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Inside this issue: High School Apprenticeship Program’s 10th Anniversary | Upcoming Exhibition on Albert Pinkham Ryder Lighting the Way Celebrates the Centennial of the Ratification of the 19th Amendment HelmFROM THE A Tribute to Llewellyn Howland, III Members and Friends: By Lloyd Macdonald You will likely be reading this Bulletin while we are still in the midst of the coronavirus public health emergency and it is my greatest hope that this edition finds you safe and healthy. With that in mind, there Llewelyn Howland, III (“Louie” to all who knew him), a four-term Trustee of the Museum, former Chair of the may be dates published in these pages that may shift as a result of the situation. While I certainly hope that Scholarship and Publications Committee, long-serving member of the Collections Committee and member during this crisis comes to a speedy conclusion, I am more mindful now than ever of the value of togetherness. his tenure on the Executive and Governance Committees, died on June 21, 2019. He was 81. As a Museum, we are a place of gathering on many levels. We collect and steward the objects, literature, and stories of our region’s history. We protect and share some of the most vital data and research in the Louie’s and my service on the Board coin- to Louie himself. He also co-edited the world of marine mammal bioacoustics. We unearth hidden stories of some of the most impactful women cided almost exactly. Early in our tenure, Museum’s 2007 publication of On the to have walked our streets. We curate our Collection in ways that share not only our spectacular art and on the occasion of a Board retreat, the Wind, the authoritative collection of the objects, but the unique stories that connect us to them. facilitator requested that each of us give a work of maritime photographer, Norman Most importantly, however, we are a place for you to see yourselves reflected in the stories we tell. The shift short description of our background and Fortier, Louie’s close personal friend. the origin of our interest in the Museum. we have had to make during these times away from being a place where we can all physically gather has felt According to his wife, Jay, Louie remained Those who spoke before Louie, includ- tectonic in size. The Museum team moved swiftly to share our stories and Collection digitally to give you “tremendously impressed by, and proud ing myself, longwindedly recounted our an opportunity to remain connected from the comfort of your own home. From our compelling regional of” the “emergency management duo” subject matter interests, but when it was history, our inspiring fine and decorative art, the contemporary scientific data that serves to help protect of fellow trustees, Cal Siegel and John Louie’s turn, he simply announced in a and preserve marine life, and to our new tools for educators to teach in this digital classroom moment, Garfield, who in 2007-2008 navigated loud, dispositive voice: “I am here because you can find it all at www.whalingmuseum.org/MuseumFromHome. the Museum through the difficult inter- my name is HOWLAND!” I look forward to our return to togetherness and this still remains a celebratory year for the Museum. Our regnum between Museum Presidents in award-winning High School Apprenticeship Program is celebrating its 10th anniversary! This program The place broke up, but all acknowledged treacherous financial times. “The Muse- has been a truly awe-inspiring effort to support our community’s youth and we are seeing the results today the authenticity of Louie’s declaration. um community pulled together,” Jay not- ed. “It was an inspiring time for Louie.” as we have followed students through their educational and professional careers. Indeed, a year later pursuant to an initia- The centennial anniversary of the ratification of the 19th amendment (some women’s right to vote) is tive that flowed from that same retreat, I Probably the event that most deeply inspiring everyone to get involved with Lighting the Way as we launch new aspects of the project and was doing some research on the origin of moved Louie was the realization of his continue to discover histories of remarkable women. the Museum and came across the paper dream, as a trustee of both our Museum written in 1903 by Louie’s distant rela- Llewelyn Howland, III and of Mystic Seaport, that the Charles Coming this summer is a landmark art exhibition and publication, A Wild Note of Longing: Albert tive, Ellis Howland. In it he urged that a W. Morgan whaleship be refurbished Pinkham Ryder and a Century of American Art. The show will bring together major masterworks across the museum be established to collect and pro- and return under sail to its home port of career of New Bedford native, Albert Pinkham Ryder, who achieved legendary status among artists during tect the legacy of New Bedford’s nineteenth-century whaling New Bedford. That happened in June 2014 with a fabulous his lifetime. This is the first exhibition of Ryder’s work since 1990 when an exhibition was hosted by the prominence. Ellis Howland went further, however, and mem- celebration organized by the Museum. Smithsonian American Art Museum and the Brooklyn Museum. orably submitted that the nascent museum have a wider focus Louie’s Coda to the Museum was actually written in 2007, And finally, in the spirit of togetherness, I am tremendously excited to launch our initiative called to “embrace all of ‘Old Dartmouth.’ That wide stretch of forest a time when there was considerable pressure to redefine the Common Ground: A Community Mosaic. New Bedford is an extraordinary place of infinite possibilities, and shore including New Bedford, Dartmouth, Westport, part Museum’s mission to focus exclusively on the whaling story where different paths from around the world have intersected and defined the city’s character. For the of Little Compton, Fairhaven, and Acushnet, which old King and to separate it programmatically from that of the region’s next three years, the Museum will be collecting and sharing the stories of the community – in their own Massasoit sold to the settlers.” words. The initiative will culminate in an exhibition that shares the lived experiences of the enduring and history. Louie passionately objected and concluded in a com- evolving communities of the area. Louie enthusiastically remained faithful to this dual vision of munication to me: the Museum to the end. I still consider myself to be fairly new at the helm of the New Bedford Whaling Museum and I would Let our museum grow to its proper height and width like to share how deeply inspired I am to be part of this community. These first months of the year have Louie promoted the Museum’s sponsorship of several exquisite and breadth. Prune it. Shape it. Nurture it. But never been challenging at times, and scary at others, but the passion and commitment of the staff, board, and publications, among them the biography of Raymond Hunt, cut away its roots. For its roots lie deep in the soil of Old volunteers will be something I will never forget. the legendary yacht designer, and A Man for All Oceans, the Dartmouth, and it has prospered mightily thereby. biography of Captain Joshua Slocum. Louie himself in 2015 Bless Louie’s memory and our opportunity to have been able I hope to see you soon and be well! authored the definitive biography of the America’s Cup yacht to serve the Museum together with him. (and airplane and machine gun!) designer, Starling Burgess, entitled, “No Ordinary Being”—an appellation appropriate

