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Launching the

Charles W. Morgan

Gift wrap four seasons of fun.

gi ve a m ystic s e a p o rt me mb e r s h ip. You harbor dear memories of your time here. Help your friends and loved ones do the same. Get $5 off and an

exclusive 13-month Mystic Seaport wall calendar for FREE when you purchase a Mystic Seaport gift membership — give a year of free unlimited admission, a free subscription to Mystic Seaport Magazine, special discounts at Latitude 41˚ Restaurant, our stores, and on classes and camps.

To purchase a gift membership (or just a calendar), call 860.572.5339 or visit the membership section of our website, TM




Mystic Seaport magazine is a publication of Mystic SeaporT President STEPHEN C. WHITE

SEASCAPES . ..................................… 4

executive vice presidents SUSAN FUNK MARCY WITHINGTON

ADVANCEMENT NEWS................... 5-7 MUSEUM BRIEFS ........................ 8-10

Editor Göran R BUCKHORN


PRODUCTION Susan HEATH contributors Alexandra Alpert Trudi Busey Sarah Cahill Fred Calabretta Elysa Engelman Chris Freeman


SHIP MODEL DONATION ........... 16-17 Philip Kuepper Dan McFadden Carol Mowrey Erin Richard Jonathan Shay Ken Wilson

Q & A .............................................. 18 MY MYSTIC SEAPORT ..................... 19 ON BOOKS ................................. 20-21


FROM THE COLLECTIONS............... 22

PHOTOGRAPHY Göran R Buckhorn Phil Butta / Mystic River Press Christine Corrigan / the Westerly SUN Chris Freeman


DRAWINGS Evelyn Ansel (Vignettes) Jeff Crewe Bill Ruggieri/680 Design




CONTACT US VISITOR INFORMATION: 860.572.5315 • 888.973.2767 ADMINISTRATION: 860.572.0711 MEMBERSHIP: 860.572.5339 PROGRAM RESERVATION: 860.572.5322 MUSEUM STORE: 860.572.5385 MARITIME GALLERY: 860.572.5388 VOLUNTEER SERVICES: 860.572.5378 Please go to the Museum’s website for information on the Fall/Winter/Spring schedule ADDRESS: 75 GREENMANVILLE AVE. P.O. BOX 6000 MYSTIC, CT 06355 -0990 WWW.MYSTICSEAPORT.ORG


8 FALL / WINTER 2013

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S E A S C A P E S In Honor of the 1841 Charles W. Morgan


he famous documentary filmmaker Ric Burns, who was the keynote speaker at the Launch of the Charles W. Morgan, opened his memorable speech on July

21 with the words, “There is nothing more magical than a ship…” Simple enough, but Burns immediately connected with his audience, some 5,000 people strong, who simultaneously nodded in agreement. With the Charles W. Morgan poised proudly behind him on the shiplift in the Shipyard, we all understood where he was headed. His talk was to be all about her beauty and her significance, and the fact that we are, without doubt, bonded by our intense commitment to her. But he went one important step further by adding that the magical power of “the compounded human alchemy” was responsible for her restoration and her rebirth. Burns had us in the palm of his hand – and he delivered. We listened attentively to the filmmaker turned philosopher and poet. He spoke to us and to the ship; he spoke to the other 2,700 whaleships now all gone, save one. He spoke to all Morgan descendants, some present and some not, but all understanding that together, Mystic Seaport and the Charles W. Morgan represent America and what life was like back then and what it can become.

SPECIAL EVENTS at MYSTIC SEAPORT SEPTEMBER 15 to Dec. 31 — OCTOBER 5 — 6 — 12 to 14 — 17 — 18 — 19-20 — 31 — NOVEMBER 9 — 23 to April 14, — 2014 29-30 — 29 to Dec. 8 — 30 — DECEMBER 14 — 22 — 26 to — Jan. 1, 2014

34th Annual International Marine Art Exhibition Fall Beer Tasting Argia Twilight Cruise Chowder Days Adventure Series begins Sights & Frights begins PILOTS Weekend Trick-or-Treat

Charles W. Morgan Day Marine Artists in Winter Field Days Members’ Double Discount Days Lantern Light Tours begins Santa Claus is Coming! Community Carol Sing Holiday Magic


dominated the pre-launch comments and our thoughts drifted to our personal connection to vessels that we love, both large and

small, and the magic they play in our hearts and minds. Let’s admit it: the magic is powerful and it’s one of the most compelling aspects of Mystic Seaport. I think of the Emma C. Berry and Estella A.— perhaps for you it would be the L.A. Dunton or Sabino or Brilliant—but regardless of the vessel, we are moved by her form, her function, and her potential. We see in the Morgan her potential to go back to sea, to be alive as a ship. That potential, seen in the vessel on the shiplift, coupled with Ric Burns’s words, created the magical energy of what will always be known as The Launch, all made possible, he commented, by the “sheer stubborn seaborne love and wizardry” of the Museum staff. There is such importance to our work and our vision. All of the speakers that morning made it abundantly clear. Some time ago in the Mystic Seaport Magazine, we answered the important question: “Why sail the Morgan?” The answer still resonates: The Morgan’s voyage will illuminate the whaleship’s history for audiences that never before have been privy to her life; it will bring public history alive via a compelling adventure; it will emphasize the innovative and influential nature of the maritime tradition; and it will stimulate relevant conversations about the changing world. Come see the magic of the Morgan and understand the potential.



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The Museum grounds will be closed to visitors between January 2 and February 14, 2014. Please check our website for hours of operation for the Collections Research Center, Museum Stores, the Maritime Art Gallery, and Latitude 41° Restaurant during that period. Museum Administration, Education, and other departments will continue to operate on standard business hours.

JANUARY 2014 8 — FEBRUARY 2014 15-17 — APRIL 2014 12-13 —

Maritime Author Series begins Winter’s Aweigh Educators’ Weekend



MEETING THE WHALEBOAT BUILDERS On Friday evening, June 28, members of the America and the Sea Society gathered at the Maritime Art Gallery at Mystic Seaport for a cocktail reception to meet some of the individuals from the organizations that have built whaleboats for the Charles W. Morgan’s 38th Voyage. Earlier on that Friday, a group of students, or apprentices, from the Apprenticeshop in Rockland, ME, arrived at Mystic Seaport aboard a 29-foot whaleboat which they had constructed. This was especially newsworthy when you consider that they had rowed and sailed it to Mystic, a 300-mile voyage that started on June 16 in Rockland. The students’ comments were inspiring and pointed to the unique chance this experience provided for them. They rarely get to use the boats they build, but in this case, they had the possibility to undergo firsthand what whalemen in the nineteenth century encountered in a whaleboat on the open sea. Opportunities like these will also be offered to the crew of Charles W. Morgan when she goes to sea again in 2014.

To find out more about the America and the Sea Society, please contact Annual Fund Manager Elizabeth Benoit at 860-572.5302 ext. 5144, or email

WELCOME STONERIDGE! Mystic Seaport is proud to welcome StoneRidge, a continuing care retirement community in Mystic, as the newest member of our Community Partner Program. This spring, the leadership team at StoneRidge stepped forward and agreed to support the perennial Adventure Series at Mystic Seaport. For sixty years, this popular winter program has brought dynamic and engaging speakers to Mystic Seaport to share their compelling stories with our members and friends. This season’s series, “In the Wake of the Whale and Other Environmental Issues,” begins in October and covers topics from studying narwhals in the

Arctic to rowing alone across the Atlantic Ocean. For the final presentation in the series, on April 17, 2014, Dana Hewson, vice president for Watercraft Preservation and Programs at Mystic Seaport, will team up with the captain of the Charles W. Morgan’s 38th Voyage. In addition to their participation in the Community Partner Program, StoneRidge has also become a Plankholder in the monumental restoration and 38th Voyage of the Morgan. Their generous support will augment a grass-roots community effort organized under the name “Sail the Morgan 2014.” This group of members and friends in the community


has set forth a challenge and an invitation to help raise $1.5 million toward the funding needed for the ship’s voyage

next year. To date, and with the help of StoneRidge, “Sail the Morgan 2014” has raised nearly $400,000. As Dr. Sylvia Earle, the renowned oceanographer, has stated about the Morgan: “[She is] a ship from the past with a message for the future: protect, preserve, and cherish the sea and its inhabitants.” We are grateful to StoneRidge for their support, encouragement, and enthusiasm. Mystic Seaport could not ask for a better partner in the community. The Adventure Series runs from October to April on the third Thursday of each month. To learn more and to purchase tickets, go to Chris Freeman is Director of Development.


