Transportation - Overview
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.
"Transportation - Overview" showing 23 items.
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Oil Painting, Black Ball Packet Ship Isaac Webb
- Description
- Operating out of New York, the Black Ball Line pioneered scheduled packet ship service to Liverpool, England in 1818, and the firm continued operating until it was dissolved in 1879. Its success resulted from focusing on the lucrative passenger trade, at a time when immigration to the United States was at its highest level.
- In 1851, the massive three-deck packet Isaac Webb was the seventh and last Black Baller launched from the shipyard of famous New York shipbuilder William H. Webb, who also owned a 1/16 share of the ship. Named after the builder’s father, the Isaac Webb measured 185 feet in length and 1,359 tons. It made about four round trips per year between New York and Liverpool, England from 1851–1879. The average length of a passage was 37 days, with the shortest voyage recorded as 25 days.
- In June 1863, while westbound from Liverpool to New York with 658 passengers, the Isaac Webb was captured by the Confederate commerce raider Florida. A bond for a $40,000 ransom freed the ship to complete the passage. In late December 1866, while westbound for New York, the Webb encountered a gale so cold that it killed three crew, and several others were badly frostbitten. On the same passage nearly two years later, another powerful gale killed the captain.
- The Isaac Webb continued to sail after the Black Ball Line closed. In late October 1880, while bound from Europe to New York, it was abandoned at sea by its crew of 24, who were rescued by a passing steamship bound for Boston. British marine painter Samuel Walters completed this oil painting around 1851, when the ship was new.
- Date made
- 1851
- ship was launched
- 1851
- ship made transatlantic voyages from New York and Liverpool
- 1851-1880
- ship was abandoned
- 1880-10
- shipping firm
- Black Ball Line
- shipbuilder
- Webb, William H.
- ship's namesake
- Webb, Isaac
- maker
- Walters, Samuel
- ID Number
- TR*317527
- catalog number
- 317527
- accession number
- 229943
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Skylight and Plaster Panels from RMS Majestic
- Description
- Built in 1890 by Belfast shipbuilders Harland & Wolff, the RMS Majestic was designed for luxury ocean travel. Like its sister ship, the RMS Teutonic, which was launched the previous year, the Majestic was built for the White Star Line’s service between Liverpool and New York.
- The interior of the Majestic was opulent. Staterooms featured colored glass screens over the ports, while the smoking room walls were embossed with gilded leather and mahogany panels. Skylights, or lanterns, were installed in the ship’s dining rooms and other common areas. The lantern domes were designed to allow natural light to filter into the Majestic’s interior spaces.
- The lantern in the Majestic's first class dining saloon was designed by British architect George Thomas Robinson. It was made up of 56 individual pieces, including eight plaster friezes, leaded stained glass and wood paneling. The plaster friezes depicted the “shipbuilder’s art from the early days of the Spanish Armada to the Battle of Trafalgar.”
- When the Majestic was broken up in 1914, parts of the first class dining saloon lantern were sold to a ship salvage company, including the plaster panels. Several of these were paired with a smaller lantern from the ship and installed in the executive board room of Thomas W. Ward Ltd., in Sheffield, England. In the early 1970s, the director of the company donated this lantern and the plaster panels from the Majestic to the Smithsonian. He pointed out that the lantern had been saved three times, once when the ship was broken up and twice during the world wars of the twentieth century. He thought it fitting to donate this survivor to the United States “in memory of the many very gallant merchant seamen . . . who served in the Atlantic during the two World Wars.”
- date made
- 1890
- ship was broken up
- 1914
- lantern and panels were donated to the Smithsonian
- 1970s
- architect
- Robinson, George Thomas
- ID Number
- TR*336295
- accession number
- 1978.0206
- catalog number
- 336295
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Painting from the Duck Suite, SS United States
- Description
- This painting was part of the Duck Suite, the first-class luxury accommodations that included three upper-deck cabins aboard the ocean liner SS United States. The mural, which was designed by Constance Smith, decorated a wall of the suite’s sitting room. The scene of water birds is rendered in paint and gold leaf on aluminum panels and is the inspiration for the Duck Suite’s name. Renowned as the most luxurious of the 14 first-class suites on the ship, these rooms were typically chosen by the United States’ most well-to-do passengers, from movie stars to British royalty. The Duke and Duchess of Windsor, regular passengers on the rival ship Queen Mary, switched their loyalties to the United States during the mid-1950s and booked the Duck Suite, which was their favorite lodging at sea for a time.