Amanda D. McMullen President and CEO EDUCATION High School Apprenticeship Program Celebrating 10 Years!

Until the celebration, the program and the apprentices will keep conservation and environmental protection and develop their own In 2010, the Museum’s Board of Trustees, championed by Gurdon B. Wattles, launched the High moving forward. community service project. Students also hope to have an opportu- nity to visit the UN and learn how their local issue is being addressed This year, apprentices will embrace the education department’s civic School Apprenticeship Program. The program, which provides New Bedford students with access to on a global scale. Senior apprentices will continue making plans for engagement theme by learning about a United Nations Sustainable their next steps, finalizing college and scholarship applications and resources and experiences that deepen community engagement, promote personal and professional Development goal – life under water - and reflecting on how it can like the Apprenticeship Program, look ahead to the future. development, and cultivate college and career success, quickly became a pillar of the Museum’s be addressed on a local scale. Students will conduct research, meet mission and education vision. Today, the program serves as a model of creative youth development with community leaders who are already doing work around ocean programs, which are programs that use the humanities, arts, and sciences to help young people build skills and access resources needed to excel in adolescence and adult life. Throughout the past 10 years, the program has earned two national awards, completed numerous dynamic student-led PILOT PROGRAM 2010 CLASS OF 2010–11 projects, and all apprentices, 100%, have graduated from high school.

There are many indicators of the program’s success. Counted among them are the growing number of alumni who find their way back to the Museum for work, internships, or just the friendly check-in visit. High School Graduation Rates To date, more than half of the program’s alumni have reconnected with the museum in some capacity. Currently, one student serves as NBWM Apprentices ...... 100% the program’s alumni coordinator and two program alumni serve on the Museum’s education committee. City ...... 76% Events and exhibitions supported by and designed for young adults State ...... 88% are perhaps one of the program’s greatest contributions. In Novem- ber 2019, apprentices hosted the Museum’s first ever Teen Night, National ...... 85% an event specifically designed to help the next generation see the Museum as a space for them. Success has also meant sharing the Apprenticeship Program model locally and nationally. There continues to be a growing number of Fast forward to June 2020 and seven apprentices will mark the pro- exchanges and sharing between the Apprenticeship Program and gram’s tenth graduating class, completing a three-year apprentice- CLASS OF 2011–12 CLASS OF 2012–13 other institutions. From presenting about the program’s model at ship program journey and representing how the program continues the Best of Out-Of-School-Time (BOOST) conference in Palm to grow and change. While many things have changed about the Springs California to a similar presentation at the New England program since its creation, it remains true that collaborations and Museum Association Conference, as the program moves forward, so partnerships are its strength. has its connections to the broader creative youth development field. The milestone celebration will focus on the program’s evolution, stu- However, before the successes of national awards, alumni partici- dent achievement and bring together past apprentices, museum trust- pation, teen nights and conference presentations, the Apprentice- ees and staff, current students and families, and a larger network of ship Program was just getting started. In January 2010, six students program supporters and collaborators who are directly connected to enrolled in the program’s inaugural class. With a curriculum and the program’s ongoing structure and success. The event will recognize schedule much different than that of today, the first class completed program partners like The Immigrants’ Assistance, Bristol Commu- the 6-month pilot program in June 2010. Now a decade later, the nity College, and Junior Achievement, who have supported the pro- first class of apprentices have gone on to various things including gram since its early days and have made the successes of the students earning graduate degrees and starting families. possible. The celebration will also look ahead to the future and the long term growth and sustainability of the Apprenticeship Program.