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MYSTIC SEAPORT RECEIVES PRESTIGIOUS NEH AWARD Just a few days after the successful launch of the Charles W. Morgan in July, Mystic Seaport received more good news: the National Endowment for the Humanities (NEH) announced that it would award the prestigious Chairman’s Special Award to the Museum. This $450,000 grant will help fund a suite of engaging public programs and new exhibits revolving around the upcoming ceremonial 38th Voyage of the Morgan next summer. Titled “Voyaging in the Wake of the Whalers,” this was one of only two nationwide projects to receive the designation of a Chairman’s Special Award in this competitive grant cycle, the highest possible funding level. The grants in this funding line, named “America’s Historical and Cultural Organizations: Planning and Implementation Grants,” support museum exhibitions, library-based projects, interpretation of historic places or areas, websites, and other project formats that NEH reviewers and officials determine will “excite and inform thoughtful reflection upon culture, identity, and history.” The five anonymous reviewers serving on the advisory panel all rated the project “Excellent.” One called the project, “Far and away, the most comprehensive and exciting public-history/museum/humanities project I have ever had the privilege to review.” As NEH program officer Christina Cortina wrote in her summary of the panel’s assessments, “Reviewers unanimously agreed this ‘groundbreaking’ project was deserving of a Chairman’s Special Award. They were very impressed by the ‘exceptional’ advisors and praised the ‘brilliant array of program formats’ designed to deepen the humanities content. We commend the excellent work of your team in conceptualizing the project and writing an engaging proposal. The NEH is very pleased to support this project.” Created in 1965 as an independent federal agency, the National Endowment for the Humanities supports research and learning in history, literature, philosophy, and other areas of the humanities by funding selected, peer-reviewed proposals from around the nation. In order to receive NEH funding, the “Voyaging in the Wake of the Whalers” grant proposal needed to demonstrate that the project would build on sound humanities scholarship, deepen public understanding of significant humanities questions, involve a team of humanities scholars in all phases of development and implementation, appeal to broad audiences, approach a subject analytically and interpretively through an appropriate variety of perspectives, and encourage dialogue and discussion. In addition, in order to receive funding at the higher level of a Chairman’s Special Award, the Museum’s proposal needed to convince the expert reviewers, NEH staff, and the NEH Chairman that the project “will be unusually signifi-


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cant and appealing,” with “exceptionally broad reach nationally.” The project activities include dockside activities, exhibits, and educational programs exploring four main humanities themes: the changing perceptions about whales, the perils and profits of the whalehunt, the whaleship as global crossroads, and the impact of whaling on American culture. The project period runs for three years, beginning in September 2013, and will include scholarly input, audience evaluation work, and staff training. “We are very grateful to NEH for their financial and intellectual support of this exciting project. NEH funding in the planning and implementation stages enables the Museum to maximize the impact of the Morgan’s story through exhibitions, interpretation, and the commemorative 38th Voyage,” said Susan Funk, executive vice president at Mystic Seaport. Dr. Elysa Engelman is the Museum’s exhibits researcher/developer.



ewly appointed Vice President for Advancement Elisabeth Saxe speaks to Mystic Seaport Magazine. Why did you choose fundraising as a profession? As an intern in the late 1970s at New York City Ballet, I had the opportunity to interact with inspiring philanthropists, many of whom founded some of New York’s most notable cultural institutions. Their dedication to charitable endeavors made an imprint on me and I chose to devote my career to connecting those who are philanthropically minded to important causes. Where did you work prior to Mystic Seaport? I have always worked in the non-profit sector. Most recently I served as director of institutional advancement for Westport Country Playhouse, my second time working there as I had previously led their $30.6 million Campaign for a New Era, which successfully concluded in 2005. I was director of development at Caramoor Center for Music and the Arts, a beautiful 90-acre site and home to a renowned music festival in Katonah, NY, and was part of the founding team of Stepping Stones Museum for Children in Norwalk, CT. My affiliation with School of American Ballet in New York City launched my non-profit career in the early 1980s. I held my first professional fundrais-

resonated with me. Taking the Morgan to sea and all the content being developed around this project is truly thrilling. Also, the potential for the 38th Voyage to have a long-lasting impact on the national scope of Mystic Seaport seemed like a vital endeavor and I wanted to lend my expertise to the amazing team of professionals and volunteers who had such an exciting vision.

ELISABETH SAXE IS NEW VICE PRESIDENT FOR ADVANCEMENT ing post there as director of special events and membership. What attracted you to Mystic Seaport? As it is among the preeminent maritime history museums in the nation, I have always respected Mystic Seaport, so when I was approached to take on the role of vice president for advancement, I felt it would be an honor to be part of the leadership team during this transformational era for the Museum. The field of public history is vitally important. The Museum does an impressive job making the past relevant to a broad and diverse audience—this deeply

Do you have any specific plans for the advancement effort at the Museum? There is a strong advancement effort in place here upon which to grow. The Annual Fund is our top priority. It is truly the building block to keep Mystic Seaport thriving. We are endeavoring to expand the Annual Fund and add to the devoted core of philanthropists who are currently so generous. Of course, we are still fundraising to complete the restoration of the Morgan and to take her to sea. Other important capital improvements that will enhance and enrich the visitor experience are on the horizon. All will be part of the advancement effort. What are your interests outside of work? Like so many of my colleagues here at Mystic Seaport, one of my favorite pastimes is sailing. I practice yoga regularly and enjoy “gentle” hikes in the Berkshires with my family, which includes a blue merle sheltie named Luna.

CHARLES W. MORGAN POST-LAUNCH CAMPAIGN UPDATE At Mystic Seaport, an ocean voyage is perhaps the best metaphor for a major capital campaign. When setting out to sea for any substantial offshore passage, we all hope for fair winds and following seas. We know, however, that we must be prepared to face foul winds and ill tides. We set out , confident of our destination, yet uncertain how our voyage will unfold. During the campaign to restore the Charles W. Morgan and take her to sea once again, we have had our share of both “fair and foul winds.” We have also had the company of good shipmates who have pulled together to bring us through. At this point in the campaign, slightly more than 900 members and generous philanthropic friends have contributed $10.4 million of the $12 million necessary to sail the Morgan in 2014. Gifts have ranged from a leadership gift of $2 million to three consecutive gifts from young Matthew H., who has contributed $34.25. The restoration of the hull is completed and the vessel is once again afloat on her keel; the same keel that was laid down at the Hillman Brothers Shipyard in New Bedford 172 years ago. Four and one-half

years of passionate labor, tons of live oak framing, and thousands of board feet of longleaf yellow pine planking have made the Morgan seaworthy once again. We now seek to raise the balance of $1.6 million to enable us to rig her, fit her out, and sail her on her 38th Voyage. A grass-roots effort to once again sail the Morgan is underway alongside our traditional campaign. A special group is setting forth both a challenge and an invitation to all the friends of the Morgan to raise the remaining funds to take her to sea next year. Thus far, under the flag of “Sail the Morgan 2014”, they have raised nearly $400,000 in support of the 38th Voyage. If this campaign is indeed a voyage, we are homeward bound, the headlands of our home port just rising into view over the horizon. For the Morgan, the conclusion of this voyage of restoration will in fact take her homeward bound—first out again on the open sea, for which she was built, and then on to revisit New Bedford, MA, where she first set sail in 1841. King Neptune is calling the Morgan back to the sea and your support will be her fair winds and following seas.


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new exhibit opened this fall at Mystic Seaport with the work of two American photographers, who have documented very different aspects of life on the water in black and white photographs. The exhibit features the work of Milton Moore, who documented Cape Cod fishermen during the 1970s, and Barry Winiker, who photographs luxury cruise ships. Milton Moore’s show is titled “Working Men, Working Boats: Images of the Cape Cod Fishery in Its Heyday.” Moore is currently a news designer at the newspaper The Day in New London, CT. He produced this body of work thirty years ago, while working for the Cape Cod Times, and has recently restored and digitized these historic images. The photographs have a timeless feel, capturing techniques that date back before the 1970s. Moore explains, “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. Time contains both to the photographs and the photographer. 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. Much has been swept away.”

CONTRASTING ASPECTS OF MARITIME LIFE IN BLACK AND WHITE Barry Winiker’s show is titled “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 and discovered a world of style, design, and function. His photographs from the past three decades record passenger activities and architectural and design elements on board. Winiker describes his approach: “My views from the deck are documentary and informative, as well as interpretive. 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 opened on September 13 on the second floor in the Stillman Building. Jonathan Shay is Director of Exhibits at Mystic Seaport. ABOVE: A 900-POUND TUNA, WHICH LANDED ON A HAND-LINE, IS SLOWLY HOISTED UP TO THE PACKING HOUSE ON MCMILLAN WHARF IN PROVINCETOWN. LEFT: ON BOARD RENIVA, THE CAPTAIN AND CREW HAUL A FULL TRAWL NET TO THE RAIL TO POSITION IT FOR THE WINCH. ABOVE: SPIRAL STAIRCASE ON CARNIVAL CRUISE LINE’S CARNIVAL LEGEND, FROM 2002. BELOW: SHADOWS HIGHLIGHT THE GRACEFUL WALKWAY ON THE CUNARD LINE’S QUEEN ELIZABETH II, FROM 1981.