- Like everything on this flagship of the United States Line, the mural had to be crafted out of flame-resistant metal. The ship was filled with aluminum, selected by the ship’s architect, William Francis Gibbs, who designed the vessel to be as fireproof as possible. And though the massive amounts of aluminum did make the United States one of the safest ships ever launched, the metallic, modern décor also gave it a special feel unlike any other ocean liner. Most liners were decorated with opulent wood carvings and even had working fireplaces to make passengers feel as if they were sitting in their own living room or library. However, Gibbs put aside this notion of Victorian comfort with his new interior decorating style. The United States was the epitome of 1950s and 60s design: sleek, modern, and practical.
- Date made
- 1950s
- designer
- Smith, Constance
- SS United States' ship architect
- Gibbs, William Francis
- passenger on SS United States
- Simpson, Wallis
- Edward Duke of Windsor
- maker
- Smith, Constance
- ID Number
- TR*336767.017
- catalog number
- 336767.017
- accession number
- 1978.2219
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Ship’s Speaking Trumpet, Bark Laura
- Description
- The sidewheel steamer George Law was built in 1852/53 at New York by William H. Webb for the United States Mail Steamship Company. Named after the company president, the Law measured 278 ft. long and 2,141 tons. It was built to sail the New York-Panama route for the California gold rush. In 43 round trips between 1852 and 1857, the ship carried as much as a third of all the gold found in California. In 1857, the ship went aground and returned to the Webb yard for a major overhaul. The Law's name was changed to Central America during the rebuilding, possibly to reflect its most common route and because its namesake had sold his interest in the company.
- On September 3, 1857, the Central America left Panama for New York City with nearly 600 passengers and crew, as well as thousands of new $20 Double Eagle gold coins produced at the San Francisco mint. Nine days later, the vessel sank in a hurricane off Cape Hatteras, North Carolina, in the deadliest peacetime shipwreck in American history. Four hundred twenty-five people perished in the wreck, and tons of California gold went to the bottom. The wreck horrified and fascinated the American public and helped fuel a financial crisis known as the Panic of 1857. Without the Central America’s gold, several New York banks were unable to pay their creditors.
- In 1858, President James Buchanan gave this ornamental silver speaking trumpet to the captain of the German bark Laura for bringing the Central America’s final three survivors to New York. Actually, the British brig Mary had rescued the men after nine horrific days on the open sea. However, the Mary was bound for Ireland, so it transferred the survivors to the New York-bound Laura. The inscription reads:
- “The President of the United States to Capt. Martin Brinckmann of the Bremen Bark Laura for his humane zealous and successful efforts in rescuing one of the Passengers and two of the Crew of the Steamer Central America from the perils of the Sea. 1858”
- Date made
- 1858
- ID Number
- 1980.0464.01
- catalog number
- 1980.0464.01
- 80.0464.01
- accession number
- 1980.0464
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Oil Painting, The Privateer Brig Warrior Capturing The Schooner Hope
- 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
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Oil Painting, The Queen of the Ocean Going to the Rescue of the Ocean Monarch
- Description
- The Ocean Monarch was one of nine large packet ships built by the famous shipbuilder Donald McKay in Boston for Enoch Train’s White Diamond Line of Boston-Liverpool vessels. The Monarch measured 179 feet in length and 1,301 tons and was launched in July 1847. On August 24, 1848 the vessel cleared Liverpool for Boston with 396 passengers, including 322 Irish emigrants. Just a few hours later a few miles off the coast of Wales, a fire around the mainmast was reported, probably started by a passenger smoking. The Monarch stopped and dropped two anchors to gain control of the fire, but it spread too quickly, starting a panic among the passengers.
- Commander Thomas Littledale of the yacht Queen of the Ocean was first on the scene. Returning to Liverpool with a group of friends after the Beaumaris regatta, he managed to rescue 32 people from the burning ship, including Captain Murdoch. Other ships picked up another 188 persons; the ship and 178 passengers were lost when the ship sank at its anchors in 85 feet of water.