2 bulletin | spring 2020 For up-to-date calendar listings visit www.whalingmuseum.org 3 EDUCATION

CLASS OF 2013–14 CLASS OF 2013–14 CLASS OF 2016 CLASS OF 2017

CLASS OF 2018 CLASS OF 2019 CLASS OF 2018, 19, 20 CLASS OF 2018, 19, 20

CLASS OF 2019, 20, 21 CLASS OF 2019, 20, 21 CLASS OF 2020, 21, 22 CLASS OF 2020, 21, 22

4 bulletin | spring 2020 For up-to-date calendar listings visit www.whalingmuseum.org 5 WHALES TODAY EXHIBITION

British Arctic whaling harpoon with stop withers on the barbs, 1866. 1959.8.103

Model of a Greenland umiak with five figures, late 19th century. 00.200.393

Whales live in the sea and people hunt them from boats using barbed and dispatched their whaleboats from shore to hunt. Some cultures, instruments attached to some sort of line. Little overlap, apart from like those of the Basque country, the Northwest Coast, and colonial these elements, crosses over between whaling cultures, or at least North America, were also shore-based, but relied upon the seasonal it didn’t before modern whaling largely systematized the industrial migrations of animals, which appeared along the coasts with some Boats, Barbs, and the Blue Ocean: hunt in the 20th century. Some people eat whales and others harvest regularity year by year. Some, like the Western Europeans, Austra- whales for raw materials useful for commercial products. These two lians, and Yankee whalers, dispatched whole fleets of vessels to scour main distinctions are fundamental to understanding the motiva- the seas and hunt anything they could catch. Apart from the highly so- Common Elements of World Whaling Cultures tions of different whaling cultures enabling the comparative study of phisticated net whaling techniques of Japanese shore whalers in the many whaling techniques across time and space. late 17th to the late 19th centuries, all of the above cultures depended upon boats, barbed implements, and some sort of rope, or other By Michael P. Dyer, Curator of Maritime History Throughout history, every whaling culture developed its own meth- strong line. Even the Japanese relied upon harpoons and lances to ods of capturing whales, and every culture worked out the same con- dispatch the huge animals once entangled in the nets, the whole op- The exhibition Cultures of Whaling encompasses the comparative display of several basic, but universal ideas clusions, although the means to that end differed radically. Some eration of which involved a large contingent of different boat types. including deep ocean travel, barbed weapons attached to lines, and boat design. Apart from these elements there whaling cultures, like the Azoreans and the Japanese, lived directly is little overlap between whaling cultures, at least until modern whaling systematized the industrial hunt in the adjacent to prime whale habitat, spotted whales from lofty lookouts, 20th century. Illustration by Captain Charles M. Scammon of Northwest Coast native whaling implements, in The Marine Mammals of the Northwestern Coast of North America (San Francisco, 1874).

6 bulletin | spring 2020 For up-to-date calendar listings visit www.whalingmuseum.org 7 WHALES TODAY EXHIBITION

How is it that both sea shells and iron could be equally employed to slay great whales?

