This engraved wood block was used to print an image in the publication "Narrative of the U.S. Exploring Expedition, During the Years 1838, 1839, 1840, 1841, 1842," 1844, Volume 5, page 48. The image was drawn by A. T. Agate. It was engraved by R. S. Gilbert, and originally printed by C. Sherman of Philadelphia in 1844.
Description
Reuben S. Gilbert (about 1815–about 1850) engraved this printing block after a drawing, Drummond's Islander, from the Kingsmill Island group by Expedition Artist Alfred T. Agate. The wood engraving illustration was published on page 45 of Volume V of the U.S. Exploring Expedition Narrative by Charles Wilkes, 1844.
This engraved wood block was used to print an image in the publication "Narrative of the U.S. Exploring Expedition, During the Years 1838, 1839, 1840, 1841, 1842," 1844, Volume 1 (page 334 of the Lea & Blanchard stereotyped copy). The image was drawn by Joseph Drayton, and drawn on wood by John H. Manning. It was engraved by O'Brien, and originally printed by C. Sherman of Philadelphia in 1844.
Description
Robert O'Brien engraved this printing block after a drawing, Natives of Wytoohee, by Expedition Artist Joseph Drayton. Wytoohee is part of the Tuamotu Archipelago of French Polynesia. The wood engraving illustration was published on page 334 of Volume I of the U.S. Exploring Expedition Narrative by Charles Wilkes, 1844.
This engraved wood block was used to print an image in the publication "Narrative of the U.S. Exploring Expedition, During the Years 1838, 1839, 1840, 1841, 1842," 1844, Volume 3, page 111. The image was drawn by A. T. Agate. It was engraved by J.J. Butler, and originally printed by C. Sherman of Philadelphia in 1844.
Description
Joline J. Butler (about 1815–1846, working in New York City between 1841 and 1845) engraved this printing block after the drawing Cannibal Cooking-Pots from the Feejee (Fiji) group cultures by Expedition Artist Alfred T. Agate. The wood engraving illustration was published on page 111 of Volume III of the U.S. Exploring Expedition Narrative by Charles Wilkes, 1844.
U. S. Army Engineer Division, North Central Corps of Engineers
ID Number
2006.0103.03
accession number
2006.0103
catalog number
2006.0103.03
Description
This book of navigation charts for the Upper Mississippi River was published in 1972 by the U.S. Army Engineer Division, North Central Corps of Engineers, in Chicago. It was owned and used by Capt. Jack Libbey, a river pilot from Lansing, Iowa, who steered tows on the Mississippi for over 25 years. He piloted many types of tows, but among the largest he handled on a routine basis were those made up of 15 barges, each measuring 200’ long, 35’ wide, and carrying about 1600 tons of cargo. Overall, these tows measured 1200’ long and 105’ wide, and took a great deal of skill and knowledge to pilot safely.
The chart book reflects Libbey’s working knowledge of the Mississippi River, still the nation’s major conduit for transporting grain and other bulk commodities. To become a pilot, Libbey was trained, tested, and licensed by the U.S. Coast Guard. But like virtually all river pilots (including Mark Twain in the 1850s), he learned the ways of the river and the skills of the pilot from his elders and from experience.
That experience is revealed on these worn and weathered charts. Virtually every page has Libbey’s own markings and notations. In bold, red ink, he meticulously printed the names of major aids to navigation on both sides of the river, as well as the distance in miles from each marker to Cairo Point, the confluence of the Ohio and the Mississippi Rivers. Libbey’s handwriting stands out from the official markings and mapmakers’ symbols, and suggests the complex history of life along the river. Names like Winnebago, Muscatine, Maquoketa Levee, Zollicoffer, Pomme de Terre, and Wabasha reflect the region’s many cultural layers.
Captain Libbey also made navigational notes on the pages as a way of reminding himself to take special care in tricky situations. Steering under bridges in the shallow waters separating Iowa and Illinois inspired a number of notes, such as this one from December 10, 1975, concerning the Atchison, Topeka and Santa Fe Railway and Highway Bridge near Fort Madison, Iowa: “SB [Steering bridge] Keep stern on light and head on tank. When pilot house passes black bouy [sic] bring jackstaff around to 3rd pier out from channel span. Hold until red bouy below bridge opens up ½ way. Keep jackstaff on red bouy and stern 100 yds over from first Miss stacks. Slow ahead until lined up.”
