The eastern-rig dragger Roann attended the 10th annual Working Waterfront Festival in New Bedford, Mass., September 28-29. According to a press release, the free festival was a “celebration of New England’s commercial fishing industry, features live maritime and ethnic music, fishermen’s contests, fresh seafood, vessel tours, author readings, cooking demonstrations, kids’ activities and more.” The event was held on three working piers in New Bedford and waterfront parks in the city.

Built in 1947, Roann sustained three New England fishing families for 50 years. Powered by a diesel engine, and dragging a large conical fishnet along the seabed, Roann and her crew caught groundfish throughout the waters of southern New England. Her fish hold could keep approximately 55,000 pounds of iced fish.

Roann was acquired by Mystic Seaport in 1997, complete with food in the galley and trawling gear on deck. She now rests at the Museum and allows visitors the chance to see a piece of New England fishing culture before it moved into a new era of steel hulls, regulated catches and GPS technology.

Roann‘s journey from Mystic Seaport to New Bedford will be the vessel’s first major voyage since she was launched in 2008 after a three-year restoration. The project included reframing and replanking the dragger, along with interior, mechanical, and deck work. All of the vessel’s frames and planks were steam-bent and arranged as they originally were when she first entered the water in 1947, both maintaining the vessel’s historic integrity and preserving her for future generations.

Additional vessels displayed at the festival included a steel-hulled dragger, a scalloper, a deep sea clammer, a tug boat, a Stonington dragger, and a Beetle whaleboat. The whaleboat was built this spring by the Beetle Boat Shop of Wareham, Mass., in collaboration with the New Bedford Whaling Museum, for the Charles W. Morgan restoration project.

Roann will return to New Bedford in 2014 as part of the support vessels for the Morgan‘s 38th Voyage. Along with the tugboat Thuban, Roann will shadow the whaleship as she moves from port to port on her journey from Mystic and New London to Boston and back. She will transport staff and equipment and act as a photo platform for Museum documentary crews and other media.

The Maritime Gallery at Mystic Seaport is proud to present the 34th Annual International Marine Art Exhibition and Sale. Open now through December 31, the exhibition is the most comprehensive collection of contemporary marine art in the United States. More than 100 examples of recent work from award-winning artists are on display, including exceptional paintings, sculpture, scrimshaw, and ship models. The show is a commemoration of America’s maritime heritage with both intricately researched historical scenes and contemporary images that document the relationship of man to the sea.

“The Annual International Marine Art Exhibition is such a unique event for both artists and art lovers,” said Jeanne Potter, director of the Maritime Gallery at Mystic Seaport. “Not only is the maritime art on view of such high quality representing the most talented marine artists from around the world working today, but it also gives the public, and especially collectors, the opportunity to view and purchase these works in such a beautiful gallery on the Mystic River.”

Participating artists include Patrick O’Brien, Yoko Gaydos, Geoff Hunt, Russ Kramer, Robert Lagasse, Victor Mays, and Kim Shaklee.

Awards of excellence and prestigious-named awards–including the Rudolph J. Schaefer Maritime Heritage Award, which recognizes the work that best documents our maritime heritage for future generations–were awarded at a black-tie awards dinner on September 22. Judges for this year’s show were Elizabeth Goddard, executive director of the Newport Art Museum and Stuart Parnes, director of Connecticut Humanities and the former director of the Chesapeake Bay Maritime Museum and Connecticut River Museum.The awards and honorees are as follows:

• Rudolph J. Schaefer Maritime Heritage Award – Walfun Luey “Departure”
• Rudolph J. Schaefer III Emerging Artist Award — Paul Beebe “Schooner Passing Gay Head”
• Stobart Foundation Award — Robert Noreika “Seaside Café”
• Maritime Gallery Yachting Award — Russ Kramer “Last But Not Least, J-Boat WHIRLWIND, 1930”
• Marine Environmental Wildlife Award — Terry Miller “Paradise Cove”
• Thomas M. Hoyne III Award — David W. Smith “Dory Mates”
• The Thomas Wells Award — John Tayson “The White Ship”
• Museum Purchase Award — Steven Lush “East-West”
• Award of Excellence — Jeff Weaver “Boatyard Office”
• Award of Excellence — Ronald Tinney “Quietly Passing”
• Award of Excellence — David Bareford “Outbound”
• Award of Excellence — Neal Hughes “Restless Rising”
• Award of Excellence — Patrick O’ Brien “USS CONSTELLATION On Patrol”

All works in the exhibition are available to view and purchase daily between 10 a.m. and 5 p.m. The show can also be viewed online. Every purchase of artwork helps to support the maritime preservation work performed by Mystic Seaport.