The Vessels Cordage By the same token, one cannot help but wonder at the determina- As far as the development of technology among the Arctic peoples to which was attached a long line of twisted cedar bark and a seal- tion of maritime cultures to traverse the open seas at all. Water is is concerned, hunting both the walruses and bearded seals for their skin float. The harpoon was an offset affair allowing the barbs to an unnatural element for humankind, but the sea is both a boun- hides to build boats demanded similar types of techniques employed toggle outward after penetration. By contrast, it took Europeans and tiful larder and a potential highway, particularly for island dwellers. in whaling, only on a somewhat smaller scale. Walrus in particular Americans many, many years to develop this concept into a usable During periods of glacial incursions, for instance, where terrestrial are a formidable prey, being of great size and weight, with long, ivory technology. pathways were obstructed, boats enabled travelers to skirt high walls tusks and great dexterity in the water, and possessing a thick leathery Europeans made harpoons out of iron resembling large arrows with of ice as they moved about. Not all cultures encountering glacial in- hide. Walrus hide and tusks provided important raw materials for backward sweeping barbs and a cone-shaped base into which the cursions developed into maritime cultures. Those that did traversed Eskimo hunters including the hide to make stout line as well as the wooden handle of the weapon was fitted. Harpoons of this design ocean habitats particularly amenable to various species of whales, skin boat coverings, and the tusks, which could be fashioned into hardly changed for centuries from when Basque whalers first em- bowheads (Balaena mysticetus) in particular. These slow, fat, creatures several of the elements making up harpoons. Similarly, rope walks ployed them until the nineteenth century. Weapons of this sort, were prime targets for subsistence hunters and much later, commer- are common elements to Western maritime culture. Unlike the hide when employed in tandem and attached to a good whale line, stored cial whalers. Seafaring, not in boats, but in large, wind-driven ships, lines of the Arctic people, Westerners twisted hemp fibers and later in tubs in a strong, fast boat equipped with other iron gear worked enabled Europeans to bypass the endlessly costly mercantile layers manila fibers into long, strong ropes. Seafaring under sail depended well. The problem with Western harpoons was that they cut them- of the long Silk Road to Asia Minor from China and travel directly upon such cordage, while its development was an essential element Traditional Western Arctic Eskimo toggling harpoon made from walrus ivory with a steel blade, selves out of the blubber and often pulled loose through the same late 19th century. 00.200.47 from Europe to the East. In their explorations northward seeking an in commercial whaling. In New Bedford, whaling merchants estab- hole. Many whales were lost when the harpoons would “draw” from easy passage to the Orient, European mariners came into direct con- lished the New Bedford Cordage Company in 1842, especially to the whale. While Americans experimented with materials and de- tact with both bowhead whales, and the cultures that hunted them. make ¾ inch manila whale line. It became the industry standard. signs, particularly as the whaling industry advanced into the 19th The materials utilized in these hunts differed so widely as to be Maritime cultures specialized in building boats made of everything century, it would not be until 1848, when Lewis Temple of New almost incomprehensible between, say, Japanese shore whalers, from animal hide, to hollowed-out tree trunks, to sawn planks, to Harpoons Bedford invented an iron toggling harpoon head, that the age-old Makah whalers of the Northwestern Coast of North America, and steel. Hunting whales led to the development of boat types that were It was the harpoon design combined with the tough rawhide walrus Eskimo and Makah innovations would find their way into main- the British of Western Europe. The evolved variety of innovation in- designed, built, and launched, specifically for that purpose. In the skin rope that enabled the capture of whales, seals, and walruses. stream commercial whaling. Iron toggling harpoons continued to stills in us today a genuine sense of wonder in the bounds of human Arctic, Eskimos built their boats from the skins of walrus (aivik, After contact with American and European whalers who introduced develop from that point on until the great, heavy, 5’ long 90 mm ingenuity, or at least, the application of that ingenuity as applied to Odobenus rosmarus ) and bearded seals (oogruk, Erignathus barbatus) steel, Eskimo hunters incorporated it into their harpoon designs harpoons of the 20th century whale fishery with swivel heads and whaling. How is it that a maritime culture like that of 18th century deliberately sewn with great finesse onto wooden frames. Some of replacing the age-old stone blades with metal. Traditional Eskimo four independent toggles began to be mass produced in Norway. England, employing advanced metallurgy, mining, processed iron the boats, like kayaks, were small. Some, the great whaling umiaks harpoon blades were made from slate mounted on a carefully de- ore, charcoal, coal, coke, forges, and foundries, and a culture like the could hold a dozen or more men and their gear. Makah whaling signed and carved piece of ivory possessing a single barb with a pivot Other Techniques Makah of British Columbia employing tree bark, antlers, and mussel canoes were made from massive cedar tree trunks, hewn and steam hole bored across it through which the hide rope passed. This type Other commercial whaling innovations proceeding directly from the shells could possibly achieve the same goals? How is it that both sea bent into their final forms. The construction of such boats and their of harpoon was effective as the sharpened slate cut easily through industrial roots of Western Europe and the U.S. eventually included shells and iron could be equally employed to slay great whales? The use involved elaborate ceremonies and rituals to firmly ground this hide (or blubber as the case may be) and the pivot hole allowed the the use of explosives, and these too evolved. From the Christopher answers to these questions are rooted deeply in the regional geog- whaling people into a psychological and emotional plane of aware- harpoon to lock sideways after penetration. The harpoon tips were C. Brand shoulder guns of the late 1840s and the hand-held darting raphy and the development of the cultures themselves and are not ness that unified the people, their tools, and the animals they hunted. detachable from their shafts, which were made up of wood handles guns that combined a bomb lance with a harpoon of the 1870s, necessarily easily extracted. The intent of the hunt had much to do These were ocean-going craft commonly employing eight men in the fitted with ivory tips, into which the harpoon would nestle as the bomb lances eventually evolved into fragmentation grenades mount- with how people related to whales as prey species, which, in turn, seasonal hunt for the Gray whales that migrated along the North- rawhide line ran down along the length of the shaft. ed to the tips of the 90 mm harpoons of the modern whale fishery. impacted all aspects of the hunt. west Coast. Japanese whaleboats were built from joined planks with The Makah whalers of the Olympic Peninsula adopted a similar To this day, whalers of the Arctic employ darting guns and shoulder no interior framework, however, in their general form they resembled technique. Their harpoons employed mussel shell as a blade with guns to take bowhead whales. the Northwest Coast boats to a far greater degree than either type elk antler barbs and a short line made from twisted whale sinew, all resembled the boats of other cultures. This can hardly be coinciden- fitted and bound together with strips of bark and smoothed down tal as Japan and the Northwest Coast share the borders of the same with spruce resin. The blade was delivered with a long wooden pole ocean and likely shared some influences, if not the occasional person. Japanese mariners were often cast away or found drifting at sea, and unmanned boats, much like the debris from the 2011 tsunami di- saster in Japan today, could easily wash ashore in North America. As Japan is among the most ancient of the world’s maritime cultures its potential influence, even if accidental, could be significant.