- The painting shows the middle stage of the fire, with one mast down and red flames at the stern and amidships. Panicked people are crowded forward of the smoke and flames, overflowing out on the bowsprit and to the very tip of the jib-boom. Some survivors can be seen in the sea clinging to the wreckage of the mizzenmast. To the right is the yacht Queen of the Ocean and a sailboat.
- This painting is believed to have been commissioned by Capt. Littledale to feature his heroic rescue. The Museum owns another Walters painting of the disaster that features another vessel in the foreground, and two other Walters paintings in different collections highlight still other vessels’ rescue of the passengers and crew.
- The dramatic loss of the Ocean Monarch and so many of its passengers so close to shore so soon after departure, as well as its thrilling rescue, touched off an international wave of sympathy and a media storm on both sides of the Atlantic.
- Date made
- 1848
- ship launched
- 1847-06
- ship burned and sank
- 1848-08-24
- shipbuilder
- McKay, Donald
- ship captain and possible patron of painting
- Littledale, Thomas
- ship owners
- Enoch Train's White Diamond Line
- maker
- Walters, Samuel
- ID Number
- 2005.0279.066
- accession number
- 2005.0279
- catalog number
- 2005.0279.066
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Mural Painting, The Currents
- Description
- These ten painted aluminum panels comprised a wall mural aboard the ocean liner SS United States. Called “The Currents,” the mural depicts the Atlantic Ocean with the direction of the ocean’s currents rendered in stylized, dimensional arrows. The continents are applied to the panels in gold leaf, while the ocean is painted in various shades of blue and green. Aboard the ship this mural was located on the starboard side of the first class observation lounge. “The Currents” and a companion mural called “The Winds” were painted by artist Raymond John Wendell.
- Designed by naval architect William Francis Gibbs, the SS United States was created out of an unusually close connection to the federal government. During the Second World War, the U.S. Navy recognized that converted ocean liners were effective transports for conveying troops to far-flung war zones. After the war ended, the government pursued the building of a technologically advanced passenger vessel that could be converted to carry troops in the event of another global conflict. With significant federal funding and support, the SS United States was built and launched in 1952. Although it was never converted for wartime use, many of its design details remained classified into the 1970s.
- One of the most unusual features of the ship was the tremendous amount of aluminum and the lack of wood Gibbs specified for its construction. Determined to build a ship that was not only fast, but ultra-safe, Gibbs was especially concerned with fire prevention after several wartime catastrophes. One that haunted him was the story of the luxury liner RMS Empress of Britain that was attacked by a German bomber while transporting hundreds of soldiers on October 26, 1940. Sixty-four troops were killed in the resulting blaze, which was fueled by the ship’s lavish wood carvings, staircases, and paneled rooms.
- Two thousand tons of aluminum were used in the construction and outfitting of the SS United States, making the ship lighter and more fire-resistant than any vessel afloat. The furniture and artwork, including these panels, were all made of aluminum. Publicists for the ship claimed that the only wood on board was to be found in the galley’s chopping blocks and in the piano. Gibbs even tried to reduce this miniscule amount of wood, but Steinway & Sons allegedly refused to build an aluminum piano. To this day, the SS United States is considered the fastest and one of the safest ships ever put to sea.
- date made
- 1952
- SS United States built and launched
- 1952
- naval architect of SS United States
- Gibbs, William Francis
- painter
- Wendell, Raymond John
- ID Number
- TR*336767.154
- catalog number
- 336767.154
- accession number
- 1978.2219
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Scrimshaw Ivory Whale Stamp
- 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
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Wood and Ivory Parallel Rule
- Description
- Part of the navigator’s tool kit, parallel rules were used to transfer compass points, course lines and other directional information across large charts without change. This large wooden set has a carved ivory whale inlaid into its surface, with a brass tack for the whale’s eye.
- ID Number
- 1978.0052.08
- accession number
- 1978.0052
- catalog number
- 1978.52.31
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Bone Dice
- 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
- Data Source
- National Museum of American History, Kenneth E. Behring Center