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KICKING OFF THE “YEAR OF THE CHARLES W. MORGAN ” The state of Connecticut has designated the 2013-14 academic year to be the “Year of the Charles W. Morgan.” The designation affords students across the state and country a unique opportunity to learn about Connecticut maritime history, the significance of the whaling industry, and the importance of the state’s maritime heritage. The “Year of the Charles W. Morgan” features educational resources and programming that teachers can use to cover a range of subject material. These educational activities will offer students access to engaging history and science education through vibrant on-site, online, and in-school activities. The special educational opportunities available during the “Year of the Charles W. Morgan” include: Thematic lesson plans: Schools have access to a suite of flexible online thematic lesson plans that teachers can incorporate into their existing curriculum and that will help them meet some of the Common Core State Standards.

Videos: We have developed a series of short (2-3-minute) videos about the Morgan and related 19th-century whaling trades for teachers to use in their classroom.

Morgan. The Museum’s profes-

Music on the Morgan: This interactive music program traces maritime music history and the Morgan’s place in it.

with classroom curriculum and

Period Performances: The “Year of the Charles W. Morgan” features two new 45-minute period performances that relate to the Morgan and whaling. Karlee Turner Etter (in the picture) will portray Lydia Landers in 1895. Mrs. Landers accompanied her shipmaster husband on the Morgan’s seventh voyage (1863-1867) and was the first woman to travel on the Morgan. The second roleplayer, Jason Hine, will portray Conrad Geller, a common sailor on board the Morgan’s 28th, 29th, and 30th voyages. He will speak directly about what life as a whaler was like. Primary source workshops: Students can participate in pri-

sional development programs provide teachers with behindthe-scenes tours and thematic workshops that correlate our vast collections and exhibits align with state and national standards. All of these educational materials are housed on our new Online Learning Community website, which is geared toward mary source workshops related to the Charles W. Morgan that hone their historical and critical thinking skills and meet key aspects of the Common Core State Standards. Virtual educational programming: Using Skype technology and state-of-the-art equipment, students can participate in virtual programs from the deck of the Charles W. Morgan and from our Collections Research Center. Professional development for teachers: Teachers can participate in professional development related to the Charles W.

enhancing access to our collections and other educational programs using today’s technology. The website features thematic resource sets, articles about artifacts in our collections, “living” documents, active maps, educator profiles and projects, online lectures, scholar interviews, and much more. Sarah Cahill is Director of Education at Mystic Seaport.

For information, please contact the Mystic Seaport Education Office: Krystal.Kornegay@mystic or 860.572.0711 ext. 5025. Please visit the website at

MYSTIC SEAPORT GOES TO CUBA After hearing Paul Hendrickson talk at the Museum’s Maritime Author Series in April 2012 about his book Hemingway’s Boat (2011), I was inspired to travel to Cuba. With the expertise of Dana Hewson, Mystic Seaport vice president and Clark Senior Curator for Watercraft, the Museum organized a trip to Cuba in March this year for a group of 17 members. The highlight of the trip was visiting Ernest Hemingway’s home, Finca Vigía, where his boat Pilar is on display and about which Hendrickson wrote so beautifully in his book. Other highpoints included hearing the choral group “Cantores of Cienfuegos” sing

ence that gave us an insight into a forbidden part of the world that we

Mystic Seaport will return to Cuba in the spring of 2014 for a maritime history tour with Dr. Eric Roorda, who is the author of Cuba, America and the Sea (2006) and co-director of the Museum’s Munson Institute.

will probably see transformed in our lifetime.

Alexandra Alpert is Director of Membership and Volunteer Services.

“Shenandoah” (you can find them on YouTube), as well as sharing great experiences with the Cuban people. It was a humbling experi-

Thank you to those who traveled with Mystic Seaport and helped make this trip so memorable.

For more information, please visit – or email the Membership Department at FALL / WINTER 2013

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JOIN US ONLINE It was a banner year for launches at Mystic Seaport. In addition to the Charles W. Morgan’s return to the water, the Museum launched another large item this past summer: a new and improved website. The brand new www.mysticseaport. org premiered the first week of June, greeting web visitors with compelling imagery and videos, user-friendly navigation, more news, an enhanced calendar of events, and My Trip. The latter is an online organizer that lets visitors plan their next visit by using the “Add to My Trip” buttons to save vessels, exhibits, and anything else they don’t want to miss to their personalized itinerary, which can be viewed or printed at any time. An image gallery showcasing different aspects of Mystic Seaport is the main focal point of the site’s new homepage. Below the fold, three new elements are featured: a calendar of upcoming events and two news feeds—one sharing the latest Mystic Seaport news and one highlighting maritime news from around the world. The Museum’s social network activity is now featured on the site’s new Connect page.

From Tweets to blog posts, the webpage – which somewhat resembles a digital newspaper– displays a constantly updated view of Mystic Seaport’s social media presence. Additionally, website navigation is now on the top of each page and features extra-deep main menus so the entire site can be explored just by pointing at the menu on any page. While improved functionality was a necessity for the new website, so was a fresh look. Photo galleries, larger-sized images, and videos have a key presence. On select pages, viewers can watch Mystic Seaport moments that have been captured by the Museum’s Film & Video Department and also attend events online by watching live streaming videos. One such event was the Morgan launch, which garnered more than 11,000 views during the live broadcast. The next time you’re online, stop by the Museum’s website. Follow the lead of the navigation menu and learn, join, shop, connect, support, and research the collections. It may not be quite the same as a real visit to Mystic Seaport, but it provides an enjoyable, user-friendly, and informative experience of its own. Erin Richard is the Web Content Manager at Mystic Seaport.

SOLAR POWER SYSTEM INSTALLED ON THE ROSSIE MILL In November 2011, Mystic Seaport entered into a PPA (Power Purchase Agreement) with Altus Power of Greenwich, CT, to construct a solar array on the roof of the Rossie Mill, where the Museum’s Collections Research Center and boat storage area are located. Altus Power worked for several months to secure the approvals and permits necessary to construct the system. By December 2012, all the approvals were in place. Construction then began in January and was completed in April. The system was inspected and approved by Connecticut Light & Power and came online May 21, 2013. How it works: Every minute, enough of the sun’s energy reaches the earth to meet the world’s energy demand for one year. Solar modules capture this energy through a number of solar cells. Light is absorbed by the semi-conductors located inside the solar cells and converted into electrical energy.


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This process generates direct current (DC) electricity which is routed to an inverter that converts the electricity generated by the solar modules into alternating current (AC). This is the form of electricity used in lighting, heating, and cooling systems. The system on the roof of the Rossie Mill, which consists of 963 solar panels connected by over four miles of wire, has a designed capacity of 200 kilowatts. This equates to about 20 percent of the annual electrical demand of the Rossie Mill. Ken Wilson is Director of Facilities.


VOLUNTEER OF THE YEAR: ANNE BUTLER Anne Butler was presented with the 2013 William C. Noyes Volunteer of the Year Award at the Mystic Seaport Celebration of Volunteers event in July. Butler, of Jamestown, RI, began volunteering at the Museum in May 2008 and has since contributed more than 10,000 hours. It is not unusual to find Butler working seven days a week, and at present she is volunteering in the Shipyard, the Exhibits department, and the G. W. Blunt White Building, which holds the National Rowing Hall of Fame, the rowing exhibit “Let Her Run,” the archive of the Cruising Club of America, the exhibit “Adventurous Use of the Sea,” and a small selection of images from the Rosenfeld Collection. “It came as a big surprise and I am very proud to have been chosen,” Butler said. “By now, I have volunteered in every department at the Museum, and it’s great fun.” During the winter, Butler and a small group of volunteers in the Shipyard make between 10,000 and 12,000 hulls for the high season’s toy boat building for children. “I do love working in the Shipyard,” Butler said. “Consistency is Anne Butler’s code of work ethic, and she represents the true spirit of the Corps of Volunteers. Her multi-faceted efforts in so many departments remain the marvel of staff and fellow volunteers throughout the Museum,” said Rhoda Hopkins Root, associate director of Volunteer Services. The William C. Noyes Volunteer of the Year Award was established in 1998 by Bettye Noyes in memory of her late husband and is annually given to a volunteer who “best personifies Bill Noyes’s example and the ‘true spirit’ of a Mystic Seaport volunteer.” At the award ceremony in July, special recognition was also given to volunteers Kit Werner and Barry Boodman and to Arleen Anderson, graphics specialist at the Museum’s Exhibits department.