8 bulletin | spring 2020 For up-to-date calendar listings visit www.whalingmuseum.org 9 WHALES TODAY EXHIBITION Seals, Sea Lions, and Walruses Joining Whales Today Myth Busting: The Origin of the Little Narwhal Tusk

By Robert Rocha, Director of Education and Science Programs By Robert Rocha, Director of Education and Science Programs

This spring, the Museum’sWhales Today exhibition will be expanded to include vital information about seals, sea lions, and walruses. What is a pinniped? The word pinniped means fin or flipper-footed and refers to the marine mammals that have front The William A. Watkins Collection of Marine Mammal Sound Record- ings is one of the more significant gifts of biological data ever received and rear flippers. This group includes seals, sea lions, and by the Museum. The recordings of cetaceans (whales, dolphins, and walruses. These animals live in the ocean, but are able to come porpoises) dominate this collection, but the recordings of pinnipeds on land for long periods of time. (seals, sea lions, and walruses) are just as impressive. Locally, harbor seals (Phoca vitulina) and grey seals (Halichoerus grypus)

are the most common and best known species of the 33 species of Unerupted narwhal tusk. Photo by Dr. James Broda, WHOI. pinniped. Like all pinnipeds, they are marine mammals that have flip- pers instead of feet and are carnivorous. They spend much of their time Whales Today has transformed the entire Jacobs Family Gallery and in the water, but haul out for varying lengths of time to rest, molt, and the Turner Gallery into an exciting new experience for our visitors, mate. Females also come ashore to give birth and suckle their young. for our staff, and for interpretation by our docents. It is an attractive Seals do not have external ears and cannot tuck their rear flippers un- and highly informative blend of old and new, large and small, artistic der their bodies, which makes them awkward on land. Sea lions have and informational, fun and alarming. One of the new features of the external ears and can rotate their rear flippers underneath, so they are exhibit that contains both old and new is the display case in the Jacobs more mobile than seals when out of the water, and also more vocal. Family Gallery, located beneath the stairs. Walruses have tusks, feed by suction, and have two air sacs in their throats that they can inflate. This beautiful backlit case houses 42 objects of cetacean natural history and one fish artifact that relates directly to one of the centuries-old Along our coast, pinnipeds encounter many of the human-created illustrations in one of the drawers below the case. Artifacts include challenges that threaten cetaceans: entanglement, boat strikes, noise Sea Lions on San Migeul Island, CA. Photo credit: Monica DeAngelis. sperm whale teeth and gums, a baleen whale waxy earplug, porpoise pollution, marine debris, and ingestion of toxins moving through and sperm whale fetuses, and a variety of oils. One object that stands their food. Like cetaceans, pinnipeds are protected by the 1972 out in the case, on long-term loan from Dr. James Broda from the Marine Mammal Protection Act (MMPA) and the 1973 Endangered Woods Hole Oceanographic Institution, is an unerupted narwhal Species Act. New Whales Today display case in Jacobs Family Gallery. tusk. Normally, for all male narwhals, their left tooth (they only have Thanks to those protections, their populations have sustained healthy two teeth in total) will grow forward out the mouth and through the growth, although the great white shark population has enjoyed the upper lip in the form of a tusk. It is a very long tooth with sensory her mother when she was harpooned. It was loaded with good spirits. steady source of food and grown in numbers along with seals. That endings along its length. This tusk on display comes from a very young I carried my Tupiloq wherever I went, and never had any doubt that it is likely why we hear so many more reports of shark sightings around animal. The story of how Dr. Broda obtained it is an interesting one. had come from a baby whale, found in the womb of her dead mother. New England. We will let him tell it in his own words: I decided to confirm the ‘fetal’ nature of the tusk before handing it These increased numbers of marine mammals have had somewhat “The story of this tiny Narwhal tusk begins in 1994. I was assisting over to the museum. …Dr. Kirstin Laidre, polar scientist, and Nar- inverse effects on recreational activities. In New England, whale an anthropologist engaged in fieldwork in the remote hunter-gatherer whal expert at the University of Washington…dismissed the story watching is now a thriving industry, with boats leaving from at least village of Isertoq [Population ~ 110 native Inuit] on the East coast of that the tusk was from an unborn calf. All Narwhal calves, male or fe- a dozen ports. People come from all over in hopes of seeing a whale. Greenland. In my spare time I’d roam the highlands surrounding the male, are born tuskless and the characteristic twisted tusk only begins However, an increase in seal and shark sightings scare some bathers and village, fishing and exploring. Upon my return one day, a woman from to form, primarily on males, after a year or so. Instead, she described, surfers away from beaches and shorelines. Juvenile calf walrus emerges to see what’s going on. Photo credit: G. Carleton Ray, PhD, Department the village warned me that it was dangerous “up there” because that’s of Environmental Sciences, University of Virginia the little tusk at hand is actually…either waiting to begin growth and where the spirits of the lost hunters of the village [the Kivitoq] roam. In some cases, basic misunderstanding of a seal’s need to haul out on protrusion, or the spare, undeveloped tusk[s] that remains in the skull It’s only safe down here at sea level! I insisted that I liked the hills and a daily basis has led to unfortunate results. Well-meaning people have for the life of the whale. It could have been recovered from a carcass the hidden tarns… full of eager Arctic Char, and would probably con- been bitten or seals have had to jump back into the water without that had washed ashore, or from a Narwhal captured by the Inuit this museum’s mission. The new pinniped portion of the exhibition tinue my forays despite the risk. A few days later, the woman came by getting the full amount of rest they need. hunters.” will focus on the biology and habits of both harbor and gray seals. for a visit and told me that in order to be protected from the Kivitoq A greater understanding of the biological needs of all marine mammals Visitors will learn about their habits and the adaptations needed to I needed a Tupiloq [spiritual token] to carry along on my trips. She Please come in and see the little tusk and the rest of the objects is the underpinning of the conservation and research that is part of live a semi-aquatic existence. then presented me with the tiny, fragile ivory Narwhal tusk that you in this beautiful new display case. They are equally fascinating and see here. She told me that the tusk was from a fetal Narwhal, inside illustrative.

