Work

The tools, rules, and relationships of the workplace illustrate some of the enduring collaborations and conflicts in the everyday life of the nation. The Museum has more than 5,000 traditional American tools, chests, and simple machines for working wood, stone, metal, and leather. Materials on welding, riveting, and iron and steel construction tell a more industrial version of the story. Computers, industrial robots, and other artifacts represent work in the Information Age.

But work is more than just tools. The collections include a factory gate, the motion-study photographs of Frank and Lillian Gilbreth, and more than 3,000 work incentive posters. The rise of the factory system is measured, in part, by time clocks in the collections. More than 9,000 items bring in the story of labor unions, strikes, and demonstrations over trade and economic issues.

Text and photograph from Gardner's Photographic Sketchbook of the War, Vol. II. Negative by David Knox, text and positive by Alexander Gardner.This photograph represents one of the forges used by the army at Petersburg, and was taken during the intense heat of a summer day.
Description
Text and photograph from Gardner's Photographic Sketchbook of the War, Vol. II. Negative by David Knox, text and positive by Alexander Gardner.
This photograph represents one of the forges used by the army at Petersburg, and was taken during the intense heat of a summer day. The trees in the distance are dimly seen through the tremulous air, and the pine twigs droop from the eaves of the but as if a fire had scorched them. The hoofs of the horse are buried in burning dust, and the boots of the men are loaded with powdered earth. By the tall pine in the back-ground, a little tent seems to be vainly seeking the shadow, while over all glares a hot sky, without a cloud to relieve the weary eyes. The parched ground and arid appearance of the landscape was characteristic of the country about Petersburg, where the constant movements of troops crushed out vegetation. Forests, houses, and fences were swept away, and the fields were transformed into vast commons, where the winds raised clouds of sand, and covered everything with the sacred soil. On these glaring deserts, with no covering but the shelter tent and withered brush, the army toiled and fought through many months, filling the valleys with graves, and sapping the vigor of men in the prime of life. Many are the dead that might now be living but for the poison of those torrid days, and all through the land are feeble veterans, who look back upon that campaign as does the pilgrim on his journeyings across the great Sahara.
Location
Currently not on view
date made
1864-08
maker
Gardner, Alexander
ID Number
1986.0711.0283.27
accession number
1986.0711
catalog number
1986.0711.0283.27
Text and photograph from Gardner's Photographic Sketchbook of the War, Vol. II. Negative by Timothy H.
Description
Text and photograph from Gardner's Photographic Sketchbook of the War, Vol. II. Negative by Timothy H. O'Sullivan, text and positive by Alexander Gardner.
In such rude manner did the lusty artificers of the corps carry on their needful trades, doing much good work under the scorching rays of the southern sun. At one time the majority of these hardy workmen were detailed from the ranks, with extra pay and allowances, but when every soldier was needed behind his musket, skilled men were hired for such duty, and some of the soldiers ordered back to their regiments. On the right of the view is the stocks, a neat contrivance, to facilitate the shoeing of mules, an operation which those self-willed animals had a decided objection to undergo. Time being precious, the farriers could not be expected to waste much in the exercise of their persuasive abilities. The refractory mule was led into the stocks, often by the seductive display of a peck of oats, suddenly to find himself suspended in air upon a huge belly-band. Four stout fellows seizing his feet, fastened them securely with thongs in the required position, and while impotent rage convulsed his frame, rapidly nailed on the shoes, finally releasing the hybrid in a state of wretched uncertainty as to the intents and purposes of his masters.
The tent fly, with its partial walls of loose bricks, covers the forge. Around it are the wheel and harness-makers, evidently resting, with pleasing expectations of forming a prominent feature of the photograph, while the contrabands have assumed positions of determined fixedness, worthy of the occasion.
