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.

Topic: Cigna Maritime Collection

Painting, Brig Peep O'Day

This oil painting of the brig Peep O'Day is variously attributed to one of two 19th century British marine artists: either William Kimmins McMinn (1820-1898) or Joseph Heard (1799-1859).
Description
This oil painting of the brig Peep O'Day is variously attributed to one of two 19th century British marine artists: either William Kimmins McMinn (1820-1898) or Joseph Heard (1799-1859). The vessel is shown in choppy water, approaching the North West Lightship off the English port of Liverpool; a local pilot schooner is approaching to drop off a pilot. Pilot boats were small, fast local craft that delivered pilots, or people with local knowledge of a port, to help navigate up to a wharf or anchorage.
A popular ship name in the 19th century, Peep O'Day is a reference to a late 18th century Irish Protestant gang, who would raid the homes of Catholic weavers and destroy their machinery. The raids were carried out at dawn, or the peep of day. This brig was built in Waldoboro, Maine in 1848 as the Ella Fleming. A Civil War blockade runner in 1862, in the 1860s the vessel was purchased by a British ship owner and registered in Liverpool, England. The ship was later owned by several Irish owners and registered as a brigantine in 1898. It passed out of the registers in 1902.
Location
Currently not on view
date made
ca 1869
maker
Heard, Joseph
McMinn, William Kimmins
ID Number
2005.0279.006
accession number
2005.0279
catalog number
2005.0279.006

Painting, The Ship Maldon

Maldon was built in 1863 in Quebec. It measured 199 feet in length, 37.9 feet in beam, 22 feet in depth of hold, and 1187 tons. Maldon was owned by a Mr. Findlay, and its master was Captain T. Scott.
Description
Maldon was built in 1863 in Quebec. It measured 199 feet in length, 37.9 feet in beam, 22 feet in depth of hold, and 1187 tons. Maldon was owned by a Mr. Findlay, and its master was Captain T. Scott. From its home port of Liverpool, England, the Maldon was active in the trade with India. Later, the ship was owned by Harry Smith Edwards of South Shields. It was last listed in Lloyd's Register in 1871, and its end is unknown. The painting shows the starboard side of Maldon in front of a rocky coastline. To the right of the painting is a second view of the same ship. Birds and some debris are present in the foreground. In a July 1997 letter, British Marine painting authority A.S. Davidson speculates that the background is probably the entrance to Sunderland harbor, a point about 10 miles south of Scott's usual backdrop of Tynemouth. John Scott was a Newcastle painter born in 1840. He worked mainly in oils.Typically his paintings featured England's eastern coastline in the background.
Location
Currently not on view
date made
1867
maker
Scott, John
ID Number
2005.0279.045
accession number
2005.0279
catalog number
2005.0279.045

Painting of Whampoa Reach, China

America began trade with China in 1784, with the Philadelphia ship the Empress of China. Popular trade goods were tea, porcelain and fabric. The Chinese were skeptical of foreign powers, and trading was restricted to certain ports, one of which was Canton.
Description
America began trade with China in 1784, with the Philadelphia ship the Empress of China. Popular trade goods were tea, porcelain and fabric. The Chinese were skeptical of foreign powers, and trading was restricted to certain ports, one of which was Canton. The Chinese government saw Canton as a major trading hub and felt that it needed to be controlled tightly to limit the influence of the foreigners.
The actual port for Canton was called Whampoa Reach and it was about 12 miles down river from Canton. Western vessels had to anchor at Whompoa Reach and transfer their cargo to junks which transported the goods to the city for trading.
In the painting there is a general view of the docks and warehouses, as well as hongs (foreign offices, warehouses, and residences for foreigners who did business with the Chinese government). Buildings are clustered around the edge of the river and both clipper ships and Chinese vessels are visible in the water. There are American, French, Swedish and British vessels in the harbor, but they appear separated from the smaller Chinese vessels. Several small Chinese ships also are seen close to the larger clipper ships. There is one small British vessel moving around with the Chinese vessels.
Location
Currently not on view
date made
ca 1840
maker
unknown
ID Number
2005.0279.032
accession number
2005.0279
catalog number
2005.0279.032