Captain Libbey discussed being a pilot in an interview for the Smithsonian’s Festival of American Folklife in 1996. He said, “ . . . you’re moving at a pretty good clip, you have all this momentum, and you can’t just steer it on a dime. And what we do, we send the deckhands out to talk us through the bridge . . . . That’s why you have marks also, so you know, you can kind of double check what they’re saying to you. Very, very important. And that’s what makes a good pilot . . . is being able to get through the bridges.”
This handmade object—a carved likeness of a miniature cod fish lying in a wooden coffin—was made by fisherman Dan Murphy of Dunville, Newfoundland. Made in response to Canada’s moratorium on cod fishing, Murphy sold these items at local flea markets and from his home. This folk art cod-in-a-coffin, carved from wood and lined with fabric, represents the death of many Newfoundlanders’ livelihood. The fishing ban was declared on July 2, 1992, in an attempt to replenish the distressed levels of North Atlantic cod. Since then, over 40,000 fishers and workers at processing plants in Canada have lost their jobs.
The Canadian province of Newfoundland, like coastal New England in the United States, has a long history of cod fishing. When John Cabot first explored the region in 1497, he reported that cod off the rocky coast of Newfoundland were so plentiful that his crew could scoop up loads of the fish in buckets. Exploration and settlement of the area followed, and, over the course of the next four centuries, the North Atlantic fisheries became major industries that supported a significant number of families and communities in Atlantic Canada and along the New England coast.
In the 20th century, as new technology increased the efficiency of harvesting, the population of cod and other species in the North Atlantic began to decline. Before the 1960s, around 150,000 to 300,000 tons of cod were caught each year. But with the rise of diesel-powered factory trawlers, millions more fish could be hauled in and trawlers from all over the world converged in the productive waters of the North Atlantic. In 1977 foreign trawlers were banned, opening the door for the expansion of Canadian and American fishing fleets. But within a generation, the stocks of cod were depleted to the brink of collapse. The Canadian government reacted by banning cod fishing. The moratorium was extended indefinitely in 1993, giving jobless fishers little hope for a return to their way of life. According to a 2007 study, the North Atlantic cod population was estimated to be at one percent of its 1977 numbers.
This engraved wood block was used to print an image in the publication "Narrative of the U.S. Exploring Expedition, During the Years 1838, 1839, 1840, 1841, 1842," 1844, Volume 2, page 196. The image was drawn by A. T. Agate. It was engraved by R. H. Pease, and originally printed by C. Sherman of Philadelphia in 1844.
Description
Richard H. Pease (1813–1869) engraved this printing block after a drawing, Native of Australia, by Expedition Artist Alfred T. Agate. The wood engraving illustration was published on page 196 of Volume II of the U.S. Exploring Expedition Narrative by Charles Wilkes, 1844.
This engraved wood block was used to print an image in the publication "Narrative of the U.S. Exploring Expedition, During the Years 1838, 1839, 1840, 1841, 1842," 1844, Volume 2, page 126. The image was drawn by T. R. Peale. It was engraved by J. J. Butler, and originally printed by C. Sherman of Philadelphia in 1844.
Description
Joline J. Butler (about 1815–1846, working in New York City between 1841 and 1845) engraved this printing block after a drawing, Ohwa Tree, from the Samoan Group islands, by Expedition Naturalist Titian Ramsey Peale. The wood engraving illustration was published on page 126 of Volume II of the U.S. Exploring Expedition Narrative by Charles Wilkes, 1844.
As Hurricane Katrina approached in August 2005, over 80 percent of the residents of New Orleans fled the city during the mandatory evacuation. Thousands of residents, however, could not or would not leave.
Joseph H. Brightly (about 1818–about 1858) of Philadelphia and New York City engraved this printing block after the drawing Kasanji, a native of Kasanji, by Expedition Artist Alfred T. Agate. The wood engraving illustration was published on page 63 of Volume I of the U.S. Exploring Expedition Narrative by Charles Wilkes, 1844.