Location
Currently not on view
date made
1864-02
maker
Gardner, Alexander
ID Number
1986.0711.0283.20
accession number
1986.0711
catalog number
1986.0711.0283.20
This transfer printed creamware pitcher is decorated with a print of the Joiners' Arms on one side and a motif of "Washington's Tomb" on the other.
Description
This transfer printed creamware pitcher is decorated with a print of the Joiners' Arms on one side and a motif of "Washington's Tomb" on the other. The crest of “The Joiner’s Arms” features the motto “Join truth with trust,” a shield, and tools of the joiner’s or carpenter’s trade. The motif of Washington’s tomb depicts a monument commemorating Washington’s death surrounded by a chain of states which omits Vermont and Rhode Island, but includes Kentucky. The monument is an obelisk decorated with the All Seeing Eye and the phrase “First in war, first in peace, first in fame, first in virtue.” Various figures are shown mourning at the monument. Under the spout, included in a medallion, is the phrase “May America never want artillery to defend her rights,” a phrase wishing peace upon the new American republic. Below that is the name “Simeon Hall” and a flower. It is currently unclear who Simeon Hall is. George Washington is the most common figure depicted on English creamware pitchers of this period. His death in 1799 led to an outpouring of commemorative products celebrating his life and mourning his death. Robert H. McCauley purchased this pitcher from F.O. Bailey Co. of Portland, ME on May 3, 1939 for $37.50.
This pitcher is part of the McCauley collection of American themed transfer print pottery. There is no mark on the pitcher to tell us who made it, but it is characteristic of wares made in large volume for the American market in both Staffordshire and Liverpool between 1790 and 1820. Pitchers of this shape, with a cream colored glaze over a pale earthenware clay, known as Liverpool type, were the most common vessels to feature transfer prints with subjects commemorating events and significant figures in the early decades of United States’ history. Notwithstanding the tense relationship between Britain and America, Liverpool and Staffordshire printers and potters seized the commercial opportunity offered them in the production of transfer printed earthenwares celebrating the heroes, the military victories, and the virtues of the young republic, and frequently all of these things at once.
Location
Currently not on view
date made
ca 1805
ID Number
CE.63.124
catalog number
63.124
accession number
248881
collector/donor number
351
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
As more American volunteer fire fighting companies began to form during the late 18th century, a need emerged for better organized efforts in combating conflagrations.
Description (Brief)
As more American volunteer fire fighting companies began to form during the late 18th century, a need emerged for better organized efforts in combating conflagrations. Engineers and officers would use “speaking trumpets” to amplify their voices over the noise and commotion of a fire scene to direct the company in effectively fighting the blaze. Two trumpet variants are reflected in the collection: plain and functional “working” trumpets that were actively used at fires, and highly decorated “presentation” trumpets. Presentation trumpets were awarded to firefighters in honor of their service, or between fire companies during visits, competitions, and musters.
This trumpet was presented to John M. Nesbitt of the Hibernia Fire Company by the Insurance Company of North America. The trumpet has decorative bands around the bell’s rim and the upper and lower portion of the trumpet. The bell also features a decorative band with a floral motif. The middle portion of the trumpet has an oval inset featuring high relief of a helmed Greek figure shown in profile view. There is a winged horse on the figure’s helmet and the oval inset is surrounded by decorative floral engravings. The other side of the trumpet has a diamond-shaped silver inlay with an inscription that reads “Presented by the Insurance Company of North America to John M. Nesbitt Esqr. of Hibernia Fire Company, Philadelphia.” A brown braided cord is attached to the trumpet by rings that are held by eagles’ beaks. John Maxwell Nesbitt was the first President of the board of directors for the Insurance Company of North America in 1792, as well as a member of the Hibernia Fire Company.
Location
Currently not on view
date made
ca 1800
maker
unknown
ID Number
2005.0233.0826
accession number
2005.0233
catalog number
2005.0233.0826
Japanese plantation workers used this knife to harvest sugarcane on Hawai`i. The cane sugar industry, which dominated Hawaii's economy from the 1850s to the 1950s, recruited thousands of contract laborers from Japan.