Painting, Muscat

The painting shows a view of Muscat Harbor, on the Gulf of Oman on the southeast coast of Arabia. Entering the fortified harbor is a pirate galley, flying a red flag.Thomas L. Hornbrook (1780-1850) was born in Plymouth, England.
Description
The painting shows a view of Muscat Harbor, on the Gulf of Oman on the southeast coast of Arabia. Entering the fortified harbor is a pirate galley, flying a red flag.
Thomas L. Hornbrook (1780-1850) was born in Plymouth, England. He specialized in scenes depicting British trading vessels. He became the official marine painter for both the Duchess of Kent and Queen Victoria. Typically, his signature appears on a piece of wood floating in the foreground found in most of his paintings. He possibly visited the East Indies between 1806 and 1810.
Location
Currently not on view
date made
1850
maker
Hornbrook, Thomas L.
ID Number
2005.0279.059
accession number
2005.0279
catalog number
2005.0279.059

Painting of the Port of Canton

America began trade with China in 1784, with the Philadelphia ship the Empress of China. Popular trade goods were tea, porcelain and fabric. The Chinese were skeptical of foreign powers, and trading was restricted to certain ports, one of which was Canton.
Description
America began trade with China in 1784, with the Philadelphia ship the Empress of China. Popular trade goods were tea, porcelain and fabric. The Chinese were skeptical of foreign powers, and trading was restricted to certain ports, one of which was Canton. The Chinese government saw this port as a major trading hub and felt that it needed to be controlled tightly to limit the influence of the foreigners.
The actual port for Canton was called Whampoa Reach and it was about 12 miles down river from Canton. Western vessels had to anchor at Whompoa Reach and transfer their cargo to junks which transported the goods to the city for trading.
In the painting there is a view of the Respondentia Walk, the only place in the city that foreigners were free to move about, and several foreign hongs. Hongs were foreign offices, warehouses, and residences for foreigners who did business with the Chinese government; hongs were built and owned by the Chinese government. Each hong flew the flag of the country that did business there; English, American and French hongs are all visible. There are small junks and clippers in the foreground.
Location
Currently not on view
date made
ca 1830-1840
maker
unknown
ID Number
2005.0279.033
accession number
2005.0279
catalog number
2005.0279.033

Painting, Gulf of Persia

The painting shows six large ships docked in a bay in the Persian Gulf. In the background are seen a palm tree beach and mountainous terrain. To the right, smoke is emerging from a fortress. Two manned long boats are also present.
Description
The painting shows six large ships docked in a bay in the Persian Gulf. In the background are seen a palm tree beach and mountainous terrain. To the right, smoke is emerging from a fortress. Two manned long boats are also present. This painting is believed to depict a combined British land and sea force capturing and destroying the pirate stronghold Iswasnee in the Persian Gulf on July 3, 1810. Thomas L. Hornbrook (1780-1850) was born in Plymouth, England. Hornbrook specialized in scenes depicting British trading vessels. He became the official marine painter for both the Dutchess of Kent and Queen Victoria. His signature appears on a piece of wood floating in the foreground of his paintings. He possibly visited the East Indies between 1806 and 1810.
Location
Currently not on view
date made
19th century
maker
Hornbrook, Thomas L.
ID Number
2005.0279.057
accession number
2005.0279
catalog number
2005.0279.057

Painting, Collier Brig Morton

The Morton was built in 1825 by John Scott (1775-1842) in Whitehaven, England. It measured 72 feet 7 inches long and 152 tons. Ownership of Morton was divided into 64 shares. Isaac Bell held the most with 12/64.
Description
The Morton was built in 1825 by John Scott (1775-1842) in Whitehaven, England. It measured 72 feet 7 inches long and 152 tons. Ownership of Morton was divided into 64 shares. Isaac Bell held the most with 12/64. Documents show that William Bell, Isaac's brother, was made master of the ship from 1825 until his death in 1834. Other sources indicate that Thomas Kelly commanded the ship; this probably occurred after W. Bell's death. The Morton wrecked off Cape Breton in 1849. The painting shows the port side of the ship as it is entering the harbor with all of its sails set. Several other ships can be seen in the distance and seagulls are flying in the foreground. It is flying a flag on the foremast displaying the number 979. According to British marine painting authority A.S. Davidson in his book Marine Art and Liverpool, this probably indicates the master's membership number to a local Shipmasters Association. Membership benefits to such an organization included mutual help at sea and foreign ports, and allowances for dependents. British painter Joseph Heard (1799-1859) was known for his marine-themed paintings in the Romantic style. Born in Whitehaven, Cumberland, England he is believed to have received some lessons from a local portrait painter, John Clementson as a young man. He lived in London briefly in the mid-1820s, then moved to Whitehaven in 1826 and decided to pursue marine painting full time. In 1834, he and his brother Isaac, also a painter, moved to Liverpool where they shared a studio. Though eclipsed in popularity by Liverpool's other resident marine painter, Samuel Walters, Joseph Heard was successful as a marine artist. He remained in Liverpool until his death at age 60 in 1859.
Location
Currently not on view
date made
ca 1830-1840
maker
Heard, Joseph
ID Number
2005.0279.047
accession number
2005.0279
catalog number
2005.0279.047