10 bulletin | spring 2020 For up-to-date calendar listings visit www.whalingmuseum.org 11 EXHIBITION

Youth New Exhibition Exhibition Dates: Voices February 1 – September 7, 2020 for the Ocean Upper Level Rotating Galleries

Deep Hope, Ari Su, Age 14, Boyds, Maryland

This special exhibit features artwork by the student winners of the international Ocean Awareness Contest run by local nonprofit Bow Seat Ocean Awareness Programs. Since 2012, Bow Seat’s annual Ocean Awareness Contest has invited young people around the world to creatively explore critical conser- vation issues in ocean health—including plastic pollution, fossil fuel extraction, biodiversity loss, and climate change—with a focus on humans’ roles as both problem-makers and solvers. More than 13,000 students from 106 countries and all 50 U.S. states have responded through visual art, writing, film, and music. These powerful works by young artists expose what is happening to our ocean; reflect on what it means to be a human in the 21st century; discover and advocate for solutions on personal and plane- tary scales; and inspire a culture of respect and action for all life on this blue planet.

The Book of the Earth, Denis Avdic, Age 14, Bosnia and Herzegovina Consuming Nature, Kristy Lee, Age 12, Los Angeles, California

12 bulletin | spring 2020 For up-to-date calendar listings visit www.whalingmuseum.org 13 EXHIBITION A caça à baleia nos mares de Cabo Verde (Whaling in Our Cape Verdean Seas) opens in Cabo Verde Introducing