Description
Japanese plantation workers used this knife to harvest sugarcane on Hawai`i. The cane sugar industry, which dominated Hawaii's economy from the 1850s to the 1950s, recruited thousands of contract laborers from Japan.
date made
1800s
about 1930
ID Number
2005.0132.12
accession number
2005.0132
catalog number
2005.0132.12
In the early nineteenth century, lighthouses in the United States were considered inferior to those in France and England.
Description
In the early nineteenth century, lighthouses in the United States were considered inferior to those in France and England. American mariners complained about the quality of the light emanating from local lighthouse towers, arguing that European lighthouses were more effective at shining bright beams of light over long distances. While American lighthouses relied on lamps and mirrors to direct mariners, European lighthouses were equipped with compact lenses that could shine for miles.
In 1822, French scientist Augustin-Jean Fresnel was studying optics and light waves. He discovered that by arranging a series of lenses and prisms into the shape of a beehive, the strength of lighthouse beams could be improved. His lens—known as the Fresnel lens—diffused light into beams that could be visible for miles. Fresnel designed his lenses in several different sizes, or orders. The first order lens, meant for use in coastal lighthouses, was the largest and the strongest lens. The sixth order lens was the smallest, designed for use in small harbors and ports.
By the 1860s, all of the lighthouses in the United States were fitted with Fresnel lenses. This lens came from a lighthouse on Bolivar Point, near Galveston, Texas. Galveston was the largest and busiest port in nineteenth-century Texas. Having a lighthouse here was imperative – the mouth of the bay provided entry to Houston and Texas City, as well as inland waterways. The Bolivar Point Light Station had second and third order Fresnel lenses over the years; this third order lens was installed in 1907. Its light could be seen from 17 miles away.
On 16-17 August 1915, a severe hurricane hit Galveston. As the storm grew worse, fifty to sixty people took refuge in the Bolivar Point Light Station. Around 9:15 PM, the light’s turning mechanism broke, forcing assistant lighthouse keeper J.B. Brooks to turn the Fresnel lens by hand. By 10 PM, the vibrations from the hurricane were so violent that Brooks began to worry the lens might shatter. He ceased turning the lens, trimmed the lamp wicks and worked to maintain a steady light through the night. The next morning, Brooks left the lighthouse to find Bolivar Point nearly swept away by the water.
Bolivar Point Light Station used this Fresnel lens until 1933. It was donated to the Smithsonian Institution by the National Park Service.
date made
1822
late 1800s
all United States lighthouses outfitted with Fresnel lenses
1860s
lens used during a severe hurricane at Bolivar Point
1917-08-16 - 1917-08-17
donated to Smithsonian
1933
inventor
Fresnel, Augustin Jean
ID Number
TR.335567
catalog number
335567
accession number
1977.0626
The capstan, most commonly found on the decks of early steamboats, was used as a vertical winch for raising or lowering anchors, hoisting sails and cargo, hauling heavy lines, or other jobs where individual manpower was not enough.It was operated manually, by putting timbers into
Description
The capstan, most commonly found on the decks of early steamboats, was used as a vertical winch for raising or lowering anchors, hoisting sails and cargo, hauling heavy lines, or other jobs where individual manpower was not enough.
It was operated manually, by putting timbers into the holes and using the resulting leverage to wind a line wrapped around the center of the device more easily. Sea chanties, or rhythmic songs, were often employed by ship crews to ensure that everyone hauled at the same time. Later in the 19th century, steam capstans and donkey engines replaced human muscle on the larger vessels.
date made
mid-1800s
ID Number
1984.0359.02
accession number
1984.0359
catalog number
1984.0359.02
This long-handled, iron basket, called a torch or fire basket, was used to help 19th century river pilots navigate in shallow waters at night.