Painting of a Merchant Ship

The painting shows a three masted, square-rigged ship shown in a full portside profile. The ship is flying the American Flag, though there is no indication of its name. Three other ships are visible in the painting, two behind and one in front.
Description
The painting shows a three masted, square-rigged ship shown in a full portside profile. The ship is flying the American Flag, though there is no indication of its name. Three other ships are visible in the painting, two behind and one in front. To the left of the ship is a view of the mountains. There is a T-shaped break in the canvas, and the painting was probably over-cleaned and retouched. The painting is in poor condition.
Location
Currently not on view
maker
unknown
ID Number
2005.0279.041
accession number
2005.0279
catalog number
2005.0279.041

Painting, Black Warrior - City of Melbourne

Black Warrior was built at Damariscotta, Maine by Austin & Co. in 1853, and was owned by William Wilson and Co. of Baltimore, Maryland.
Description
Black Warrior was built at Damariscotta, Maine by Austin & Co. in 1853, and was owned by William Wilson and Co. of Baltimore, Maryland. The ship measured 234 feet and 1828 tons.
In 1854 there was a dispute between the U.S and Spain, and Black Warrior was seized by the Spanish in Havana for a customs violation. The case was later resolved and the ship was returned to its owners. The incident produced hope for a small minority who hoped that Cuba might be annexed. In 1862, Black Warrior was sold to James Baines and Co. and renamed the City of Melbourne. In February 1868, the ship suffered a fire while at Williamstown Pier, Port Philip, Australia. It was registered in 1870 to W.T. Heron of Liverpool, and in 1877 was used as a storage hulk at Melbourne.
This painting depicts a dual view of the right profile and rear of the ship. An elevated view shows some of the deck, and a rounded stern, with a second stern view having tacked to enter the harbor. The harbor portrayed in the painting is believed not to be Hong Kong harbor but rather a harbor in Yorkshire. Art Historian A.S. Davidson remarked that while the artist was unknown s/he was probably British, due to the style of the painting.
Location
Currently not on view
date made
ca 1853
maker
unknown
ID Number
2005.0279.023
accession number
2005.0279
catalog number
2005.0279.023

Painting, An Offshore Breeze, Isles of Shoals, Maine

Mauritz Frederic Henri De Haas was born in Rotterdam, Holland, studied art at the Rotterdam Academy and served as official painter to the Dutch Navy.
Description
Mauritz Frederic Henri De Haas was born in Rotterdam, Holland, studied art at the Rotterdam Academy and served as official painter to the Dutch Navy. He emigrated to New York in 1859, shortly after his older brother Willem Frederick (1830-1880), also an artist, had done the same. During the Civil War, De Haas painted several naval actions for Admiral David Farragut; he won medals for three of his artworks at the 1876 Centennial, which helped bolster his reputation. He also exhibited a painting of Niagara Falls at the 1878 Paris Exposition.
This painting portrays waves breaking on a short section of the rocky coastline of Isles of Shoals, a popular subject for him and other painters of the mid-19th century. In the distance are two unnamed steamers, identifiable by their lack of sail, while in the middle a small gaff-rigged sailboat-either a fishing boat or coastal cargo vessel-is visible under an approaching squall. The whitecaps on the tops of the waves show that it is a windy day out on the water.
A few miles off the southern coast of Maine, the nine Isles of Shoals served as a perfect camp for generations of New England fishermen starting in the early 17th century. The islands were shared between New Hampshire and Maine in the mid-17th century. They may be named after the local schools or "shoals" of fish, rather than any shallow waters.
The original Baroque-style frame for this piece is said to have been designed by De Haas himself. CIGNA's predecessor company acquired the painting in 1988.
Location
Currently not on view (frame)
Currently not on view (painting, oil)
date made
1882
maker
De Haas, Mauritz F. H.
ID Number
2005.0279.001
accession number
2005.0279
catalog number
2005.0279.001

