Sometime around her 17th birthday, Canadian Bernice Palmer received a Kodak Brownie box camera (No. 2A Model), either for Christmas 1911 or for her birthday on 10 January 1912. In early April, she and her mother boarded the Cunard liner Carpathia in New York, for a Mediterranean cruise. Carpathia had scarcely cleared New York, when it received a distress call from the White Star liner Titanic on 14 April. It raced to the scene of the sinking and managed to rescue over 700 survivors from the icy North Atlantic. With her new camera, Bernice took pictures of the iceberg that sliced open the Titanic’s hull below the waterline and also took snapshots of some of the Titanic survivors. Lacking enough food to feed both the paying passengers and Titanic survivors, the Carpathia turned around and headed back to New York to land the survivors. Unaware of the high value of her pictures, Bernice sold publication rights to Underwood & Underwood for just $10 and a promise to develop, print, and return her pictures after use. In 1986, she donated her camera, the pictures and her remarkable story to the Smithsonian.
When this corset was made in the decade between 1810 and 1820 for an unidentified Indiana woman, it represented the latest evolution of a garment that had been essential women’s wear for centuries. Today, the word corset conjures an image of painful tight-lacing that was endured to produce an unnaturally small waist. However, the woman who wore this garment used it simply to support her chest (the brassiere would not be invented for another century) and to confine her shift, a voluminous knee-length undergarment, so that her high-waisted dress would sit smoothly over her torso and hips. If laced correctly, the wearer would have left a gap of several inches between the back edges of the corset, preventing it from being “tight-laced.”
Even so, this early 19th-century corset was distinctly different from the variations that came before and after it. During the 1700s, women had worn heavily boned, cone-shaped corsets called stays that had flattened their chests and made their torsos triangular. By the middle of the 1800s, the corset was once again heavily reinforced with narrow bones or steels to produce a curvy, hour-glass shape that was round and full both above and below the waist. By contrast, the corset shown here was intended to produce a natural-shaped figure. Hence, it relied mainly on cotton cording rather than bone or steel to coax the wearer’s body into the desired form. The only inflexible part of this corset was a long wooden or bone insert called a busk that slipped into a pocket at the center front and could be removed for washing.
Because of its lack of boning, this type of corset could be sewn at home without great difficulty. However, making a garment that fit was more complicated. The English author of The Workwoman’s Guide, Containing Instructions to the Inexperienced in Cutting Out and Completing those Articles of Wearing Apparel, &c., Which are Usually Made at Home (1840) suggested that “with respect to the cutting out, it is recommended to those who make their own stays, to purchase a pair from an experienced stay-maker that fit perfectly well, and also a pair cut out, but not made up, so as to be a good pattern for the home-made stays.” Sturdy cotton jean or satin were the most commonly used fabrics for corsets in the early 19th century. White was the preferred color, but gray and brown were both thought to be practical for “inferior” corsets.
This tan cotton sateen corset is made to be laced up the back through nine pairs of irregularly placed bone eyelets. The shoulder straps are meant to tie in place at the front of the corset through one bone eyelet at the end of each strap and a corresponding one over each shoulder blade. The original lacing and ties are missing. Two triangular inserts of fabric called gussets provide shape and support for each side of the bust. A decorative three-leafed motif is backstitched at the lower end of each bust gusset. Another matching, inverted trefoil is centered below the bust gussets, rising from the midriff. The upper and lower edges, and the edges of the shoulder straps, are bound with dark tan twill tape.
The only rigid part of this corset would have been a separate smooth strip of wood or bone, just over a foot long and 1.5" wide, called a busk. This would have been inserted through a slotted pocket that is sewn through all layers of fabric onto the white twilled cotton lining, down almost the full length of the center front. The lowest 1.125" of the busk pocket is closed with thirteen closely spaced, vertical rows of quilting. All other shaping is achieved through rows of cording that are run through channels quilted in brown thread through all layers of fabric. Double or triple parallel lines of cording define the high waist, stomach, and hips of the corset. The center front length of the corset body is 14.75"; the center back length of the corset body is 13.875"; the strap length is 7.875"; the edge-to-edge measure at the waist is 20.75".
This dessert plate was used aboard the SS United States, the largest and fastest passenger liner ever built in the United States. Launched in 1952, it was billed as the most modern and luxurious ship in service on the North Atlantic. This plate was one of the 125,000 pieces of chinaware supplied to the ship by the United States Lines. The china—a pattern featuring a ring of gray stars—was produced by Lamberton Sterling, an American manufacturer.