Description
This long-handled, iron basket, called a torch or fire basket, was used to help 19th century river pilots navigate in shallow waters at night. Filled with burning fuel and suspended off the side of a steamboat, the torch basket illuminated the shoreline, as well as snags or debris in the water that could damage the vessel. Steamboat crew also used torch baskets for lighting up the ship’s deck, the landing, or a levee during deliveries of cargo after dark.
Although the torch basket was invaluable for steamboats operating at night, the device sometimes proved disastrous. Typically the fuel consisted of oil-soaked scraps and "lightwood" or Southern pine covered in resinous sap, which could easily send off sparks. So as not to obstruct the light, these buckets of flames rarely had any sort of protective covering. But because steamboats were often loaded with highly flammable cargoes, such as cotton and lumber, it is not surprising that one stray spark could destroy an entire vessel. That may have been the fate for this torch basket, which was found by a net fisherman near Clinton, Iowa. It was pulled up from 30 feet of water in the Mississippi River.
By the early 20th century, torch baskets were becoming obsolete, replaced by electric lamps and incandescent light bulbs used to illuminate steamboats as well as the landings they served. Although the phasing-out of the torch basket lowered the risk of steamboat fires, some steamboat enthusiasts lamented the lost romance of waterways flickering with flame.
Date made
19th century
date made
1800s
date found
1950s
ID Number
TR.335674
catalog number
335674
accession number
1978.0367
This large panbone, or section of the back of a sperm whale’s jaw, served as the canvas for a whaleman’s freehand drawing on two levels. In the center of the upper level is a three-masted whaleship with painted gun ports along its sides.
Description
This large panbone, or section of the back of a sperm whale’s jaw, served as the canvas for a whaleman’s freehand drawing on two levels. In the center of the upper level is a three-masted whaleship with painted gun ports along its sides. Merchant vessels often did this, to look like powerful warships from a distance and thus protect themselves from pirates or other predators. The ship’s vertical whaleboat davits are empty, and the ship is sailing towards its little fleet of four whaleboats in various stages of harpooning a pod of five whales. Four of the whales are ‘blowing,’ or exhaling through the blowholes on top of their heads. One of the whales already has two harpoons sticking out of its back and is towing a whaleboat on a ‘Nantucket sleigh ride.' Behind the ship on the left is an old-fashioned two-masted topsail schooner sailing in the opposite direction. The sea in the foreground is calm, and the scene is placed against a shoreline of low, rolling hills. Below is another pair of sailing ships: a two-masted square-rigged brig follows a brigantine with a square-rigged foremast and a fore-and-aft main. Although engraved by the same very talented artist, the two levels of illustrations do not appear to be related. Judging from the extremely detailed and technical rigs and sails of all the ships, the scrimshaw artist may have been a sailmaker or rigger.
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.
date made
mid 1800s
1840 - 1860
ID Number
DL.057605B
catalog number
57605B
accession number
2009.0206
As more American volunteer fire fighting companies began to form during the late 18th century, a need emerged for better organized efforts in combating conflagrations.
Description (Brief)
As more American volunteer fire fighting companies began to form during the late 18th century, a need emerged for better organized efforts in combating conflagrations. Engineers and officers would use “speaking trumpets” to amplify their voices over the noise and commotion of a fire scene to direct the company in effectively fighting the blaze. Two trumpet variants are reflected in the collection: plain and functional “working” trumpets that were actively used at fires, and highly decorated “presentation” trumpets. Presentation trumpets were awarded to firefighters in honor of their service, or between fire companies during visits, competitions, and musters.
This tin work trumpet was made around 1800. The metal trumpet is painted yellow, but the paint has chipped and flaked in many places. Two small rings on the top and bottom of the shaft would have been used to attach a cord to the trumpet.
Location
Currently not on view
date made
1800
maker
unknown
ID Number
2005.0233.0878
accession number
2005.0233
catalog number
2005.0233.0878
“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
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
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
The absence of much pinpricking in this elaborate panbone picture indicates a highly skilled scrimshaw artist who was able to sketch the fantastic port scene freehand.