Painting, British Barque Moss Rose

The barque Moss Rose was built in 1863 by Thomas Hilyard (1810-1873) at St. Johns, New Brunswick, Canada. Hilyard is known to have built at least 48 ships; the smaller ones stayed in Canada and the larger ones were often sold to British owners.
Description
The barque Moss Rose was built in 1863 by Thomas Hilyard (1810-1873) at St. Johns, New Brunswick, Canada. Hilyard is known to have built at least 48 ships; the smaller ones stayed in Canada and the larger ones were often sold to British owners. Moss Rose's original bill of sale is in the Hilyard family papers at the Maritime History Archive, Memorial University of Newfoundland.
Moss Rose measured 153.3 ft long and 797 tons and and was first owned by Shute & Co. of Liverpool, Great Britain. In 1867, it was sold to Charles Hill of the Albion Dock, Bristol, England, and he retained the ship's original captain Bustin until 1881. Moss Rose remained in service until 1886 and was abandoned the following year.
In this painting, Moss Rose is shown off the South Stack, Holyhead Mountain, the Skerries, Anglesey, North Wales. The Skerries Reef and lighthouse are to the left of the painting, and the harbor of Holyhead is hidden behind the hull of the barque. At the foremast flies a pilot jack, or flag requesting a pilot. Behind the ship, a two-masted pilot schooner races for the ship, which has just begun to shorten sail in order to lose enough speed to take on a pilot from the schooner. Art historian A.S. Davidson has identified this painting as by Liverpool marine painter Francis Hustwick, based upon a variety of factors, including the outdated British ensign (flag) with a white border flying off the stern.
Location
Currently not on view
date made
1863-1880
maker
unknown
ID Number
2005.0279.009
accession number
2005.0279
catalog number
2005.0279.009

Painting, The Bon Homme Richard and HMS Serapis

USS Bonhomme Richard was originally named the Duc de Duras, renamed after the ship was granted to John Paul Jones by the French during the American Revolution.
Description
USS Bonhomme Richard was originally named the Duc de Duras, renamed after the ship was granted to John Paul Jones by the French during the American Revolution. The Duc de Duras was built around 1761 and measured 998 tons; it was bought by the French in 1769 and used primarily as an armed transport ship until given to John Paul Jones in 1779. Jones renamed the ship Bonhomme Richard (Good Man Richard) to honor Benjamin Franklin, as that was his French nickname. Duc de Duras was not in prime condition and Jones cut twelve ports on the gun-deck where he mounted six 18-pound guns. Bonhomme Richard carried a total of 42 guns. Bonhomme Richard is best known for its battle with HMS Serapis. Serapis was a British naval ship with 44 guns built in 1779 and commanded by Richard Pearson. Serapis was sent to protect merchant ships against piracy and on its first voyage was confronted by Bonhomme Richard. The battle took place on September 23, 1779 in the North Sea off Flamborough Head, England, and lasted over 3 hours. Though Serapis was better equipped, faster and more maneuverable, Richard Pearson surrendered Serapis to John Paul Jones. While Jones was able to win the battle, the Bonhomme Richard sank two days later, having sustained heavy damage during the battle. The painting shows three ships locked in combat, and it is possible that this painting is a time lapse scene of the battle. Men are visibly engaged in battle aboard the ships, and some crew members are hanging onto wreckage in the water. The Serapis's name is visible at the stern. Artist Thomas Buttersworth was born in 1768, on the Isle of Wight. He was a British painter who had spent time as a seaman. After his return to London in 1800, he was appointed Marine Painter of the East India Company. Buttersworth died in 1842.
Location
Currently not on view
date made
ca 1830
maker
Buttersworth, Thomas
ID Number
2005.0279.034
accession number
2005.0279
catalog number
2005.0279.034

Painting of Sailing Ship Emma F. Harriman

The Emma F. Harriman was built in 1862 by Elisha Dunbar in Searsport, Maine. It measured 120 feet long and 436 tons. It was first commanded by Fred D. Harriman, and was later renamed Leslie D. The ship was owned by Henry McGilvry from 1862-1877; Mansfield & Roberts in 1879; A.W.
Description
The Emma F. Harriman was built in 1862 by Elisha Dunbar in Searsport, Maine. It measured 120 feet long and 436 tons. It was first commanded by Fred D. Harriman, and was later renamed Leslie D. The ship was owned by Henry McGilvry from 1862-1877; Mansfield & Roberts in 1879; A.W. Moore from 1886-1890, and C. J. Jorgenson in 1890.
This painting by Charles Rollo Peters is a front view of the Emma F. Harriman. There are men in the rigging, and the boat is under full sail. There is some question as to what is original about the painting as it was heavily repainted. Red and green running lights, and the way the dinghy is hung over the side of the ship are all signs of additions not true of the 1886 time period.
Artist Charles Rollo Peters was born in California in 1862. He studied at the School of Design in San Francisco, tutored privately by Jules Tavernier. Peters moved to Europe and studied at the Ecole des Beaux arts and the Academie Julian in Paris. Peters moved back to California in 1890 and lived on a big estate where he entertained many of his artist friends, in 1909 he moved back to San Francisco and in 1928, he died. There is some uncertainty of the authenticity of the signature.
Location
Currently not on view
date made
1886
maker
Peters, Charles Rollo
ID Number
2005.0279.028
accession number
2005.0279
catalog number
2005.0279.028