The Launch of the Charles W. Morgan on July 21, 2013

On her maiden voyage, the Morgan

rounded the Horn and gained the Pacific.

Gone three years and four months,

she made homeport,

her hold a cornucopia

of 2,400 barrels of oil,

10,000 pounds of whalebone.

The year was 1841.

This year, 2013,

she is launched again,

to sail for pleasure,

then lie anchored, as testament,

to the men who built her,

to the shipwrights who have restored her,

to the 80 years she sailed,

to the 1,000 men who sailed her,

to the 37 voyages,

to the boats launched from her,

to the oil, rendered,

from the blubber by her tryworks,

to her surviving the fire

from the wreckage of the Sankaty,

that struck her in New Bedford’s harbor;


Rob Whalen, lead shipwright on the Charles W. Morgan restoration, could finally exhale when the vessel was successfully and officially launched. Rob is quick to give credit to the many talented shipwrights and volunteers whose skills, hard work, and dedication have given new life to the Morgan. Rob says he has learned a lot of new things throughout the five-year restoration process. When every last detail of the ship’s rebirth is completed, Rob anticipates having more time to do something else he enjoys—cooking! Tireless Museum volunteer, Julia Doering, began her “Morgan connection” in 1999 as a novice volunteer interpreter aboard the historic whaleship. During the vessel’s restoration, Julia returned to supervise a volunteer crew totaling 25 men and women, all eager to be involved in revitalizing the Morgan to her original majesty. Julia stresses, “Because we were working on a historical artifact, it was imperative that volunteers be assigned to specific jobs, based on their individual talents and abilities.” As a PILOT and a donor to the Morgan restoration, Julia deservedly feels pride in a job well done and satisfaction in helping reach a monumental goal.

all this, then, testament

to the very ship of her,

her planed planks bearing

the shipwrights’ handprints,

whose fingertips shaped her

to restoration with their work,

the touch of love in the work of their hands,

that pressed her, again,

Mystic Seaport members John and Claire Bolduc, of Gales Ferry, CT, are excited about the 38th Voyage of the Charles W. Morgan. They have kept up with the vessel’s restoration progress via videos and newspaper and magazine articles. “To us the magnitude of the project is awesome on all counts; we could not miss the Launch day.”

into the embrace of oceans.

~ Philip Kuepper

Philip Kuepper, a former employee of the Mystic Seaport Bookstore, is a poet living in Mystic. Philip has had his work published in Poetry, The Washingtonian Monthly, RFD magazine, The New York Times, Promise Magazine, and The Mystic River Press.

“I first boarded the Morgan back in 1968,” says Donald Peacock, chairman of Lynx Educational Foundation, Nantucket. “It was important for me to be here today to share this historic event. My son, Alexander, is a rigger on the Morgan and the ship is a wonderful educational tool. By the way, our foundation’s schooner Lynx was rigged at Mystic Seaport this past spring.”

from the Launch of the Morgan

Chris Kretch, from St. Michaels, MD, finds the entire history of the Morgan fascinating. He had a very special reason for attending the Launch. Chris built one of the whaleboats that the Morgan will carry when she sets sail next year. He learned his boat building skills at the Great Lakes Boat Building School in Cedarville, MI. It’s easy to see why Chris is excited about the Morgan’s planned voyage! installing the Morgan’s Golden Billet Head was an unforgettable experience.

Sean Patrick Kelly hammered the “golden nail” into the Morgan’s shutter plank, the last plank to close up the ship. Sean admits that he wasn’t a skilled shipwright, but wanderlust, curiosity, and a love of history drew him to Mystic Seaport. He took the opportunity to learn new skills and be part of the Charles W. Morgan restoration. Sean did most of the fastening and feels he could now “pretty much build a boat.” He says the comradeship and the “graffiti” his fellow Shipyard workers wrote or drew on the wooden scaffolding kept things fun. David Benvenuti, of Waterford, CT, has been a Museum member for five years. He first boarded the Morgan on a Cub Scout field trip. His strongest recollection was the eyeopening sight of how sailors lived aboard a ship. As a woodworker himself, David can appreciate the fine quality of workmanship on the restoration project. Prior to joining the Charles W. Morgan restoration project, shipwright Matt Barnes, a Connecticut native, had spent two years studying at the International Restoration Yacht School in Newport, RI, then he worked at Morris Yachts in Maine. Matt describes Master Shipwright Roger Hambidge as a good teacher with whom he worked on the whole front section of the Morgan. For Matt,

Michelle Norelli, a Mystic Seaport member and a first year PILOT, had a sentimental reason for attending the Morgan Launch celebration. Her recently deceased husband, Neil Norelli, called the Charles W. Morgan his favorite ship. For Michelle, attending Launch day was partly to honor her late husband’s love for the Morgan, and partly to locate the commemorative bench given to the Museum in his honor. Nate Nevins, from Voorhees, NJ, who visited the Morgan in the mid-1930s when she was still at Colonel Green’s estate, was eager to view the whaleship just before the Launch. “It feels so special to see her again, and to meet some of the wonderful people who have made the Morgan so beautiful for coming generations,” says Nate. Jean-François Viguié, from Seyssinet-Pariset, near Grenoble, France, is not a stranger to Mystic Seaport. Now a retired engineer, a sailor, and a fanatic about wooden boats, he first visited the Museum in 1987. In the summers of 2008 and 2009, Jean-François signed up as a Museum volunteer to work both as an interpreter and in the Shipyard. As a special guest of the Museum, he was thrilled to be here for the Launch. “The Museum is a special place for me,” Jean-François says. “I was here in the beginning of the restoration work of the Morgan, and it was wonderful to be back for this big event and to see her return to the river.” Interviews conducted by Trudi Busey who is a volunteer at Mystic Seaport. FALL / WINTER 2013

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want everyone who has touched her, every paid craftsman and unpaid volunteer who has treasured and cherished her and who has lovingly brought her back to sail again into New Bedford Harbor to know that they will be with me as I swing the bottle. Along with these amazing craftsmen, I will also swing the bottle with all of those who had the foresight in 1925 to want to preserve this great ship. They would indeed be astounded to see her now. I am truly humbled by this honor.”

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With those words, Sarah Bullard, the great-great-great-granddaughter of Charles Waln Morgan, smashed the ceremonial bottle across the bow to christen the Charles W. Morgan on Sunday, July 21, 2013. The breaking of that glass stands as the proud moment when the Morgan started her journey back to sea. This day had been long in the making. The ship had been out of the water in the Museum’s Henry B. duPont Preservation Shipyard since November 2008 for the most comprehensive restoration she has had since she arrived at Mystic Seaport

in 1941. While her topsides have been addressed several times over the years—the first instance was in the 1880s—this project focused primarily on restoring areas of the vessel from the waterline down to her keel and structural work in the bow and stern. Much of the material below the waterline dated to her original construction in 1841. After a morning thunderstorm that soaked the grounds and shook the neighborhood with a huge thunderclap—the clash appropriately striking just as an offering of rum was poured for Neptune in the Shipyard—the skies cleared and the sun came out to set the stage for a perfect summer day as the crowds started to pour through the Museum gates. While people had the opportunity to view the launch from several locations around the Museum, the focus was in the Shipyard and the proceedings got underway at 1:30 p.m. with a concert from the U.S. Coast Guard Band. The assembled crowd included visitors, members, donors, and dignitaries— including a sizeable contingent from New Bedford, the site of the Morgan’s construction and longtime homeport. The accents overheard in the crowd ranged from the Deep South to Downeast Maine, and it was not uncommon to hear how people had driven 12 hours or more to be there. The ceremony commenced at precisely 2 p.m. with the singing of the National Anthem, followed by an invocation by Rev. Ann Aaberg of the Mystic Congregational Church. Bearing the good news of a state grant of $500,000 for the restoration, Gov. Dannel P. Malloy took to the stage to explain why he felt the State of Connecticut needed to be behind the project. “This ship behind me stands as evidence of who we once were, and the role we once played in the founding of this nation, of the development of the Industrial Revolution, and all that has transpired since those days,” he said. Earlier in the week, the U.S. Senate passed a resolution honoring the Museum for its achievement. The measure’s co-sponsor, Sen. Richard Blumenthal, was present and


