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.
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.
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 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.
For decades, Hawai`i was a primary destination for Japanese immigrants. The cane sugar industry, which dominated Hawaiian life from the 1850s to the 1950s, recruited tens of thousands of laborers from Japan. Immigration increased after the United States annexed Hawai`i in 1898, and continued despite restrictions on Japanese immigration to the U.S. mainland. Japanese workers endured severe and unequal conditions in Hawai`i, which was controlled by white American business interests. Still, Japanese immigrants established a strong and lasting community that supported their families and maintained their cultural traditions.
The need for cheap labor forced plantations to recruit contract workers from China, Japan, Korea, the Pacific Islands, and the Philippines, as well as Puerto Rico, Europe, and California. The unique racial and ethnic mix in contemporary Hawai`i is due to this history. The largest group of workers came from Japan. Unlike other Asian groups, the Japanese included significant numbers and percentages of women workers.
This trunk belonged to Kumataro Sugimoto, who immigrated to Hawai`i from Kumamoto, Japan, about 1902. After hearing stories of quick wealth, Kumataro left for Hawai`i to seek his fortune. Later, he brought his sons to help him on the plantation. One of his sons, Kichizo, married an American-born Japanese woman and started a family in Hawai`i. Inscriptions on the trunk include Sugimoto, the family name, and Hawai`i, the destination. This was a common practice for identification on any long voyage. This trunk or toronko, made of leather and paper, carried kimono and other personal belongings. Immigrants also carried Yanagi-gori, suitcases made of willow branches, and others made of bamboo and rattan, as well as cloth bags.
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
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.
lantern and panels were donated to the Smithsonian
1970s
architect
Robinson, George Thomas
ID Number
TR.336295
accession number
1978.0206
catalog number
336295
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.”
The Mississippi River sidewheel steamboat J.M. White was built at Jeffersonville, Ind., in 1878 for the Greenville and New Orleans Packet Company. Measuring 321’ long and 91’ in beam across the paddlebox guards, the White only sat 10’-6” deep in the water when fully laden. The steamboat was designed for Mississippi River packet service between New Orleans, La., and Greenville, Miss.
The White was one of the largest, most expensive, luxurious, and most powerful river steamers ever built, with 2,800 horsepower and a capacity of 250 first-class passengers and 10,000 bales of cotton. Named after famous riverboat captain J. M. White (1823–1880), the “supreme triumph in cotton boat architecture” was a masterpiece of the gaudy, glamorous style known as “steamboat Gothic.” It had multiple bridal chambers; stained glass skylights and windows; rare wood veneers and gilded finishes; seven gilded “Egyptian-style” chandeliers; a sterling silver Tiffany water cooler in the 250’-long main cabin; monogrammed flatware and china; and a full concert grand piano.
The White spent most of its eight-year career in service on the Mississippi River between New Orleans and Vicksburg, Miss. Despite its economy of size, the White’s high initial $220,000 cost, a spotty economy, and the rapidly expanding railroad network made the steamboat unprofitable. It caught fire, blew up, and burned to the waterline at a Louisiana landing in December 1886, killing several aboard.
This model represents the fishing schooner Dauntless, built at Essex, Mass., about 1855. Its hull is of the “sharpshooter” type, meaning the bottom has a sharp V-shape, as distinct from the rounded hulls of most fishing craft built in New England. The model shows the typical deck arrangement for a schooner sailing to or from the offshore fishing grounds, with the dory boats nested together and lashed bottom-up on the deck. All of the sails are set, including the jib and flying jib on the vessel’s long bowsprit.
Fishing on the shallow banks stretching from Georges Bank east of Massachusetts to the Grand Bank off the coast of Newfoundland was a dangerous enterprise. Thousands of lives were lost in the race to catch more fish and deliver them to market before the competition. The demand for fast schooners led to designs that favored speed over safety. The Dauntless is an example of a mid-century schooner with a fast hull and a great deal of sail. The sailing rig would have required crewmen to venture out on the bowsprit to furl the jib, a dangerous proposition, especially in rough weather.
Details of what happened to the Dauntless and its crew in September 1870 are unknown. But the schooner was lost at sea with all hands aboard, while making a passage to the Bay of St. Lawrence from Gloucester. Those lost included Jas. G. Craig, master, John La Pierre, Martin Costello, John Todd Jr., George Todd, Daniel Herrick, Edward Smith, James Smith, James Welch, George Goodwin, and two others, whose names are unknown.
As the United States expanded westward in the 1800s, the Great Lakes and inland rivers provided a route for transportation, commerce, and communication. Before railroads, waterways were a primary means of transporting bulk cargoes and heavy loads. Indeed, the first locomotive used in Chicago was shipped there by a Great Lakes schooner in 1837. Stretching from Buffalo, New York, to Duluth, Minnesota, and spotted along the way with port cities such as Cleveland, Detroit, and Milwaukee, the Great Lakes brought thousands of people into the Midwest and in turn carried out the crops, lumber, and raw minerals produced in the region.