Painting, Yacht Columbia

The Columbia was designed by N. G. Herreshoff and built in the winter of 1898-1899 by the Herreshoff Manufacturing Company of Bristol, Rhode Island. It was owned by J. Pierpont Morgan and Edwin D. Morgan.
Description
The Columbia was designed by N. G. Herreshoff and built in the winter of 1898-1899 by the Herreshoff Manufacturing Company of Bristol, Rhode Island. It was owned by J. Pierpont Morgan and Edwin D. Morgan. Columbia was a fin keel sloop measuring 131.7 feet in length, 24.24 feet in beam, 19.6 feet in depth, and 102 tons. In 1899 it won the America's Cup, beating the British Shamrock owned by Sir Thomas Lipton. In 1901 it successfully defeated the Shamrock II, becoming the first yacht to ever win consecutive America's Cup races. In 1913 Columbia was broken up at Hawkins Yard in City Island, New York. The painting shows a starboard view of the yacht under full sail. Carlton Theodore Chapman (1860-1925) was an American marine and landscape painter.
Location
Currently not on view
date made
1901
maker
Chapman, Carlton Theodore
ID Number
2005.0279.054
accession number
2005.0279
catalog number
2005.0279.054

Painting of Sailing Ship Patriarch

Patriarch was built by W. Hood in Aberdeen, Scotland in 1869. It was an Australian wool carrier measuring 222 feet 1 inch in length, 38 feet 1 inch in beam, 22 feet 3 inches in depth of hold, and weighed 1,339 tons.The ship sailed for G.
Description
Patriarch was built by W. Hood in Aberdeen, Scotland in 1869. It was an Australian wool carrier measuring 222 feet 1 inch in length, 38 feet 1 inch in beam, 22 feet 3 inches in depth of hold, and weighed 1,339 tons.
The ship sailed for G. Thompson's White Star Line, founded in 1825. Patriarch was the first iron clipper built for the line. They also owned Thermopylae, considered one of the fastest clipper ships ever. In 1898 Patriarch was sold to a Norwegian owner, G. Manson of Stavanger; in the same year it was sold again to Alexander Bech. The ship wrecked in 1912 off of Cape Corrientes, Cuba. This painting by British artist Eric Tufnell (1888-1978) shows Patriarch under full sail.
Location
Currently not on view
date made
ca 1962
maker
Tufnell, E.
ID Number
2005.0279.050
accession number
2005.0279
catalog number
2005.0279.050

Painting, Cape Comorin

The brig Rappler was in the British East India Company's private navy. Piracy was a constant danger, so besides carrying marine insurance, some larger companies employed their own private navies to help ward off attack.
Description
The brig Rappler was in the British East India Company's private navy. Piracy was a constant danger, so besides carrying marine insurance, some larger companies employed their own private navies to help ward off attack. Piemontaise was a French frigate that cruised the Indian Ocean from 1806 to 1808 and disrupted British trade. After taking several British ships during its time in the East Indies, it was captured on March 8, 1808 by the British ship San Fiorenzo and integrated into the Royal Navy. Thomas L. Hornbrook (1780-1850) was born in Plymouth, England. Hornbrook specialized in scenes depicting British trading vessels. He became the official marine painter for both the Dutchess of Kent and Queen Victoria. His signature appears on pieces of wood floating in the foreground of his paintings. He possibly visited the East Indies between 1806 and 1810.
Location
Currently not on view
date made
ca 1840
maker
Hornbrook, Thomas L.
ID Number
2005.0279.058
accession number
2005.0279
catalog number
2005.0279.058