There were plenty of choices for dessert aboard the SS United States. Menus from a December 1954 voyage—the first taken by the Duke and Duchess of Windsor on an American vessel—reveal a combination of American favorites and fancy confections inspired by the French. For dinner on December 10, passengers enjoyed Old Fashioned Strawberry Shortcake, and Peach Melba, as well as Meringue Glace au Chocolat, Frangipan, and Petits Fours. For luncheon the next day, the choices ranged from Green Apple or Blueberry Pie to Biscuit Glace and Chocolate Éclairs.
This champagne glass was among the 57,000 pieces of glassware furnished to the SS United States before its maiden voyage in 1952. Launched in 1952, the “Big U,” as the ship was affectionately called, was 990 feet long, about the length of five city blocks. On its maiden voyage, the ship broke the speed records for crossings in both directions and captured the Blue Riband trophy, an award for the ship making the fastest round trip passage on the North Atlantic. The time set by the United States on the westbound leg from New York to England was 3 days, 12 hours, and 12 minutes, with an average speed of 34.51 knots, a record that remains unbroken.
The SS United States was built in Newport News, Virginia, and was the largest and fastest transatlantic passenger liner ever built in the country. The ship had 695 staterooms located on eight of the liner’s 12 decks. It could accommodate 1,972 passengers in first, cabin, or tourist class. Some 1,011 crew were required to run the ship and serve the passengers.
The sternwheel river steamer Far West was built at Pittsburgh, Pa. in 1870. Measuring 190’ long and 33’ in beam, the West needed only 20” of water to navigate when unloaded. In extreme shallow water, the two tall spars at the front of the boat could be lowered into the river bottom. With the aid of the capstan and engine power, the vessel could be lifted over sandbars or other obstructions, a bit or “hop” at a time. This practice was called “grasshoppering.”
The Far West spent much of its early career chartered to the U. S. Army supplying remote Army outposts in Montana and the Dakota Territory during the Indian campaigns. In June 1876, Capt. Grant Marsh transported Gen. George Custer’s forces to the Little Big Horn. On June 30, the steamer received news of the Indian victory over Custer. It loaded wounded soldiers from another action and travelled 710 miles down the Missouri in only 54 hours to bring the wounded soldiers and the news of Custer’s loss to Fort Lincoln, Dakota Territory. Nine days later, Capt. Marsh and the Far West steamed back to the Little Big Horn with horses and supplies for the soldiers there.
The Far West hit a snag on the Missouri River near St. Charles, Mo., in October 1883 and was lost.
commissioned Victory ships like the ones this model represents
War Shipping Administration
ID Number
TR.313023
catalog number
TR*313023
accession number
170015
Description
By 1943, the outlook for an Allied victory in World War II was steadily improving. The reign of the U-boats that had plagued Allied convoys in the Battle of the Atlantic was coming to an end. And the Axis powers were finally losing the tonnage war, which aimed to sink Allied merchant ships faster than replacements could be built. While the mass-produced Liberty ships were faithfully carrying cargo and troops to war zones, these ships were relatively slow. In response, the War Shipping Administration commissioned a new class of emergency vessels called Victory ships. This model represents one of the 534 Victory ships that were built alongside the Liberty ships in seven shipyards around the country.
Speed was the key difference between the Victory and Liberty ships. When Liberty ships were designed, all of the new steam turbine engines were reserved for naval vessels, leaving the Liberty ships with reciprocating steam engines. While these engines were reliable, the ships could only reach 11 knots, leaving them vulnerable to attack. As the war progressed, more turbine engines became available and were installed in the Victory ships, giving them a speed of over 16 knots.
Another improvement of the Victory design was a stronger and larger hull. This meant that more cargo could be transported at once, and improved the odds of the vessels continuing to serve in the merchant fleet during times of peace. After World War II, 170 Victory ships were sold as commercial freighters. About 20 were loaned back to the military and used in the Korean and Vietnam Wars. Several Victory ships have been preserved as museum ships and are currently located in California and Florida.
The sternwheel steamer Valley Belle was built as a packet boat at Harmar, Ohio, in 1883. It measured 127.4’ long by 22.9’ in beam and a shallow 3.4’ in draft. As a packet delivering people, cargo and the mails, the Belle worked for decades along several rivers from the Ohio to the Kanawha in West Virginia. In 1891, the Belle transported 8,320 tons of cargo and 6,241 passengers along the Ohio River.
In 1917, the Valley Belle was operating along the Ohio River between Marietta and Middleport, Ohio. In March 1919 it was purchased by Billy Bryant of the famous showboating family. Bryant had just built a fancy new showboat and needed a larger towboat than they owned to tow it.
The Belle towed Bryant’s New Showboat for several years down the Kanawha, Ohio, Monongahela, Illinois, and Mississippi Rivers before being replaced by a smaller boat. Competition from movie theaters had shortened the range of the showboats, which were forced to go to ever-smaller and more remote towns for willing audiences. The Belle continued to tow on various rivers until 1943, when it sank in the Ohio River at Kanauga, Oh. Its career as a wooden-hulled river steamer in nearly continuous use for 60 years is unmatched.