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read the text for the audience. Citing the ship’s importance to the nation’s maritime heritage, the resolution officially designated the ship an “Ambassador to the Whales” and praised the goal of next year’s 38th Voyage to “reinterpret the Charles W. Morgan as a vessel of scientific and educational exploration whose cargo is knowledge and whose mission is to promote awareness of the maritime heritage of the United States and the conservation of the species the Morgan hunted.” The keynote speech was given by filmmaker Ric Burns, whose PBS documentary Into the Deep chronicled the history and influence of whaling in America. “This is the first totally good thing I have done in ten years!” he exclaimed to great applause. Burns delivered a moving and inspiring address that examined the Morgan’s role as a connection to our shared history as a seafaring nation, the avatar of the magic and mystery of ships and the sea, and a reminder of our evolving relationship with the natural world. “This one ship has embodied, made possible, made real, and brought alive the experience of whaling as no other single artifact on the planet,” he told the crowd. Burns described the Morgan project as more than a restoration. “We have trans-

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formed an instrument of commerce, of killing and rendering, into a source of wonder and imagination and knowledge and understanding,” he said. “Once it went out across the world and brought back profit. Now it sails here, both really and in our imagination, and brings back another kind of treasure far more valuable–information about worlds past, present, and to come.” All eyes were on Sarah Bullard as she stepped up on the platform under the bow to christen the vessel. The bottle she carried contained a blend of waters from oceans around the globe where the Morgan had ventured during her 37 whaling voyages. Jim Carlton, the director of the WilliamsMystic Program, coordinated the gathering of samples from as far afield as Mauritius,

Argentina, and the Azores to represent the Indian, Pacific, and Atlantic Oceans. Waters from her original and current homeports of New Bedford and Mystic were added as well. The samples were blended in an informal ceremony the day before; with staff members who have made significant contributions to the project each taking a turn to carefully pour the samples into the special, easily breakable bottle. A touch of rum was added for good luck. As those waters cascaded off the bow of the ship in the wake of Bullard’s swing, U.S. Rep. Joe Courtney shouted, “Mr. Noseworthy, please commence the launch!” And with that, the launch was on. Shipyard staff member Scott Noseworthy pressed the button to instruct the motors

on either side of the shiplift to lower the platform holding the ship into the river, a very slow and precise process that was calculated to take about 20 minutes. Museum President Stephen C. White, who emceed the day’s events, stepped forward to warn the audience with some humor, “Ladies and gentlemen, this is going to be a slow watch. Those of you who came prepared for the big splash or the run down the ways will be severely disappointed.” “To fill the time,” as White put it, a number of individuals from the Museum community and beyond had the opportunity to speak. Jon Mitchell, the mayor of New Bedford, spoke of the importance of the Morgan to his city and the building excitement around her homecoming next summer, Mystic Seaport Executive Vice President Susan Funk read excerpts from the Morgan’s log books, and White read a poem, “Building Her,” by Maine poet Phillip Booth, dedicated to the Shipyard staff. Rob Whalen, the lead shipwright on the restoration, shared his thoughts as the ship slowly inched down into the water behind him. “We got her done,” he said giving credit to the staff, volunteers, and donors who had contributed to the project. “What makes all this happen is teamwork, and I thank you for that.” Finally, the moment arrived and Shipyard Director Quentin Snediker gave the signal to fire the cannon: the Morgan was afloat on her own bottom for the first time in nearly five years. While it might not have had the drama of a huge splash, the celebration was no less intense. Cheers erupted up and

down the river, horns blew, the bells of the town’s churches tolled, and the Mystic Fire Department’s new fireboat sprayed the sky with red and blue water. State Sen. Andrew Maynard, who earlier spoke eloquently about his memories of the Morgan as a young boy growing up in Noank, seized the podium and led the crowd in three cheers for the ship: “Huzzah! Huzzah! Huzzah!” The moment was shared by far more than those who were fortunate to find a space in the Shipyard. It seemed like the entire community turned out to see the event as thousands of people lined the nearby shores of the Mystic River and a huge flotilla of kayaks, canoes, dinghies, motorboats, sailboats, and more filled the

water. Present in the crowd were several of the new whaleboats built for the Morgan for her 38th Voyage in 2014. The old saw is appropriate here: you could almost walk from one side of the river to the other, there were so many boats. In fact, the launch had a global audience as the ceremony was broadcast through a live video feed available on the Museum’s website. By Monday morning more than 11,500 people had viewed the feed either live or on demand. People from around the country, and indeed around the world, tuned in—including a couple of viewers from Finland and a contingent from New Zealand. At the end of the day, once the crowds dispersed, the band packed up, and visitors had their last look at her afloat, the Morgan was back where she belongs, quietly secure in her berth, rising and falling to the tide and movements of the Mystic River, sensitive to wind and current, and ready to begin preparations for the next chapter in her illustrious career, which will see her go back to sea to sail once again under her own canvas, a sight not seen since 1921. Huzzah, indeed. For more photos, video, and the entire text of Ric Burns’ speech, visit

Dan McFadden is Director of Communications at Mystic Seaport.


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By FRED CALABRETTA ince the earliest days of Mystic Seaport, the growth and refinement of the Museum’s world-class artifact collection has relied primarily on the generosity of private donors.

This important trend continues through the present day, as it did in 2012 when a phone call brought a remarkable offer. A model builder located in the very landlocked city of Lubbock, Texas, offered us an entire collection of ship models as a gift. Griffith “Grif” Henson, an avid modeler, developed a love of sailing ships as a teenager in 1957, when he visited the east coast and saw the USS Constellation and the replica ship Mayflower II. He began

building ship models and continued doing so as he pursued his education. He entered the teaching profession in 1963 and retired in 1999 after more than 30 years as a college history professor. His retirement allowed him to focus on his love of ship model construction, and his “fleet” eventually numbered more than 50 boats. The models include colonial vessels, clipper ships, packet ships, early naval vessels, slave ships, and other vessel types representing about 400 years of maritime history. They range in size from a nine-foot model of Titanic to a nine-inch early naval gunboat. All but one of the models in the collection are built from scratch, and many are based on the plans of preeminent maritime historian Howard I. Chapelle. TOP: A TRUCKLOAD OF CAREFULLY PACKED MODELS. FAR LEFT: THE SLAVER DILIGENTE. CENTER: THE PACKET SHIP NEW YORK. RIGHT: U.S. NAVY GUNBOAT, CA. 1804.

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The Launch of the Charles W. Morgan on July 21, 2013

On her maiden voyage, the Morgan

rounded the Horn and gained the Pacific.

Gone three years and four months,

she made homeport,

her hold a cornucopia

of 2,400 barrels of oil,

10,000 pounds of whalebone.

The year was 1841.

This year, 2013,

she is launched again,

to sail for pleasure,

then lie anchored, as testament,

to the men who built her,

to the shipwrights who have restored her,

to the 80 years she sailed,

to the 1,000 men who sailed her,

to the 37 voyages,

to the boats launched from her,

to the oil, rendered,

from the blubber by her tryworks,

to her surviving the fire

from the wreckage of the Sankaty,

that struck her in New Bedford’s harbor;

all this, then, testament

to the very ship of her,

her planed planks bearing

the shipwrights’ handprints,

whose fingertips shaped her

to restoration with their work,

the touch of love in the work of their hands,

that pressed her, again,

into the embrace of oceans.

~ Philip Kuepper

Philip Kuepper, a former employee of the Mystic Seaport Bookstore, is a poet living in Mystic. Philip has had his work published in Poetry, The Washingtonian Monthly, RFD magazine, The New York Times, Promise Magazine, and The Mystic River Press.