Description
The absence of much pinpricking in this elaborate panbone picture indicates a highly skilled scrimshaw artist who was able to sketch the fantastic port scene freehand. The presence of palm trees indicates a warm climate, dominated by naval warships in a fortified harbor with its own lighthouse. Military camps dominate the land, and a smaller factory or mill town on the bottom of the scene is defended by a partial stockade.
The artist has left no clues for the specific location of this beautifully detailed landscape, although the palm trees suggest somewhere in the vicinity of the equator.
date made
19th century
1800s
ID Number
DL.374479
catalog number
374479
accession number
136263
All the hand tools were found in the engine and boiler space below decks in Indiana’s hold, indicating that they were used for the machinery. The crew used the shovel to add coal to the fires.
Description
All the hand tools were found in the engine and boiler space below decks in Indiana’s hold, indicating that they were used for the machinery. The crew used the shovel to add coal to the fires.
date made
mid-1800s
when the Indiana was found
1972
ID Number
1979.1030.59
accession number
1979.1030
catalog number
1979.1030.59
In the later 19th century, guns with explosive charges shooting the harpoons took the place of hand tools for catching and killing whales. They were much safer, for they could be shot at a whale from greater distances than a hand lance could be applied.
Description
In the later 19th century, guns with explosive charges shooting the harpoons took the place of hand tools for catching and killing whales. They were much safer, for they could be shot at a whale from greater distances than a hand lance could be applied. They also penetrated the whale’s skin deeper and were harder for the animal to dislodge.
Gun harpoons were also far more efficient, for the steam whalers could approach the prey directly and did not need labor-intensive whaleboats and their highly trained crews any longer.
Designed to be fired from a shoulder gun, this nonexplosive style of harpoon was invented by Oliver Allen of Norwich, Conn. to fasten to whales prior to killing.
date made
mid-1800s
harpoons replaced hand tools
late 19th century
patentee
Allen, Oliver
inventor
Allen, Oliver
ID Number
AG.056230
catalog number
056230
accession number
012333
patent number
5949
Once a whale was killed and its blubber was cut up and hauled aboard the ship for processing, the chunks of flesh were moved around the slippery vessel with long-handled, two-tined blubber forks.
Description
Once a whale was killed and its blubber was cut up and hauled aboard the ship for processing, the chunks of flesh were moved around the slippery vessel with long-handled, two-tined blubber forks. These forks were used to pitch the pieces of minced blubber into the hot try-pots to boil it down into oil. The long handles prevented sore backs from too much bending over and protected the men from getting too close to the boiling oil.
date made
mid-1800s
ID Number
AG.055818
catalog number
055818
accession number
012285
After a whale was captured, killed, and brought alongside the mother ship, its carcass had to be processed. First, a heavy hook was set into its skin and the hook’s line was taken aboard.
Description
After a whale was captured, killed, and brought alongside the mother ship, its carcass had to be processed. First, a heavy hook was set into its skin and the hook’s line was taken aboard. Set on a long wooden handle, the cutting spade was used to cut “blanket pieces,” or long, thick, wide slices of skin and blubber from the body. The whale’s flesh was then hauled aboard for further processing. This example is marked “J.D. Cast Steel.”
date made
mid-1800s
ID Number
AG.237778
catalog number
237778
accession number
045474
Gambling usually was banned aboard whaling ships, on the grounds that it could cause too much strife among the crew.
Description
Gambling usually was banned aboard whaling ships, on the grounds that it could cause too much strife among the crew. But “bones” or dice were easily concealed from a ship’s officers, and crews found out-of-the-way places to spend their free time wagering their earnings, tobacco, or other assets.
date made
1800s
ID Number
AG.024849.1
accession number
1875.4423
catalog number
24849.1

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