illinois, and Mississippi Rivers before being replaced by a smaller boat. Competition from movie theaters had shortened the range of the showboats, which were forced to go to ever-smaller and more remote towns for willing audiences. The Belle continued to tow on various rivers until 1943, when it sank in the Ohio River at Kanauga, Oh. Its career as a wooden-hulled river steamer in nearly continuous use for 60 years is unmatched.
Date made
1970
ID Number
TR.330213
catalog number
330213
accession number
288672

Tootle

Tootle was written by Gertrude Crampton with illustrations by Tibor Gergely, published by Golden Press in New York, New York, in 1945, 25th reprint in 1971.Born in Budapest, Hungary into a middle-class Jewish family, Tibor Gergely (1900-1978) was captivated by art and culture at
Description (Brief)

Tootle was written by Gertrude Crampton with illustrations by Tibor Gergely, published by Golden Press in New York, New York, in 1945, 25th reprint in 1971.

Born in Budapest, Hungary into a middle-class Jewish family, Tibor Gergely (1900-1978) was captivated by art and culture at a young age. Known as a graphic illustrator and a caricature artist, Gergely’s early works documented Jewish life before the rise of Hitler. By 1939 the political situation in Europe was dire, and Gergely and his wife immigrated to America. They settled in New York and his love affair with the city never waned. He was enchanted with his new life in a postwar New York that included skyscrapers, rushing traffic and the excitement of life in the big city.

By 1940 Gergely was working for the American Artists and Writers Guild and became a popular illustrator for Little Golden Books, providing drawings for more than seventy books, including illustrations for The Taxi that Hurried, Make Way for the Thruway, Five Little Firemen and Tootle. His portrayals of America's rapidly expanding transportation systems and the recognition of public servants foretold the dramatic social and cultural events that would impact American society in the 1950s.

Location
Currently not on view
Date made
1945
1971
maker
Little Golden Books
ID Number
1992.0634.002
accession number
1992.0634
catalog number
1992.0634.002

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