Grif Henson had long been comin coming years as they are loaned to mitted to the idea of finding a suitable other museums in support of our active home for this impressive collection. outloan policy. This will extend their This prompted him to contact Mystic reach and benefit to an even broader Seaport. Although space limitations audience. and the practical burdens of profesThe Museum’s collecting focus censional collections care require the Muters on American maritime history, and seum to be selective about acquisitions, although some of the Henson models we were intrigued by his offer. seem to fall outside this emphasis, they Two aspects of the collection made are actually a good fit. The British-built it an especially good fit for the Museum. Titanic, for example, was bound for New First, several of the model categories, York and carried many American passuch as colonial-period ships, packet sengers. Another British ship in the colships, slavers, and early naval vessels, lection, the Mayflower, reflects the story fill gaps in our existing collection. Secof immigration to America. Two other ond, the constant 1/8th scale of the ships, Columbus’s Santa Maria and a models—a factor Grif views as the Viking ship, represent the discovery of collection’s most important feature— North America by Europeans. also made it very appealing. Existing The models are temporarily stored in models in the Museum’s collections were acquired from many different CSR, the Musem's original Collections sources over a period of more than 80 building located on Hinckley Street. years. They were also built in a number Here they will receive the same treatof different scales, which can be a bit ment given to all objects fabricated from confusing for some of our visitors when organic materials; they will spend sevseveral are displayed in close proximity. eral weeks in our “CO2 bubble,” ensuring In the future, any display of a combinathey do not harbor any Texan insects, tion of the Henson models will allow TOP LEFT: MODEL MAKER GRIFFITH HENSON. before they are placed in permanent TOP RIGHT: A NAVAL ROW GALLEY, 1814. visitors to appreciate their similarities, storage in the Collections Research Cendifferences, and comparative size in MIDDLE: THE MODELS – INCLUDING THE 9’ TITANIC – TEMPORARILY STORED IN THE RECEIVING AREA OF THE MUSEUM’S CSR BUILDING. ter in the Rossie Mill. Chris noted that accurate scale. BOTTOM: COLLECTIONS MANAGER CHRIS WHITE CAREFULLY among his favorites in Grif’s collection HANDLES A MODEL FOLLOWING ITS 2,000-MILE TRIP. After reviewing photos and adare the small and almost frail-looking ditional details, the Collections staff early naval gunboats, several of which confirmed interest in the collection. antly surprised—and relieved—when the are propelled by oars. It could be that their Grif was enthusiastic about our response completed arrangement seemed to confirm small size is part of their appeal – space is and very pleased when the details for the the truck could accommodate the entire coltransfer were finalized. With Grif’s cooperation, Collections Manager Chris White scheduled the pickup in Texas after the threat of winter weather and between other major projects at the Museum. While Chris has transported many artifacts in the Collections Department truck, the task of safely packing 50-plus models and transporting them 2,000 miles posed an interesting challenge. Chris began by carefully measuring the truck’s cargo area. He then created a scale drawing and cut out individual pieces of paper–in scale–representing each of the models. We were pleas-

lection. Still, because of different methods of taking measurements, different size bases, safe spacing of the models, and other factors, Chris viewed the eventual loading of his cargo with some understandable concern and uncertainty. The date for departure from Mystic Seaport was set for June 2 and Chris was accompanied by his wife Carla. They arrived back in Mystic on June 13. The Museum’s use of the models in future exhibits promises to fulfill Grif’s vision for them as teaching tools. In addition, we expect a number of them will travel again

a prized commodity in collections storage. Finally, this remarkable gift may not be the end of the parade of Grif Henson’s ships to Mystic. He has indicated he plans to continue to build models and has kindly offered to build them “on demand” for us, based on our additional needs and requests.

Fred Calabretta is Curator of Collections & Oral Historian at Mystic Seaport.


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Q & A


eanne Potter, who has been director of the Maritime Gallery at Mystic Seaport since 2005, is busy launching art exhibits year round. The Maritime Gallery, which is known around the U.S. for its contemporary marine art, is located just outside the Museum's grounds, overlooking the beautiful and historic Mystic River. It is easy to understand why artists are drawn to the Mystic area to find inspiration. Mystic Seaport Magazine asked Jeanne some questions:

personal demonstrations and lectures about their work. Most of the 125 maritime artists who exhibit in the Gallery come to us through the International Show where artists are juried against their peers. This is when we may accept any new artists and also reevaluate the artists we currently represent. The Gallery standards are very high. We have a number of artists who have been with the Gallery for more than 30 years. We also feature and award emerging new marine art talent.

What is your background? Are you an artist yourself? Yes, I’m an artist and have spent my career divided between gallery management, teaching art, book design, and creating my own art. I was lucky as a middle and high school student to take art classes in drawing and painting at the Carnegie Museum of Art in Pittsburgh where I grew up. I received my BFA and MFA from Syracuse University School of Visual Art with additional studies at the Art Students League in NY and master courses with Burt Silverman, Raymond Kinstler, and Philip Pearlstein. My prior gallery experience includes corporate art buying and art gallery management. I was a professor of painting and drawing and an administrator at a college in Washington, DC. All these skills have helped me in my current role as the director of the Maritime Gallery.

The Maritime Gallery has a special “Patron Membership.” What are the benefits of becoming a Patron? The Maritime Gallery Patron Program is a special program for discriminating marine art collectors. It is a way for patrons to meet and mingle with

Q&A with Art Gallery Director Jeanne Potter

Please tell us about the different art exhibits and other events you are organizing. Where do you find the artists? We have five annual exhibitions in the Gallery, which was a gift to Mystic Seaport by Rudolph J. Schaefer III. Additionally, we hold exhibitions and have an Artist-in-Residence program at the Ocean House Hotel in Watch Hill, RI. Our signature event of the year is the Annual International Marine Art Exhibition. Now in its 34th year, it features more than 100 of the finest marine art works from around the world. Other shows during the year include Modern Marine Masters, Maritime Miniatures by Maritime Masters, and Plein Air Painters of the Maritime Gallery, where invited artists paint on the grounds of Mystic Seaport. We also have a very popular program called Behind the Canvas, featuring Maritime Gallery’s artists giving

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artists and fellow collectors. Patrons pay annual dues to attend two private preview openings, may purchase Gallery works at a discount, and receive a Family Membership for Mystic Seaport, along with Gallery and Museum publications. They also receive discounted rates around the Museum. Some people are collecting art as an investment. What is the market for marine art these days? The market for marine art is good, but it has

changed over the years. People have always been fascinated with the sea, so naturally we are attracted to images that pay homage to it. Marine art began as a historical documentation of ships, sea battles, and maritime events. Now, marine art is collected for a variety of reasons, and contemporary marine art in particular has become extremely popular over the last 20 years. A popular subject for contemporary marine artists is documenting major sailing events such as the America’s Cup, which began in 1851, and all the glory and romanticism that surround it. Our award-winning Maritime Gallery artists create the entire spectrum of marine art with paintings, scrimshaw, sculpture, and ship models. Marine art is a good investment as it holds its value and has timeless appeal. I always tell our clients to purchase what they love and buy the best they can afford.

MY MYSTIC SEAPORT The Launch of the Charles W. Morgan on July 21, 2013 On her maiden voyage, the Morgan rounded the Horn and gained the Pacific. Gone three years and four months, she made homeport, her hold a cornucopia of 2,400 barrels of oil, 10,000 pounds of whalebone. ADELE McGUIRE




n March of 1987, I began my Mystic Seaport experience,” says Adele McGuire, of Noank, CT. “During the summer season, I greeted visitors from far and wide at the Museum’s Main Gate. At that time, the ‘gate’ was a pilot house, just like the one we are using now for selling tickets to our steamboat Sabino.” At present, during off season, Adele is “the voice of Mystic Seaport,” when for three days a week she staffs the Museum’s switchboard. Starting in mid-May and until Columbus Day Weekend, you will find Adele at the Sabino ticket booth. What is your Mystic Seaport? I enjoy the friendship of many long-time employees as well as newer employees. I also feel privileged to meet visitors from all over this country and, in fact, the world! And if spending my days at one of the most gorgeous places in the southeastern Connecticut has something to do with it, too — you are correct. Please, stop by to say “Hello” or even take a ride on Sabino, one of our beautiful National Historic Landmark vessels.


Jeanne Gade, from Old Saybrook, CT, began working as the Director of Human Resources at Mystic Seaport in January 2013. What is your Mystic Seaport? My Mystic Seaport is our people. I knew when I started here that I would be meeting a whole new group of interesting people. However, I had no idea just how diverse this group would be. Everyday is another opportunity to learn new things from our dedicated staff and volunteers through their stories and experiences. Not everyone can say that they spend their workday in a place they absolutely love. But if you look around, you’ll see that sentiment is shared on the faces of all the wonderful people who make Mystic Seaport the special place it truly is.


“My first job ever was working at the Museum’s Visitor Reception Center (VRC) for a summer while I was in high school,” says of Melissa Barnes, North Stonington, CT. Fast forward some years: this summer and fall, she is working in the Interpretation Department as a seasonal employee in various exhibits. What is your Mystic Seaport? My Mystic Seaport is the wonderful people working here! From the people at the VRC, where I first started, to the whole Interpretation Department, everyone working at the Museum is kind, supportive, and knowledgeable. While being in “training” to be a member of the demonstration squad, I could always rely on getting help from a staff member. Still, if I don’t know the answer to a question from a Museum visitor, I can always direct the person to a colleague who knows the answer. It’s the staff who make this a special place to me.