The Museum has opened a collaborative exhibition at the recently in- augurated Museu da Pesca in São Nicolau, Cabo Verde. Titled A caça à baleia nos mares de Cabo Verde (Whaling in Our Cape Verdean Seas), COMMON the exhibition highlights Cape Verdeans’ involvement in the global whaling industry with the introduction of Yankee whalers to Cape Verdean shores. Curators at the Whaling Museum assisted the Museu GROUND da Pesca in designing and installing the exhibition after the Museum’s inaguration in November 2019. A Community Mosaic The inauguration was an historic marker of the diplomatic relation- ship between the U.S. and Cabo Verde, which has lasted for more than two centuries. Historical ties go back even further: 18th century Cape Verdean mariners joined the crews of American whaleships in In 2020, the Museum is launching an initiative called Common Ground: A Community Mosaic. New Bedford pursuit of opportunity and, over time, friends and family followed. The Port of New Bedford served as a veritable “Cape Verdean Ellis is an extraordinary place of infinite possibilities, where different paths from around the world have inter- Island.” Successive waves of immigration from Cabo Verde and other sected and defined the city’s character. For the next three years, the Museum will be collecting and sharing Portuguese-speaking countries have made the region home to the larg- est Lusophone community in the United States. the stories of the community – in their own words. Through writing, audio and visual recordings, and other Dignitaries in attendance at the Museu da Pesca inauguration included means, community members are going to have the opportunity to lend their voice to the collective story of the Mayor of Tarrafal, José Freitas de Brito; Prime Minister Dr. Paulo Greater New Bedford. The initiative will culminate in an exhibition that shares the lived experiences of the Veiga, Cabo Verde Secretary of State for the Maritime Economy; and the U.S. Ambassador to Cabo Verde, Jeff Daigle, who remarked that enduring and evolving communities of the area. he was “very impressed with the quality of the museum and hopes that Cape Verdeans will also be proud of what this museum represents for its history and the relationship between the two countries.” From its beginnings as a part of Wampanoag territory to its early Azorean and Cape Verdean immigrants, Dr. Akeia de Barros Gomes, New Bedford Whaling Museum Curator and more recent Central American and Caribbean immigrants, the common thread throughout New Bedford’s of Social History, played a pivotal role in mounting the new exhibition. history has been migration and its ethnic and cultural diversity—the heartbeat of this port city. Like a Akeia de Barros Gomes traveled to Cabo Verde in December 2017 to take an inventory of exhibition elements and monitor the progress of mosaic, this exhibition will highlight how the diverse identities and individual stories intersect to create a the Museu da Pesca. After the inauguration, she returned to assist the singular picture of New Bedford – finding the common ground. museum’s curatorial team with the design and installation of the new exhibition. Until the latter half of the 20th century, museums were focused on research and study, preservation of In 2018, Akeia de Barros Gomes learned that her great grandfather was a whaler from the island nation who arrived in New Bedford in artifacts, and collecting, with little regard for general visitor experience and virtually none for experiential 1917 on the packet Indiana and then was a boat steerer aboard the learning. In addition, rarely were there challenges to dominant narratives or a focus on the experience of bark Wanderer in 1918 and 1921. When installing the new exhibition, she and her colleagues in São Nicolau included a photograph of her the privileged. There were few challenges to the omission of women, people of color, indigenous people, great grandfather standing at the bow of the Wanderer and readying the poor, or the disabled. Today, we are providing a platform for the hidden and quieted voices of the his harpoon. “It was quite an experience to be able to ‘return’ him and his story to Cabo Verde as part of the celebration of the enduring region – a chance to share their stories in their own words. connections between our two countries,” she said. Stay tuned for more details this spring and summer! Top left: New Bedford Whaling Museum Curator of Social History Akeia de Barros Gomes Middle: View of Museu da Pesca from the gallery, A Caça à baleia nos mares de Cabo Verde. Whal- conducting an inventory of exhibition objects at the Museu da Pesca in Cabo Verde in fall 2019. ing harpoons, production tools, products, and photo reproductions donated by the Top right: Inauguration of Museu da Pesca on November 21, 2019. In front of platform from New Bedford Whaling Museum visible in the foreground. right to left viewing objects are US Ambassador to Cabo Verde, Jeff Daigle, Prime Minister Dr. Bottom: Celebrating the inauguration of Museu da Pesca from left to right: Prime Minister Dr. Paulo Paulo Veiga Secretary of the Maritime Economy, and Joaquim Spencer, better known as “Djack” Veiga Secretary of the Maritime Economy, Joaquim Spencer, better known as “Djack” Pinheiro, owner Pinheiro, owner of SUCLA fisheries and cannery, who donated the building for the museum. of SUCLA fisheries and cannery, Akeia de Barros Gomes, Curator of Social History at the New Bedford Whaling Museum, and Francisco Spencer, owner of SUCLA fisheries and cannery, and son of Joaquim Spencer.