Each February since 1998, poets, musicians, and tellers of tall tales descend upon Astoria, Oregon, for the Fisher Poets Gathering, a weekend filled with stories, songs, camaraderie, and reverence for the fishing way of life. Inspired by the National Cowboy Poetry Festival in Elko, Nevada, a group of poets and teachers, all tied in some way to the commercial fishing industry, founded the event. The gathering has grown every year, attracting fisher poets from California to Cape Cod, and Alaska to Florida. It has also been designated as a Local Legacies Project by the Library of Congress’s American Folklife Center. This flyer is from the 2005 Fisher Poets Gathering, held at the Wet Dog Café and five other venues on or near the Astoria waterfront. The 2005 events featured about 70 people who performed readings or music, displayed artwork, and conducted workshops. The event drew over 700 people.
People have created stories, songs, and poems about their working lives for millennia, and American folklore is awash in tales of people working the water. Fishermen’s narratives often reveal a profound sensory awareness, reflecting their close relationship with the natural world. Likewise, the inherent dangers of fishing typically inspire stories and poems featuring strong spiritual elements. Although the aesthetic and spiritual sophistication of fishermen’s narratives often come as a surprise to outsiders, they are celebrated during performances at the Fisher Poets Gathering.
Astoria, established near the mouth of the Columbia River, was the hub of commercial salmon fishing in the 19th and early 20th centuries. With thousands of resident fishermen and scores of canneries lining the river, the town’s identity was wrapped up in the salmon industry. As salmon populations in the river declined, many in the industry relocated, at least seasonally, to Alaska. The Fisher Poets Gathering honors the history of Pacific Coast fishing, as well as the men and women who still live the fishing life. With odes to herring scales, dirges about those lost at sea, and tales of fishers remarkably attuned to nature, the tradition of fisher poets continues to thrive in Astoria.
Joseph H. Brightly (about 1818–about 1858) of Philadelphia and New York City engraved this printing block after a drawing of a Portugese Madeira Boat by expedition artist Joseph Drayton. The wood engraving illustration was published on page 26 of Volume I of the U.S. Exploring Expedition Narrative by Charles Wilkes, 1844.
American Folklife Center designated the Fisher Poets Gathering as a Local Legacies Project
Library of Congress
ID Number
2005.0149.03
catalog number
2005.0149.03
accession number
2005.0149
Description
Each February since 1998, poets, musicians, and tellers of tall tales descend upon Astoria, Oregon, for the Fisher Poets Gathering, a weekend filled with stories, songs, camaraderie, and reverence for the fishing way of life. Inspired by the National Cowboy Poetry Festival in Elko, Nevada, a group of poets and teachers, all tied in some way to the commercial fishing industry, founded the event. The gathering has grown every year, attracting fisher poets from California to Cape Cod, and Alaska to Florida. It has also been designated as a Local Legacies Project by the Library of Congress’s American Folklife Center. This button is from the 2005 Fisher Poets Gathering, held at the Wet Dog Café on the Astoria waterfront.
People have created stories, songs, and poems about their working lives for millennia, and American folklore is awash in tales of people working the water. Fishermen’s narratives often reveal a profound sensory awareness, reflecting their close relationship with the natural world. Likewise, the inherent dangers of fishing typically inspire stories and poems featuring strong spiritual elements. Although the aesthetic and spiritual sophistication of fishermen’s narratives often come as a surprise to outsiders, they are celebrated during performances at the Fisher Poets Gathering.
Astoria, established near the mouth of the Columbia River, was the hub of commercial salmon fishing in the 19th and early 20th centuries. With thousands of resident fishermen and scores of canneries lining the river, the town’s identity was wrapped up in the salmon industry. As salmon populations in the river declined, many in the industry relocated, at least seasonally, to Alaska. The Fisher Poets Gathering honors the history of Pacific Coast fishing, as well as the men and women who still live the fishing life. With odes to herring scales, dirges about those lost at sea, and tales of fishers remarkably attuned to nature, the tradition of fisher poets continues to thrive in Astoria.