The year was 1841. This year, 2013, she is launched again, to sail for pleasure, then lie anchored, as testament, to the men who built her, to the shipwrights who have restored her, to the 80 years she sailed, to the 1,000 men who sailed her, to the 37 voyages, to the boats launched from her, to the oil, rendered, from the blubber by her tryworks, to her surviving the fire from the wreckage of the Sankaty, that struck her in New Bedford’s harbor; all this, then, testament to the very ship of her, her planed planks bearing the shipwrights’ handprints, whose fingertips shaped her to restoration with their work, the touch of love in the work of their hands, that pressed her, again, into the embrace of oceans. ~ Philip Kuepper Philip Kuepper, a former employee of the Mystic Seaport Bookstore, is a poet living in Mystic. Philip has had his work published in Poetry, The Washingtonian Monthly, RFD magazine, The New York Times, Promise Magazine, and Mystic River Press. FALL / WINTER 2013

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The Boys in the Boat Nine Americans and Their Epic Quest for Gold at the 1936 Berlin Olympics BY DANIEL JAMES BROWN • Reviewed by GÖRAN R BUCKHORN


lthough rowing — or as it is called in America, crew — is a

nine men, they still had to beat the arch-rival crew from University of

minor sport compared to other team

California-Berkeley, coached by Ky Ebright, whose previous crews had

games, each and every year sees a new

represented the U.S. in the 1928 and 1932 Olympic Games, becoming

book published about this aquatic activity. Nevertheless, it is rare to be able to add a new title to the niche genre of rowing history. Amongst the authors and the books which are still in print in this group, and worth mentioning here, you will find: David Halberstam’s The Amateurs (1986), Daniel Boyne’s two books The Red Rose Crew (2000) and Kelly: A Father, A Son, An American Quest (2008), and Christopher Dodd’s Pieces of Eight (published in Great Britain in 2012). To this small but splendid collection of authors and their books can now be added Daniel James Brown and The Boys in the Boat – Nine

champions in both events. Then Joe and his mates had to overpower the “snobs” from the East Coast at the 1936 IRA Regatta at Poughkeepsie; this was a time when an incredible number of 90,000 spectators gathered on the shores of the Hudson to watch the races. In the Pocock-built Husky Clipper, the Huskies prevailed (told by the author in a beautiful race report). Later winning the Olympic trials in Princeton, it seemed the Washington crew had their trip to Berlin in the bag, but not before good people in Seattle and in the boys’ hometowns managed to raise $5,000 in a few days for their tickets.

Americans and Their Epic Quest for Gold at the 1936 Berlin Olympics

In their first heat at Grünau, the Americans managed to keep the

(Viking, 2013, 404 pp.). As the subtitle tells, Brown’s book is about the U.S.

British eight at bay, forcing them to a repechage heat, an extra race

eight with coxswain who went to fight for honor and glory at the 1936

which they won, taking them to the final, where strong crews from

Olympic rowing regatta on lake Langer See at Grünau, outside Berlin,

Germany and Italy were all game for the Olympic medals. It was the

where these young American oarsmen became Olympic champions

British boat, stroked by the eminent “Ran” Laurie and coxed by Noel

by a slim margin.

Duckworth – two of my rowing heroes – that the Huskies feared most.

All Americans love a tale about underdogs, especially if the underdogs

In the final race, in front of Der Führer and other Nazi dignitaries, the

are Americans, and at the center of this compelling story is Joe Rantz,

Husky Clipper sneaked up from the far back of the field to snatch the

one of the boys in the crew, whom Brown met at his neighbor Judy

gold medal, leaving the silver to the

Willman’s house. Judy was Joe’s daughter, and when Joe was diagnosed

Italians, the bronze to the Germans, and

with cancer, he lived with her his remaining days. Listening to the old

the Brits with nothing, coming in fourth.

oarsman’s account, Brown realized that the story of these Olympians is not as commonly known as, for example, Jesse Owens’s, whose four golds at the Berlin Games seriously challenged Nazi ideology. While rowing in the 1930s was regarded as a sport for the privileged few, Joe and his oarsmen comrades at the University of Washington were the sons of farmers, fishermen, and lumberjacks. Although Brown’s narrative is about all the boys in the boat —their route from freshmen rowers on Lake Washington to Olympians on Langer See, a three- to four-year voyage not always on an easy, straight course—it is the human story of young Joe’s life struggles of Dickensian dimensions during the Depression that grabs the reader.

Daniel James Brown is a clever author, and it is a grand story he is telling. He is not a rower himself, which is probably good, because he has made sure that a non-rower can easily follow the Husky boys when they catch a crab or feel the pain like they do after a hard race on Lake Washington. Rowing purists may notice a few places where Brown’s knowledge of the sport is lacking, but it was evident,

Assisting the crews, known as the “Huskies,” was a remarkable group

even before the book came out in June, that it would be a success: the

of rowing men: University of Washington’s head coach Al Ulbrickson,

film rights have been bought by the Weinstein Company, and when I

known as “the Dour Dane,” freshman coach Tom Bolles, who later

met Brown at an event, he told me that a screenwriter is working on the

became a successful coach for Harvard crews; and boat builder George

script. I am ready to line up outside the movie theatre to be enchanted.

Pocock, the Englishman whose father had built boats for the “wet-bobs” at Eton College. George Pocock helped to coach the Husky boys, using the same techniques he used to build the best racing shells in America:

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However, when Ulbrickson had found the perfect combination of

Göran R Buckhorn, editor of the Mystic Seaport Magazine, has rowed in Sweden, England, and the United States, but truth be told, he never

a philosophical approach and a sharp eye. It is as Brown writes: “Great

excelled at the oar. He sometimes calls himself a rowing historian and

crews are carefully balanced blends of both physical abilities and

is one of the Directors of the Friends of Rowing History and a member

personality types.”

of BARJ, British Association of Rowing Journalists.

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Scrimshaw – The Whalers’ Art in the Age of Sail Mystic Seaport has recently published a new book, Scrimshaw and Provenance, by Dr. Stuart M. Frank, Senior Curator Emeritus of the New Bedford Whaling Museum. Scrimshaw and Provenance, subtitled A Third Dictionary of Scrimshaw Artists, presents 406 biographical sketches of the men and women who produced scrimshaw on shipboard and ashore, participating in a homegrown occupational folk art. For the history buff and the general reader, it is eminently readable and delivers intimate glimpses into the burgeoning seafaring prowess of Young America. Scrimshaw is the whalers’ indigenous occupational art from the Golden Age of Sail: engraving, carving, decorating, and building things out of sperm whale teeth and other byproducts of whaling, including baleen (so-called whalebone), walrus ivory, and skeletal bone. Typically a shipboard pastime practiced by common seamen, ship’s carpenters, officers, and captains during idle hours at sea, it was also the occasional pursuit of the wives and children who accompanied whaling captains to sea, of sailors in the Navy and merchant trades, and even of some adventurous passengers

who were inspired by the enthusiasm of sailors around

On that point, the late scrimshaw historian Norman

them. The artists, mostly self-taught amateurs, came

Flayderman, author of Scrimshaw and Scrimshanders,

from all six inhabited continents, forming polyglot

wrote, “It has become unmistakably evident within

ship’s companies whose workmanship exhibits a

these past two decades that the unique nautical

broad spectrum of the protocols, cultural proclivities,

folk art of scrimshaw has dramatically increased in

and stylistic conventions of all the races of mankind.

popularity as a maritime antique artifact, and that

The results were such decorative objects as pictures

this popularity has been greatly owed to devoted

incised on whale teeth and walrus tusks, as well as

students and scholars whose information received

practical hand-tools, kitchen implements, canes,

ever greater circulation in publication. Certainly, the

workboxes, sewing accessories, chests of drawers,

most influential among them all and the most widely

toys, and even inlaid furniture – some made by carvers

read and published, has been Stuart Frank, who is

for their own use at sea, but most made as souvenirs

due highest acclaim for his years of research and

and gifts for loved ones back home.


“Until a few years ago the identities and careers

Frank, who has been

of the young men and women who created this

at the New Bedford

distinctive, mostly American folk art were entirely

Whaling Museum since

unknown,” Stuart Frank writes. “Thanks to increasing

2001, is the founder

interest in this compelling genre (beginning with

and director of the

President Kennedy, the most famous collector of

Scrimshaw Forensics®

scrimshaw), and thanks to the participation and

Laboratory and was previously executive director

collaboration of collectors, curators, and enthusiasts

of the Kendall Whaling Museum. Before that, he

on three continents, we have gradually come to know

was Research Associate at Mystic Seaport, which

who these artists were, where they came from, and

published his two companion volumes, Dictionary

something about the genesis of their aesthetically

of Scrimshaw Artists (1991) and More Scrimshaw Artists (1998).

worthwhile and historically significant artistic output.”

A Book of Voyages

Aida – The Finest Shallow-Draft Yawl

Patrick O’Brian (1914-2000), famed author of twenty novels in the AubreyMaturin series, collected and edited A Book of Voyages, originally published in Great Britain in 1947, and recently published in the U.S. for the first time. In this entertaining collection of voyages from seventeenth- and eighteenth-century travel books, O’Brian offers a range of stories from empires and continents, such as the journey of the “exceptionally beautiful” Lady Craven through the Crimea to Constantinople; Philip Thickness’s “general hints” to those traveling through France; a whaleboat voyage from St. Helena to Brazil by some deserters who resorted to cannibalism to survive; a voyage to Greenland (actually Spitsbergen) in 1630; and Colonel Norwood’s voyage to Virginia in 1649. All these narratives are fascinating travelogues, even though some of them feel a little short. In the foreword, O’Brian writes that his intention with this collection is to give the reader pleasure, a goal he indeed fullfilled.