Opens September 13, 2013

This fall Mystic Seaport is hosting an exhibit of the work of two American photographers who have documented very different aspects of life on the water in black and white. The exhibit features the work of Milton Moore, who documented the work of Cape Cod fishermen during the 1970s, and Barry Winiker, who photographs luxury cruise ships.

“We are very happy to share the work of these two important photographers whose work exemplifies the spectrum of ways we connect with the sea,” said Jonathan Shay, the Museum’s director of exhibits. “From the luxurious environment of cruise ships to the gritty setting on fishing boats, these photos show the extremes of work and play that the oceans provide. I love the photos not only for this documentation but also for their exceptional artistry.”

Milton Moore’s show is entitled Working Men, Working Boats:  Images of the Cape Cod Fishery in its Heyday. Moore is currently a news designer with The Day newspaper of  New London. Thirty years ago, while working for the Cape Cod Times, he produced this body of work. He has recently digitized and restored these historic images. The photographs have a timeless feel, capturing techniques that date back far before the 1970s.

“When I look at these photographs now, these images of men hauling nets and dredges no longer seem connected to my own hand, but are like some family heirloom I have always known,” Moore said. “It is as easy for me to imagine these photographs as records from the 1930s as to conjure the cold winds and shifting light of the days when they were made.”

Barry Winiker’s show is entitled Sun Ships: Modern Cruising. Winiker’s photographs of luxury ships contrast with the rugged environment of fishermen. His fascination with the photography of cruise ships and ocean liners began in 1980 when he boarded a passenger ship in New York City and discovered a world of style, design, and function. His photographs from the past three decades record passenger activities and the architectural and design elements on board.

“My views from the deck are documentary and informative, as well as interpretive,” Winiker explained. “They are concerned as much with architecture and design as they are with weather conditions, time of day and play of light and shadow. The wealth of shipboard visual information is enormous–it is a subject that inspires, challenges, and offers immeasurable possibilities.”

The exhibit is now open and is located on the second floor of the Stillman Building.

WASHINGTON – The Institute for Museum and Library Services has awarded Mystic Seaport a competitive matching grant of $80,343 through the Museums for America program to help fund a project to digitally catalog nearly 5,000 historical objects, documents, and photographs. The selected artifacts will be incorporated into an online learning project for students and teachers, as well as programming related to the recent launch and planned 2014 voyage of Mystic Seaport’s flagship, the 1841 whaleship Charles W. Morgan.

Rep. Joe Courtney (CT-2) announced the award.

“This grant will assist one of our district’s most important historical institutions in creating a permanent database of significant artifacts from New England’s maritime heritage,” Courtney said. “By creating an electronic archive, Mystic Seaport will preserve these important pieces of our history and give students around the world access to Connecticut treasures. As the Charles W. Morgan embarks on a voyage to share New England’s whaling history, this archive will be a valuable tool for Mystic Seaport to bring that history to life.”

The funds will be used to support a full-time cataloger and purchase of supplies and equipment in support of project activities. The Museum will provide a cost share of $85,864 for a total project cost of $166,207.

The objects selected for the project, all acquired within the past several years, represent an important body of material that is presently not available to support the needs of Mystic Seaport staff or outside users. The project will create detailed catalog records in the Museum’s collection database to enable immediate in-house and external access to support research, exhibit and program development, publications, and teacher professional development, among other activities.

The project will specifically support two key Mystic Seaport initiatives: an online learning project for students and teachers and programming associated with whaling and the Museum’s restoration and planned 38th Voyage of the Morgan. Both of these initiatives informed the object selection for the cataloging project and both will benefit substantially from the project.