Painting, Owen Potter

Owen Potter was built by Jonathan Fell, in Workington, county of Cumberland (now Cumbria) in 1850. The ship was purchased by Potter Brothers & Co. It measured 148.8 feet and 780 tons. The Owen Potter was built for trade in the Far East and frequently traveled to Calcutta.
Description
Owen Potter was built by Jonathan Fell, in Workington, county of Cumberland (now Cumbria) in 1850. The ship was purchased by Potter Brothers & Co. It measured 148.8 feet and 780 tons. The Owen Potter was built for trade in the Far East and frequently traveled to Calcutta. The ship went missing in 1857.
The painting is a portside and rear ¾ view of the ship. The ship's location in the painting is the North West Lightship, Liverpool Bay. In the central port profile the pilot jack is in the process of being hoisted to the fore masthead. The houseflag is depicted as a black horse on white ground, which confirms the ship owners as Potter Brothers & Co. Joseph Heard was born in 1799 in Whitehaven, Cumberland. Following a brief stay in London, Heard moved to Liverpool sometime after the mid 1820's. He shared a studio with his brother who painted portraits. Heard became extremely popular second only to Samuel Walters. Joseph died in 1859.
Location
Currently not on view
date made
1850
maker
Heard, Joseph
ID Number
2005.0279.024
accession number
2005.0279
catalog number
2005.0279.024

Painting, Tea Clipper

The house flag displayed on the mainmast identifies the owner of the unidentified clipper ship as Thomas Wardle, a New York merchant. In 1848, he took over as operator of the Charleston Ship Line after the former operator, George Sutton, died.
Description
The house flag displayed on the mainmast identifies the owner of the unidentified clipper ship as Thomas Wardle, a New York merchant. In 1848, he took over as operator of the Charleston Ship Line after the former operator, George Sutton, died. The Charleston Line provided regular service between Charleston, South Carolina and New York, participating heavily in the cotton trade. Wardle, however, was not only involved in the Charleston Line ships. He owned or partially owned several clipper ships including San Francisco, Extreme, and Adelaide. According to the New York Daily Times article "Our Shipyards" August 13, 1853, San Francisco, built by Abraham C. Bell in New York, was intended for the California and China trades. Another source places Wardle in the East Indies and California service around 1840 with a slight variation on his house flag. The painting shows clipper ship, junks, and other small Chinese craft in a busy harbor. Human figures can be seen on the junks, including the captain of the American ship, who is using a spyglass to see the shore. A rocky landscape is in the background. Flying an ensign of 1848 on the mainmast, the ship was probably painted while docked at Whampoa.
Sunqua was a 19th century Chinese painter. He was one of the better-known Chinese artisans, although paintings by him are rare. He is known for painting Western ships in Chinese ports.
Location
Currently not on view
date made
ca 1840
maker
Sunqua
ID Number
2005.0279.014
accession number
2005.0279
catalog number
2005.0279.014

Painting, Capture of H.M. Frigate Java by American Frigate Constitution

Designed by Joshua Humphreys, Constitution was built in Boston in 1797. It measured 174 feet 10 inches in length, 43 feet 6 inches in beam, 14 feet 3 inches in depth of hold, and 1,576 tons. It was also known as Old Ironsides.
Description
Designed by Joshua Humphreys, Constitution was built in Boston in 1797. It measured 174 feet 10 inches in length, 43 feet 6 inches in beam, 14 feet 3 inches in depth of hold, and 1,576 tons. It was also known as Old Ironsides. The Constitution is still in commission at the Charlestown Navy Yard in Boston, making it the oldest ship in the United States Navy.
Java was originally a French frigate named Renommée. It measured 1,073 tons. The British ships Astrae, Phoebe, Galatea, and Racehorse, under the command of Captain Charles Schomberg, captured Java near Madagascar in May 1811.
The painting by Thomas Whitcombe shows the two ships engaged in combat on December 29, 1812 off the coast of Brazil. Several sailors can be seen clinging to wreckage floating to the right of the battle scene. The two-hour battle was a victory for the United States and did much to increase the prestige of the country. The American Captain William Bainbridge was badly wounded and the British Captain Henry Lambert was mortally wounded. Thomas Whitcombe (1752-1824) was a British marine painter. After the battle, Java was deemed unfit for repair and burned.
Location
Currently not on view
date made
1813
maker
Whitcombe, Thomas
ID Number
2005.0279.037
accession number
2005.0279
catalog number
2005.0279.037