Schooners like the Ed McWilliams dominated the Great Lakes trade for much of the 19th century. Designed with a shallow hull for operating in small, inland harbors, Lakes schooners like the Ed McWilliams were also built with a long middle section to accommodate large loads of cargo.
Constructed in 1893 at West Bay City, Michigan, the Ed McWilliams was managed by John A. Francombe. Like most of his crew, Francombe immigrated to the United States in the middle of the century, he from England and the crew more likely from Scandinavia, Germany, or Ireland. The Ed McWilliams was one of thousands of vessels sailing on the Great Lakes in the 1800s, carrying cargoes of wheat, corn, iron ore, coal, and timber.
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.
Pound for pound, ambergris was the most valuable product produced by the whale. It was—and is—also the rarest and most enigmatic whale product. An opaque, waxy substance from a sperm whale’s intestines, it was found occasionally in the stomachs of whales being processed on whale ships. More commonly, it was found floating on the surface of the world’s oceans or washed up on the shore in pieces that could weigh several hundred pounds. It was used by western cultures as a fixative to prolong the scent of perfumes into the later 20th century.
But why it is formed—and from which end of a sperm whale it is expelled—remains unknown. Fragments of squid beaks are often found inside the pieces, and some scientists believe that ambergris forms around the sharp, indigestible squid beaks to prevent irritating or cutting a whale’s intestines. Others consider it the cetacean equivalent of human gallstones.
The skipjack is the last in a long line of sailing craft designed for work in the Chesapeake Bay oyster industry. First built in the late 1800s, this sloop-rigged, single masted vessel was easy to maneuver even in light winds, and its V-shaped hull allowed oystermen to work in shallow waters. This model represents the Gertrude Wands, a skipjack built by John Branford on the Eastern Shore of Maryland in 1899. It is named after a little girl who lived in the community of Inverness.
Like bugeyes, skipjacks were built for oyster dredging under sail. But unlike the round-bottomed bugeye, the skipjack had a V-shaped hull, which was easier to build and did not require the huge logs of the traditional bugeye. Skipjacks were also smaller than bugeyes, ranging in size from 25 to 50 feet.
By the early 20th century, skipjacks had replaced bugeyes and were the main dredging craft on the bay. An 1865 Maryland law restricting dredging to sail-powered vessels ensured the continued use of sailing craft for oystering. Only in 1967 was the law amended to allow the use of a gasoline-powered push boat on Mondays and Tuesdays of each week. A push boat is shown on davits at the stern (back) of this model.
Maryland’s skipjacks are the last commercial fishing boats operating under sail in North America. In 1985, the skipjack was named Maryland’s official state boat. With the steep decline of the oyster population in the Chesapeake Bay, most skipjacks have become floating classrooms for public education programs about the bay. Several have been donated to museums for preservation. Still, many people who live in the Chesapeake region harbor a sense of longing and nostalgia for the days when the large white sails of skipjacks filled the horizon.
Scotsman Alexander McDougall (1845-1924) was a ship captain on the Great Lakes when he patented the idea of a “whaleback” ship in the early 1880s. With low, rounded hulls, decks and deckhouses, his invention minimized water and wind resistance. Between 1887 and 1898, 44 whalebacks were produced: 23 were barges and 21 were steamships, including one passenger vessel.
Frank Rockefeller was the 36th example of the type, built in 1896 at a cost of $181,573.38 at McDougall’s American Steel Barge Company in Superior, WI. One of the larger examples of the type, Rockefeller measured 380 feet in length, drew 26 feet of water depth and had a single propeller.
Although it belonged to several different owners over its 73-year working life, the Rockefeller spent most of its early life transporting iron ore from mines in Lake Superior to steel mills along the shores of Lake Erie. In 1927, new owners put it in service as a sand dredge that hauled landfill sand for the 1933 Chicago World’s Fair. From 1936-1942 the old ship saw service as a car carrier for another set of owners. In 1942 the ship wrecked in Lake Michigan, but wartime demand for shipping gave the old ship repairs, a new name (Meteor) and a new life as a tanker transporting petroleum products for more than 25 years. In 1969 Meteor ran aground off the Michigan coast, Instead of repairing the old ship, the owners sold it for a museum ship at Superior, WI. In poor condition today, Meteor is the last surviving example of McDougal’s whaleback or “pig boat”.
Unlike most of the half-hull models in the Smithsonian’s National Watercraft Collection, this one was not intended for use in shipbuilding. Instead, this half model of the fishing schooner Helen B. Thomas was made to show a radical design innovation to potential vessel owners. Its maker, Thomas F. McManus, a naval architect in Boston, adapted an idea from sailing yachts to the fishing schooners of New England. He eliminated the bowsprit, the spar projecting forward from the schooner’s bow, in an attempt to make the vessel safer for the fishermen working in treacherous conditions far offshore. In McManus’s new design, fishermen would not have to clamber out on the bowsprit to tend the jib (the vessel’s forward-most sail), a dangerous task especially in bad weather that, in McManus’s view, resulted too often in injury or death.