For anyone who is interested in wooden boats, Aida: N.G. Herreshoff’s Finest Shallow-Draft Yawl by Maynard Bray (published by the Herreshoff Marine Museum and NOAH Publications, 155 pp.) is a must-read and must-buy book. Built in 1926, and first named Gee Whiz by the first owner, Edward Mallinckrodt, Jr., she was later named Aida by the second owner, Henry White, who named her after his son Nelson’s wife. (Aida and Nelson White’s youngest son, George, is now the Chairman of the Museum’s International Council.) In 1967, the boat ended up in the hands of Anne and Maynard Bray, fourth owners of this 33-foot yawl. In his book about Aida, Maynard Bray tells how easy she is to sail and maneuver and writes about her design, the five owners, maintenance, Doug Hylan’s restoration work in 2007-2008 (with a lot of informative photos), and her six-day voyage from Brooklin, ME, to Shelter Island, NY, after she had been restored to her former beauty. This was the first major refurbishment of Aida since she was launched. Aida’s specifications: LOA – 33'6", LWL – 27'0", Beam – 9'2" and Draft – 3'0". Like the boat, the book is a beautiful piece of art with many lovely photographs by Maynard Bray and renowned marine photographer Benjamin Mendlowitz. After the book had been published, Aida was donated to Mystic Seaport and arrived just in time for this summer’s WoodenBoat Show. She now graces the Museum’s waterfront.



| Mystic Seaport Magazine | 21








n September 3, 1938, The New London Day newspaper reported the arrival of the Chinese junk Amoy into port “after having received a cool reception at Groton Long Point.” The refusal of a mooring was rare during the junk’s lifetime. Since her arrival in Victoria, B.C., on September 20, 1922, from Shanghai, Amoy was a profitable curiosity in many ports and even became home to a family with three boys. The original owner was Captain George Waard, a naturalized Canadian of Dutch origin, who spent years at sea and in China. During those years he became impressed with the construction and the seaworthiness of the Chinese Amoy fishing junks. These little vessels were extremely dry, and in the roughest weather they could be seen bobbing like corks in the stormy Formosa Channel. Captain Waard had the sixty-five-foot, three-masted, twenty-three-ton junk Amoy built in Amoy during the winter and spring of 1921–1922. She was built by hand using camphor wood for heavy timbers, Chinese fir for planking, Foochow pine for masts, and ironwood for the keel. The caulking was a preparation of lime and wood oil (a product of T’ung nut) called Chunam or shinam, which was mixed with spent cotton fishing net. During the junk’s lifetime, it was said that “no bilge pump is carried, and the little water that comes in is taken out with a rag.” Captain Waard, his Chinese wife, their son Bobbie, and a four-person crew set out from Shanghai on June 21, 1922. According to the sensational newspaper coverage of the time, Amoy was reported to have experienced a fantastic journey with the greatest thrills imaginable, surviving two typhoons and three rudder breaks. It was also reported that she had a huge unwanted stowaway which, according to some reports, made several hearty

22 |

Mystic Seaport Magazine |


Leroy Lewis of Stratford, CT, while Captain Waard returned to a farm in Vancouver. In May 1926, Captain Nilson and his wife, Leroy Lewis, and a small crew set out on a three-year round-the-world cruise from Stratford aboard Amoy. A few months later, she was detained by the U.S. Coast Guard for a breach of protocol for flying the Chinese flag to “dress the boat up” while the U.S. flag remained aloft as well. The passengers, Chinese students from Harvard and MIT, were held under suspicion until they were able to produce passports. Junk Amoy was sold to Nilson and continued to have an extraordinary life under his command. Captain Nilson was her biggest champion and

CELEBRITY JUNK AMOY BY CAROL MOWREY “stewed snake” dinners. By the time they arrived in Victoria, junk Amoy was poised to be a celebrity. On her first day, she was boarded by several visitors, including movie stars Mary Pickford and Douglas Fairbanks, who suggested that Captain Waard charge admission–he earned $100 the first day. The vessel began a tour down the West coast, stopping at various ports considered profitable, and it was in San Francisco that the young future captain and owner Alfred Nilson would find Amoy so fascinating that he quit his job to become her first mate. He helped take her down the California coast and through the Panama Canal to the northeast U.S. coast, where she was sold to

wrote several articles about her adventures for the magazines The Rudder and Yachting. During the 1930s and 1940s, Amoy semi-retired from celebrity and tied up at New Rochelle, NY, while the Nilson boys attended school and Alfred Nilson worked at the radio station WOR as a radio engineer. Captain Nilson and his family called Amoy home, “The House with Red Sails,” for more than 35 years before she was sold in the 1960s. THE IMAGE, CHINESE FISHING JUNK, AMOY (ACCESSION NUMBER: 1984.187.15029F), WAS PHOTOGRAPHED BY MORRIS ROSENFELD IN JUNE 1925. Carol Mowrey is a Research Librarian at the Collections Research Center at Mystic Seaport. The Rosenfeld Collection at Mystic Seaport, well-known for images of the celebrated vessels of the America’s Cup races and other yacht and speedboat races, also contains beautiful imagery of runabouts, fireboats, tugboats, military vessels, and much more. Please visit

Invest in our Success! Your Annual Fund contribution is vital to Mystic Seaport. Gifts to the Annual Fund sustain all we do including the quality experiential education programs that are a hallmark of our Museum. Your philanthropy enables us to have a positive impact on thousands of students each year. Inspire an enduring connection to the American maritime experience by making a gift today:

To learn more about the Annual Fund and our premier gift level, America and the Sea Society call Elizabeth Benoit at 860.572.5302 ext. 5144

As you consider your annual giving to Mystic Seaport, a 501 (c) (3) non-profit organization, please remember to ask your employer if they will match your gift. The following 36 companies gave matching gifts to Mystic Seaport last year: Aetna Foundation, Inc.

Iris Enviornmental

Ameriprise Financial, Inc.

Josiah Macy, Jr. Foundation

Anchor Capital Advisors LLC

McGraw-Hill Companies, Inc.

AT&T Foundation

Medco Health Solutions, Inc.

Bank Of America Charitable Foundation


The Boeing Company

PepsiCo Foundation

The Capital Group Companies Charitable Foundation

Pfizer Inc.

Monsanto Fund

Coca-Cola Enterprises, Inc.

Pitney Bowes Employee Involvement Fund

ExxonMobil Foundation

PNC Foundation

FM Global

The Prudential Foundation

Gartner, Inc.

Stanley Black & Decker, Inc.

GE Foundation

Tiffany & Co.

General Re Corporation

Travelers Foundation

Goldman Sachs Matching Gift Program

United Technologies Corporation

Hartford Chapter 168 Star Touring and Riding

Waters Corporation

Hartzell Propeller, Inc.

Verizon Foundation John Wiley & Sons, Inc.

High Temperature Technologies ING Community Matching Gifts

Annual Fund promotes access to all our experiential education programs including Youth Sailing.



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PO Box 6000 Mystic, CT 06355-0990 Dated Material Do not hold

Ho,Ho… Holidays! I

Looking for the perfect gift?

n our Mystic Seaport Store we strive to provide matchless gifts: reproductions from the Museum’s collections, select photography from the Rosenfeld Collection, jewelry, toys, ship models, prints, posters, and other unique seafaring gifts. Our bookstore offers more than 90 titles published by Mystic Seaport, as well as rare volumes, and

one of the nation’s most complete selection of maritime books. Next door to our gift shop is the Maritime Gallery, the nation’s foremost art gallery specializing in contemporary marine art and ship models. Yes, we promise, we have the holiday gifts you are looking for.


Shop online from the comfort of your home at | Main store: 860.572.5385 or email Bookstore: 860.572.5386 or email | Maritime Gallery: 860.572.5388 or email Rosenfeld Collection: 860.572.5383 or email

Profile for Mystic Seaport Museum

Mystic Seaport Magazine, Fall-Winter 2013  

Featured articles: "The Launch of the Charles W. Morgan," "Mystic Seaport Receives Prestigious NEH Award," "Contrasting Aspects of Maritime...

Mystic Seaport Magazine, Fall-Winter 2013  

Featured articles: "The Launch of the Charles W. Morgan," "Mystic Seaport Receives Prestigious NEH Award," "Contrasting Aspects of Maritime...