Painting, Wool Clipper Ship Parramatta

Parramatta was built in 1866 by James Laing in Sutherland, England for Devitt and Moore's passenger trade run to Sydney, Australia. The ship measured 231 feet in length and 1,521 tons.
Description
Parramatta was built in 1866 by James Laing in Sutherland, England for Devitt and Moore's passenger trade run to Sydney, Australia. The ship measured 231 feet in length and 1,521 tons. According to an inscription on the back of the painting, the ship was one of the wool fleet from 1875-1876, going from Sydney to London in 79 days. Captain J. Swanson commanded the ship until 1874, when Captain Goddard took over until the ship’s sale in 1888 to J. Simonsen of Norway. In January 1898, Parramatta sailed from Galveston, TX headed for King's Lynn, Norfolk, England and disappeared along the way. Parramatta was a Blackwall frigate. Blackwall frigates were three-masted merchant ships originally built to replace British East Indiamen in the trade between England and India. However, many Blackwell frigates, including Paramatta, became active in the trade between England and Australia. It was the second fastest of the Blackwall frigates after the Tweed. The painting shows Parramatta off Sydney Heads, Australia with a view of the coastline in the background. A small flight of steps and some women can be seen on deck. The presence of women is indicative of the Parramatta as a passenger ship, as a group of women would likely not have been on a trading voyage. Other details about the ship include the use of davits to hold up the lifeboats, where earlier they would have been merely tied to ropes and lowered over the side. Leather strips called "brails" used to shorten the sails can be seen running across the sails, and the flags on the lifeboat match the house flag located on the mainmast. Artist Frederick Tudgay (1841-1921) was youngest in a family of marine artists. He and his father, John Tudgay, occasionally worked in collaboration.
Location
Currently not on view
date made
1879
maker
Tudgay, Frederick
ID Number
2005.0279.046
accession number
2005.0279
catalog number
2005.0279.046

Print, Rounding the Lightship

The original of this 1883 lithograph titled Rounding the Lightship was painted by Frederic S. Cozzens. It shows several racing yachts rounding a lightship being used as a mark for a race course.
Description
The original of this 1883 lithograph titled Rounding the Lightship was painted by Frederic S. Cozzens. It shows several racing yachts rounding a lightship being used as a mark for a race course. The exact location of the race is not known, but most contemporary races started in New York Bay, proceeded down through the Narrows to either the Sandy Hook or Scotland lightship, then returned the way they had come. Yacht racing decreased quickly in the New York area in the early 20th century, due to an increase in commercial traffic and the increasingly polluted waters. A stern view of the yacht Fanny is in the left foreground. Fanny was a large centerboard sloop, 72 feet long, 23 feet 9 inches wide and weighed 49 tons. It was designed by D.O. Richmond of Mystic, CT in 1873 and built in 1874. Its official number was 120134. The yacht was owned by W.R. Travers of New York, and it frequently participated in races in New York Bay. It frequently won because of its exceptional crew. The yacht Gracie is shown broadside in the right foreground. Gracie was a large shallow centerboard sloop, 79 feet long by 21 feet wide and weighed 49 tons. It was designed and built by Mr. Polhemus in Nyack, NY in 1868. Its official number was 10902. The yacht was owned by C.R. Flint and J.P. Earle, both of New York. It was rebuilt several times, twice to be lengthened, and once completely rebuilt and rerigged with a double headsail rig by David Carll. Gracie had more victories than any other single-masted vessel of the area. The third yacht shown is Rover, just coming into view bow-first on the right. Rover was a centerboard sloop that measured 45 feet 6 inches long by 15 feet wide. It was designed and built by Mr. Piepgrass at Greenpoint, NY in 1880, and owned by W.E. Iselin of New York. To the far right a large steamship is visible. This was most likely a spectator vessel. Behind this is a smaller steamer, apparently a tug, containing the race officials.
Frederic S. Cozzens (1846-1928) was an American marine painter famous for his large portfolio of yacht racing lithographs. He lived in Staten Island and exhibited with the Boston Art Club, the Mystic Seaport Association, and the Brooklyn Art Association.
Location
Currently not on view
date made
1883
maker
Cozzens, Frederic Schiller
ID Number
2005.0279.117
catalog number
2005.0279.117
accession number
2005.0279