McManus made this half-hull model and displayed it in his Boston office, hoping to attract a client. After nearly a year, Capt. William Thomas of Portland, Maine, decided to try the design and contracted with the Oxner & Story yard in Essex, Mass., to build the schooner. The Helen B. Thomas was launched in 1902 and measured 106’-7” overall, with a beam (width) of 21’-6” and 13’ deep. The vessel became a successful fishing schooner. While no other schooners were built to this exact design, many were built without the bowsprit, a schooner design that became known as the “knockabout.”
The 102-foot three-masted scow schooner Milton was built by Ellsworth & Davidson at Milwaukee, Wis., in 1867. It spent 20 years hauling lumber on Lake Michigan, along with hundreds of other small boats nicknamed the “mosquito fleet.” Built to carry as much cargo as possible, many of these flat-bottom boats did not sail very well.
The Milton collided with the ship W.H. Hinsdale at Milwaukee in December 1867, causing about $100 in damage to each vessel. It also ran aground twice during its career.
On 8 September 1885, while transporting a cargo of cedar posts and cordwood, the Milton sank off Two Rivers, Wis., during an autumn storm. The entire crew of five men was lost—three of them brothers.
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.
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.
Many 19th-century inventors turned their attention to life boats, a large number of them focusing their efforts on simplicity of construction, ease of launching, and imperviousness to sinking. By contrast, two Bavarian immigrants living in New York City—George Tremberger, carpenter, and Michael Stein, patterns machinist—focused on the “comfort, convenience, and safety of the passengers.” Their main innovation was to design the boat as a cylinder in which the cabin rolled independently from the overall motion of the boat. A geared wheel inside allowed the crew to adjust the cabin’s tilt by hand or to lock it in place. The inventors also fitted a telescoping mast, hand-lever-operated propeller, and external rubber bumpers for increased buoyancy.
This is a cutaway model of Tremberger and Stein’s idea. It shows seats and benches running lengthwise in the interior of the cabin. A wheel inside turns a gear that keeps the inner cabin from rolling as the outer hull rolls in the sea. Four hatches on deck slide open for access. The telescoping mast with sail can be operated from inside, while two interior levers activate the propeller. There is also a steering wheel forward connected by a line to the rudder.
In 1883 the United States participated in a sort of world’s fair of fishing called The London International Fisheries Exhibition, held at the Royal Horticulture Society in London. Congress instructed the U. S. Commissioner of Fisheries to prepare “a complete and systematic representative exhibition of the fisheries of the United States,” to be presented under the auspices of the Department of State and to draw upon the resources of the Smithsonian Institution. It would be an understatement to say that the resulting exhibit was comprehensive. It dealt with the biology of marine and freshwater animals of all species, the geography of American fishing fields, the technology of fishing equipment and food processing, the science of deep sea research, the demographics of people involved in the fishing industry, and the anthropology of fishermen and anglers, which included a study of their games, hobbies, and appearance.
These trousers were displayed in the “Section E. – XXII. FISHERMEN AND ANGLERS” portion of the United States entry at the Exhibition. It featured large photographs, anglers’ apparel, a collection of fishermen’s wool and oiled cotton, rubber apparel such as mittens and boots, and “Lay figures [or mannequins] of fishermen of different classes, showing costumes."
This pair of trousers is made from heavy-duty cotton, woven in a small-scale plaid of brown, tan, red, and orange. The trousers have a 9” concealed two-button fly, a back yoke, and a waistband that originally had six suspender buttons as well as a button and buttonhole at the center front above the fly. One of the four front suspender buttons is now missing. A pair of short belts sewn to the back yoke span a V-shaped vent at the center back of the yoke and waistband. The left belt ends with a black japanned metal buckle.
The cutting and sewing techniques used here were very simple, and suggest that these trousers were inexpensive factory-made goods. All buttons are made of white metal pressed over a molded form, with four holes in a slightly dished center surrounded by a textured rim. All seams were sewn with brown thread, and all buttons were attached with off-white thread. There was no attempt to turn under any edge, raw or selvedge, except along the ½” hem at each ankle. Each slightly tapered pant leg was cut in one piece and double top-stitched along the inseam. Most other seams and edges are top-stitched with a single line of stitching. The muslin pocket bag over each hip was inserted into an almost vertical slit cut into each side of the trousers just below the waistband; a dart extends 1.5” beyond the lower end of each pocket to reinforce it. The trouser legs are cut with the grain of the fabric running up and down, while the waistband, back yoke, and back belts are cut with the grain going sideways. This is made obvious by the fact that the red stripes in the fabric appear only in the cross-wise weft threads, while the orange stripes appear only in the vertical warp. The fabric has a vertical repeat of 1.0625” and a horizontal repeat of 0.75”. The waist measure, excluding the back vent, is 38.75”, and the overall length is 42.125”.