This is the original builder’s half hull model of the famous ship Young America, constructed by the renowned shipbuilder William Webb in 1852/53 at his New York shipyard. Measuring 243 feet long on deck and 1,961 tons, the Young America was an extreme clipper, characterized by a sharp bow and long, narrow hull. Constructed lightly for speed and commonly sailing the harsh waters of Cape Horn off the southern tip of South America with crews of up to 100 men, clippers often lasted only about ten years before being sold to foreign owners.
Costing $140,000 to build, the Young America set a number of speed records. It sailed from New York to San Francisco 20 times, averaging 118 days per trip. Its reputation for strength and speed earned high freight rates—its maiden voyage from New York to San Francisco earned $86,400. The clipper traded mainly between Liverpool, New York and San Francisco, but also sailed to China, Hawaii, Australia, New Zealand, Belgium, the Philippines, Mauritius and other countries. After a very long and profitable 30-year career, the Young America was sold to Austrian owners in 1883 and renamed the Miroslav. In February 1886, the ship cleared Delaware for a trading voyage and was never seen again.
Half hull models were the first step in the construction of a ship. They were carved out of horizontal strips of wood known as lifts, and only one side was needed since ships are symmetrical. After a model was approved, its lines were taken (measured) and it was disassembled. Then the lines were lofted, or drawn at full scale on the floor. The actual ship’s frames were cut to fit the lines on the floor and then set in place along the keel during the construction process. Sometimes the models were discarded or even burned as firewood after use, but many original examples are preserved today.
Ships’ steam whistles were powered by steam lines from the boilers. They were used to signal other ships or the shore, to announce a vessel’s presence or its intentions. Whistles were especially useful when approaching or leaving a port or landing, or in foggy or dark waters.
This whistle originally belonged to the 1895 Army Corps of Engineers towboat Gen. H. L. Abbot, built at Jeffersonville, Ind. and named after a famous general in the U. S. Army Corps. In 1906 it was renamed Gen. J. H. Simpson, after another Army Corps staff. The vessel was dismantled in 1919.
The cabin fittings, the ship’s wheel, and the whistle were purchased by Edward Heckmann for his new Missouri River packet boat, the John Heckmann. The Heckmann was 165’ long and 30’-6” in beam but only drew 4’-6” of water. Uniquely, the Heckmann had two independently operated or “split” sternwheels, which provided much greater maneuverability than a single, wide sternwheel could offer. Its boilers came from the hulk of the steamer Majestic, which had wrecked in 1914 at Chain of Rocks, St. Louis. The Heckmann’s engines were acquired from the obsolete Army Corps sternwheel towboats Aux Vasse and Isle de Bois. Employed in the packet trade between St Louis and Jefferson City, the Heckmann lost money because of competition from the railroads.
The John Heckmann was later converted to a Missouri River 1,200-passenger excursion boat by the Heckmann family. Operating on the Missouri as far north as Sioux City, Iowa, its normal summer route was between Kansas City and Omaha, Nebraska. In winter, it resumed packet service on the Cumberland, Tennessee, Illinois, and Ohio Rivers. Wrecked in an ice breakup at its homeport of Hermann, Mo. in 1928, it was dismantled.
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 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.
Chicago physician Dr. Frank Blackmarr, a passenger aboard Titanic's rescue ship RMS Carpathia, helped the survivors suffering from hypothermia, exposure, and shock. He collected a Titanic life vest during the voyage as a souvenir. Five days into its maiden voyage in 1912, the White Star ocean liner Titanic struck an iceberg at full speed in the North Atlantic, en route from England to the United States. For the next few hours, the giant ship took on water and began to nose down into the sea. At 2:20 a.m. on April 15, the gigantic ship sank in 12,500 feet of water 350 miles off the coast of Canada. Within about two hours, Carpathia arrived and rescued the Titanic's 705 surviving crew and passengers. Around 1,500 people aboard were lost.
This stoneware butter crock was made by John Burger, who operated a pottery in Rochester, New York, between 1839 and 1870. It is one gallon in capacity with a maker’s mark just below the rim. Its floral design is rendered in cobalt blue, and the interior is brown glazed.
John Burger came from Alsace-Lorraine in France, and first worked at a pottery in Lyons on the Erie Canal. In 1839 he moved to Rochester and joined Nathan Clark and Company as manager of the pottery. In 1855 Burger became the owner of the pottery and continued in the business of making stoneware for domestic uses—preserve jars, churns, pitchers and batter pitchers, cream pots, jugs, molasses jugs, water fountains, beer bottles, stove tubes, and the butter pot seen here. He was joined in the business by his sons in the 1860s. Decorative floral motifs of this kind were common by the 1850s.