Painting of the Lintin

Lintin was built in 1834 on the Wear River in the city of Sunderland, England and owned by Porter. The ship was commanded by Captain J. Taylor, and weighed 558 tons. Lintin was later owned by Barton & Co. from 1846 to 1847 and captained by J. Gillman.
Description
Lintin was built in 1834 on the Wear River in the city of Sunderland, England and owned by Porter. The ship was commanded by Captain J. Taylor, and weighed 558 tons. Lintin was later owned by Barton & Co. from 1846 to 1847 and captained by J. Gillman. Lintin was mostly involved in trade between Liverpool and Bombay.
The painting shows a dual view of the Lintin arriving at Cape Town. The painting shows a house flag, a red background with a white circle, which indicates that the painting was created while she was still under the ownership of Barton & Co. The barque on the right is flying the same house flag. Artist Joseph Heard was born in 1799 in Whitehaven, Cumberland. Following a brief stay in London, Heard moved to Liverpool sometime after the mid 1820s. He shared a studio with his brother who painted portraits. Heard became extremely popular second only to Samuel Walters. Joseph died in 1859.
Location
Currently not on view
date made
1846
maker
Heard, Joseph
ID Number
2005.0279.026
accession number
2005.0279
catalog number
2005.0279.026

Oil Painting, The Privateer Brig Warrior Capturing The Schooner Hope

In this ca.
Description
In this ca. 1814 scene by artist Thomas Birch, the American privateer brig Warrior has just captured the English schooner Hope, which was en route from Glasgow, Scotland to Buenos Ayres, Brazil with a cargo of English manufactured goods.
A bitter offshore battle has left large jagged cannonball holes in the sails of both vessels. The Warrior's crew has removed the Hope's cargo, and is placing a prize crew aboard the Hope via the two small craft going between the two ships. The prize crew will sail the Hope to an American port, where the prize can be formally registered and auctioned off, with the proceeds shared among the Warrior's owners and crew. Prize crews manned captured enemy ships, which could otherwise escape too easily.
Contemporary sources indicate that the 430-ton armed privateer brig Warrior was built on the swift pilot boat model and carried 21 guns and 150 crew during the War of 1812. Large crews were required by privateers not only to fight enemy shipping, but to provide prize crews if successful. The Warrior's captain Guy R. Champlin was one of the American sailors most feared by the British, as he had a remarkable record of bold action, great bravery and fearless aggression.
Anglo-American artist Thomas Birch (1779-1851) began painting marine scenes in the early 19th century. He is known to have painted several War of 1812 engagements based upon eyewitness accounts—this is a rare preserved example. The British schooner Hope was insured by the oldest marine insurer in North America, the Insurance Company of North America (INA), which bought the painting. It was donated to the Smithsonian in 2005 by CIGNA, INA’s successor corporation.
Date made
ca 1814
Associated Date
early 19th century
captained the ship depicted
Champlin, Guy R.
purchased and donated the painting
CIGNA
maker
Birch, Thomas
ID Number
2005.0279.021
accession number
2005.0279
catalog number
2005.0279.021

Painting, Seascape with American Ships

Anglo-American marine painter George Robert Bonfield (1802-1898) was born in England; his family migrated to Philadelphia in the early 19th century, and Bonfield was apprenticed to a stonecutter (his father's trade).
Description
Anglo-American marine painter George Robert Bonfield (1802-1898) was born in England; his family migrated to Philadelphia in the early 19th century, and Bonfield was apprenticed to a stonecutter (his father's trade). In his youth, he occasionally sketched at the New Jersey estate of Joseph Bonaparte, Napolean's exiled brother and former king of Naples and Spain. It was there that he had access to fine European marine paintings, which fostered his interest in the genre and influenced his individual style. Also influential was his study of the work of the prominent Philadelphia painter Thomas Birch, who focused on marine subjects for much of his oeuvre. Bonfield's work in the mid-19th century, which tended towards romantic rather than realistic treatment, was especially popular with Philadelphia merchants and shipowners, and he was active in numerous artistic societies, academies and societies. The Delaware River was a favorite background for his paintings, but the artist tended to name many of his works with generic titles that make it difficult to identify specific ships or places. His popularity declined after the Civil War.
In the foreground is a small, open-decked gaff-rigged sailing vessel-probably a fishing boat-beached on the low tide. A crewman is leaning over the side to either take or give something to the man on the beach. Four similar craft ply the middle ground of the image. In the background are two full-rigged American ships; the nearer (larger) one has only topsails set, and the more distant vessel has no sails up and apparently is anchored into the wind. Unfortunately, the absence of any landmarks or detailed topography in this painting prevents identification of the scene.
Location
Currently not on view
date made
1865
maker
Bonfield, George Robert
ID Number
2005.0279.003
accession number
2005.0279
catalog number
2005.0279.003

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