This engraved printing plate was prepared to print an image showing three species of shark in the never published Volume 21-22, Ichthyology, part of the series of publications the "United States Exploring Expedition, During the Years 1838, 1839, 1840, 1841, 1842." The plate images were engraved by W. H. Dougal after Joseph Drayton.
Description
William H. Dougal (1822–1895) of New York and Washington, D.C., (after 1844) engraved this copper printing plate depicting three species of shark documented by the U.S. Exploring Expedition. The engraved illustrations were to be published in volumes XXII and XXIII, Ichthyology, by Louis Agassiz. Dougal engraved 26 of the 28 plates for this volume which was never printed.
This engraved printing plate was prepared to print an image of "Scolopax meridionalis, Zapornia umbrina" (now Galinago shicklandii - Cordilleran snipe and Porzana porzana - Spotted Crake) for the publication "United States Exploring Expedition, During the Years 1838, 1839, 1840, 1841, 1842," Volume 8, Mammalogy and Ornithology, plate 35, in the edition Philadelphia : J. B. Lippincott & Co., 1858. The engraving was produced by W. H. Dougal after W. E. Hitchcock.
Description
William H. Dougal (1822–1895) of New York and Washington, D.C. (after 1844) engraved this copper printing plate after drawings by William E. Hitchcock. The image depicts the Scolopax meridionalis (now Galinago shicklandii, or Cordilleran snipe) and Zapornia umbrina (now Porzana porzana, or Spotted Crake). The engraved illustration was published as Plate 35 in Volume VIII, Mammalogy and Ornithology, by John Cassin, 1858.
Joseph H. Brightly (about 1818–about 1858) of Philadelphia and New York City engraved this printing block after a drawing of Patagonians by Expedition Artist Alfred T. Agate. The wood engraving illustration was published on page 118 of Volume I of the U.S. Exploring Expedition Narrative by Charles Wilkes, 1844.
Cod liver oil was used in northern European fishing communities for centuries as a remedy for ill health, before it became recognized by the medical establishment. Its popularity spread quickly in the United States after Edinburgh physician John Hughes Bennett published the first English-language treatise on cod liver oil in 1841. The oil was used to treat “wasting diseases” such as consumption (tuberculosis), and as a remedy for rickets. By the mid-19th century, the New England coast was producing 24, 000 gallons of the oil annually.
Yet despite its acknowledged medicinal value, the problem with cod liver oil remained its vile, nauseating, oily taste. To mask the taste, the oil was given in coffee, milk, or brandy, or taken with a pinch of salt, smoked herring, or tomato catsup. Pharmaceutical manufacturers created emulsions, made by mixing the oil with an emulsifying agent such as powdered acacia, water, sugar, and flavoring.
This bottle of cod liver oil emulsion was made around 1910 by the Whitman Chemical Company of Boston. The label states that it is one-third cod liver oil and 7% alcohol. It also contains hypophosphites, compounds of phosphorous, which were also thought to be effective in treating tuberculosis. At the time this bottle was manufactured, the value of cod liver oil as a medicine was questioned by many doctors. However, it remained popular as a general tonic and nutritive supplement, especially for children.
The use of cod liver oil would change dramatically after the discovery of vitamins and the role they play in promoting healthy growth and preventing diseases such as rickets (caused by a deficiency of Vitamin D). Cod liver oil is one of the best natural sources of vitamins A and D.
The most dangerous part of a dangerous job was working in the actual whaleboat, first chasing and then capturing and killing the prey.
This picture is a copy or an overpainted example of a famous print first issued in 1835, believed to be the first indigenous American whaling print. It is derived from a sketch by whaleman Cornelius Hulsart, who lost an arm on the whaler Superior and subsequently became an artist.
The original print was one of a pair produced to raise money for Hulsart, and it was dedicated to Superior's owners N. & W.W. Billings of New London, Connecticut. It is a fairly accurate portrayal of the danger in approaching and killing a wounded, enraged whale. As shown by the red, bloody whale spout, the whalers have struck the prey’s lungs or arteries, but the animal was still strong enough to break a boat in half and flip a crewman into the water.