The selected objects span more than two centuries of the American maritime experience and include several thousand historic photographs depicting a wide range of maritime people and activities, scrimshaw, fishing and whaling gear, ship and boat parts, tools, ceramics, textiles, ship models, and other three-dimensional objects. Also included are two-dimensional items such as paintings, prints, advertising items, postcards, posters, and printed ephemera.

About the Institute of Museum and Library Services

The Institute of Museum and Library Services is the primary source of federal support for the nation’s 123,000 libraries and 17,500 museums. Its mission is to inspire libraries and museums to advance innovation, lifelong learning, and cultural and civic engagement. The organization’s grant making, policy development, and research help libraries and museums deliver valuable services that make it possible for communities and individuals to thrive. To learn more, visit www.imls.gov.

A Mystic Seaport crew raced in the 7th Annual International Whaleboat Regatta’s Dabney Cup in New Bedford on Sunday, September 8. The Azorean vs. Yankee Whaleboat Race featured three Azorean whaleboats racing against three American Beetle wooden whaleboats. These three boats were built to be on board the Charles W Morgan during the whaleship’s ceremonial 38th Voyage in 2014.

Mystic Seaport sent two boats and one crew to compete in the race. The boats were built by Gannon & Benjamin Marine Railway of Vineyard Haven, MA and Rocking the Boat of New York City. The Museum’s crew included Nathan Adams (steering), Susan Funk (stroke), Bror Okerblom (tub), Matt Porter (midships), Jesse Edwards (bow), and Lauren Barber (harpooneer). The third American boat that raced was built for the New Bedford Whaling Museum by the Beetle Cat Boat Shop of Wareham, MA. The Mystic Seaport crew came in fourth overall and was the first to finish among the Yankee boats.

Many traveled from Mystic to New Bedford to cheer on the Mystic Seaport crew, including Evelyn Ansel, a staff member who has been working on the Morgan restoration. Featured below is Ansel’s firsthand account of the race.

The Dabney Cup in New Bedford took place on a beautifully overcast morning–perfect for whaleboat sails reflecting sun against the dark sky. The idea behind the day was to test the Yankee whaleboats against their younger Azorean cousins, and American against Azorean crews. The two boat types aren’t really in the same class- the Azorean boats are longer, have an extra rowing station, and carry substantially more sail than their Yankee counterparts. Additionally, the Azorean boats are trimmer and narrower, reflecting the more modern shore-whaling practices in which they were beached through surf and often towed out to the whales by motorboats. They are excellent at going forward, fast, and straight. Not so good at turning, tacking, or beating to windward, particularly without centerboards. The Yanks, in comparison, are easier and safer handling (obviously a necessity as they doubled as lifeboats and tenders on long voyages), smaller as they had to be hauled up and down davits, rounder in the bilge, more pronounced in the sheer, also making them wonderfully seaworthy.

One unintentional, but very illuminating (and rather exciting), test of one shape against another presented itself when one of each type separately capsized mid-race; both rigs were removed and towed to shore on their own. The Azorean boat had to be towed in awash- couldn’t really be re-floated out on the water, but the American boat popped right back up once the rig was out and the crew got a couple of five-gallon buckets going. Although the crews were a little chilly and perhaps a little sore, it stirred quite a bit of excitement in the spectators ashore.

There was a significant crowd in attendance, maybe 150 people, perhaps nine full whaleboat crews and a pulling boat from one of the local rowing clubs, as well as numerous chase boats on the water. Portuguese was far and away the dominant language; we from Mystic were some of only a handful conversing in English. For the American teams, Mystic sent two boats and one crew, while the New Bedford Whaling Museum furnished one boat and two crews for a total of three Yankee boats. There were also three Azorean boats with extra crews.

The rowing race began at 9 a.m. It seemed more like two simultaneous races really, what with the extra hull length and extra oarsmen in the Azorean vessels–the Azoreans against themselves, the Yankees in the second heat. The race was simply a half-mile sprint. The Mystic boat came in 4th overall, 1st among the Yankee boats. The sailing race included several tacks roughly in a triangle, and the Mystic boat again came in 4th. The Azorean boats were brightly painted and fully equipped with paddles as well as oars, and watching them paddle out away from the beach I couldn’t help but be reminded of native American canoes (sometimes credited as forebears to the whaleboat) and pacific island dugouts. It was wonderful.

-Evelyn Ansel