Early in the 19th century, the potters themselves executed the designs, but later they employed women to paint the pottery’s motifs onto the vessels. Women’s skills in writing and in decorative techniques expressed in the home prepared them to execute designs with fluency and without any formal art education.
This is a 1/8-scale model of the tobacco ship Brilliant, a 250-ton vessel built in Virginia in 1775 for British owners. The Brilliant's first and probably only commercial venture from Virginia took place when it set sail for Liverpool, with a full hold of tobacco, in the summer of 1775. Typically the Brilliant would have returned with manufactured goods, but because of growing hostilities between Britain and the colonies, the ship remained in England. Records show that the Brilliant made one voyage to Jamaica and returned to London in 1776. Later that year, the Royal Navy purchased the vessel for just over £3,000 and converted it to a ship of war for service in the American Revolution.
The ship Brilliant had three masts and square-rigged sails. Its lower deck was 89'-3" long, its breadth was 27'-1/2", and the depth of the hold was 12'-2". The ship was built of oak, pine, and cedar. When purchased for war service, the Royal Navy assessed its hull, masts, and yards at £2,143. The cordage, including halyards, sheets, tack, and anchor cables, were assessed at £340. Brilliant's sails, 27 in all, were valued at £143. Five anchors were assessed at £58, while a long boat with a sailing rig and oars was estimated to be worth £45. Other items aboard the Brilliant were inventoried, including block and tackle, metal fittings, iron-bound water casks, hour and minute glasses, compasses, hammocks, an iron fire hearth, and 10 tons of coal.
After its conversion in 1776 as a ship of war in the Royal Navy, the Brilliant was commissioned as the HMS Druid. Its first voyage westbound across the Atlantic was as an escort for a convoy to the West Indies. The vessel served as the Druid until 1779, after which it became the fire ship Blast. In 1783, it was sold out of the service for £940 and, for the next 15 years, the former Virginia tobacco ship served as a whaler in Greenland. The vessel was lost in the Arctic in 1798.
This model was built by Charles and N. David Newcomb of Bolingbroke Marine in Trappe, Md. The model makers began their work in March 1975, scaling every timber to size and making everything out of the same type of wood as the original. They devised miniature rope-making equipment to manufacture the 5,000 feet of rigging and anchor cable required in 20 different sizes. Women from the Newcomb family and the surrounding community made the rigging and sails.
The model makers left the starboard side of the vessel unplanked to reveal the timbering and joinery of the hull and to permit a view of the vessel’s living accommodations in the stern and cargo stowage, complete with tobacco hogsheads.
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.
The James R. Barker was built in 1976 by the American Shipbuilding Co. at Lorain, OH for the Interlake Steamship Co. It was named after the head of the Moore-McCormack Steamship Company, which owned Interlake. Costing over $43 million, Barker was the third 1000-footer to sail the Great Lakes, and the first built entirely on the Lakes. These big bulk coal and ore carriers were constructed to fit the largest locks connecting the Great Lakes.
Barker's two big 8,000-hp engines turn two 17-1/2-foot propellers, pushing the vessel at a speed of 15.75 knots (18 mph). The ship can transport 59,000 tons of iron ore pellets or 52,000 tons of coal. The self-unloading rig has a 250-foot-long boom that can unload 10,000 tons of ore or 6,000 net tons of coal per hour. By contrast, Interlake’s first bulk carrier, the 1874 wooden-hulled steamer V.H. Ketchum, could carry only 1,700 tons of ore and took nearly twelve days to unload using manual wheelbarrows.
The assembly line revolutionized labor and production in early 20th-century America, and its innovations of prefabricated parts and streamlined processes were applied to shipbuilding in World War I. This tool was used by shipyard workers to align pre-punched holes in standardized hull plates before riveting them together with steam-powered hydraulic riveting guns. Riveting was an exhausting task, but essential for ensuring the overall strength of these mass-produced freighters.
Beginning in 1918, the U.S. federal government initiated many programs designed to boost morale among workers on the home front. A popular event at shipyards was a riveting competition. The first record was set at the Baltimore Dry Dock and Shipbuilding Company, where a riveting gang drove 658 rivets in eight hours. As reports of this spread across the country, other shipyards tried for their own records and newspapers began offering cash prizes. The record climbed to 2,919 rivets in nine hours, but the United States Shipping Board soon realized that these publicity stunts were wearing out the riveting gangs. The board halted the contests, but began publishing a ranking system of each shipyard’s daily riveting totals to continue the friendly (and productive) rivalries.