14 bulletin | spring 2020 For up-to-date calendar listings visit www.whalingmuseum.org 15 COMMON COMMON In the GROUND Ripples. Through a GROUND Neighborhood Wampanoag Lens Upcoming Exhibition Upcoming Exhibition A collection of original artwork May 2020 – May 2021 A collection of original artwork June 2020 – December 2020 by Alison Wells Braitmayer Gallery By Elizabeth James-Perry Herman Melville Room

As part of Common Ground: A Community Mosaic, the Museum will exhibit a collection of original works by beloved and well-known local artist Alison Wells. Orig- inally from Trinidad & Tobago, Alison relocated from the Caribbean to the south coast of Massachusetts in 2004 and has found New Bedford to be a source of creative inspiration. This exhibition will be Alison’s story of her lived experience in Greater New Bedford. Ripples. Through a Wampanoag Lens featuring the work of artist, Aquinnah Wampanoag whaling descendant and marine scientist, Elizabeth James-Perry “New Bedford has been my home away from home for opens this June as part of Common Ground: A Community Mosaic. The exhibi- the past 15 years. This area has and continues to serve as tion of her work, which includes wampum work, quillwork, and other media, a major source of inspiration throughout my career in will educate visitors about Northeastern Coastal Wampanoag creative expression the United States, both consciously and subconsciously. rooted in traditions of wampum handwork, involved in record keeping and treaty I am influenced greatly by its rich architecture; its pro- making protocols that carry forth into the present. lific fishing harbor; its fascinating histories of Whaling; the Underground Railroad & Textiles; its multicultural The artist will share her perspective on the historical and contemporary Native backbone and the artistic veins that pump the city with woman’s experience in Massachusetts and on indigenous gender roles. Her deep life and vitality. I fuse these significant influences along knowledge of the environment will be highlighted in how she tells the story of with my Caribbean culture and sensibilities to create the unique interactions that Wampanoag communities have had with differ- unique and vibrant mixed media paintings in this series ent cultures over the past 400 years. Wampanoag communities were impacted titled, In the Neighborhood.” – Alison Wells by not only European peoples and worldly naval officers, but by Wampanoag whalemen at home. Tribal Government/U.S. treaty relationships will be explored as well. These rela- tionships were vital in decisions surrounding indigenous sovereignty and related rights, including the traditional and ceremonial activities related to fishing, and beached or nearshore marine mammal hunting.

16 bulletin | spring 2020 For up-to-date calendar listings visit www.whalingmuseum.org 17 EXHIBITION

“Ryder’s artworks…reveal their allure slowly over time, after repeated looking. We fall in love with his art through a deepened sensual engagement with the forms, colors, and density of the medium over time.” — Elizabeth Broun

In July 2020, the New Bedford Whaling Museum will open a landmark art exhibition titled A Wild Note of Longing: Albert Pinkham Ryder and a Century of American Art. The show will bring together major masterworks across the career of New Bedford native, Albert Pinkham Ryder (1847-1917), who achieved legendary status among artists during his lifetime. This is the first exhibition of Ryder’s work since Elizabeth Broun’s 1990 retrospective, which was hosted by the Smithsonian American Art Museum and the Brooklyn Museum.

or the first time ever, a significant number of paintings “ Art is long. The artist must buckle himself by other artists will be exhibited concurrently to show with infinite patience. His ears must be deaf FRyder’s profound influence on a century of avant-gar- de American painters. Well-known modernists such as Arthur to the clamor of insistent friends who would Dove, Marsden Hartley, Jackson Pollock, and Hans Hofmann quicken his pace. His eyes must see naught were inspired by Ryder’s experimental approach to technique and abandonment of tradition. A dozen paintings by some of but the vision beyond. He must await the these artists and others will constitute a second section of the season of fruitage without haste, without exhibition, linking Ryder to early twentieth century modernism. worldly ambitions, without vexation of spirit. Ryder’s continuing influence on present-day artists will also be revealed. Painters Bill Jensen, Pousette-Dart (both Nathaniel and An inspiration is no more than a seed that Richard), Albert York, Lois Dodd, Wolf Kahn, Jill Moser, Peter must be planted and nourished. It gives Shear, Katherine Bradford, Alan Praziak, Farrell Brickhouse, Sue Miller, Emily Auchincloss among many more, acknowledge growth as it grows to the artist, only as he Ryder as a key inspiration or spiritual mentor even now, a cen- watches and waits with his highest effort.” tury after his death. — Albert Pinkham Ryder A Wild Note of Longing will highlight Ryder’s most iconic paint- A WILD NOTE OF LONGING ings, including 11 exceptional examples from the Smithsonian American Art Museum, such as the Flying Dutchman, Jonah, ALBERT PINKHAM RYDER AND A CENTURY OF AMERICAN ART and Pegasus Departing. An additional 15 Ryders have also been Much of the following is excerpted from the upcoming secured from other institutions and private collectors, including publication: A Wild Note of Longing: Albert Pinkham the National Gallery of Art (Mending the Harness), the Brook- Ryder and a Century of American Art, published by lyn Museum (The Grazing Horse), The Phillips Collection (Dead Rizzoli Electa and distributed by Random House, Bird), the Wadsworth Athenaeum (Weir’s Orchard), the Lyman available in June 2020 in the Museum’s gift shop, the Allyn Art Museum (The Mosque in the Desert) and the Toledo White Whale, and available for presale on the website UPCOMING EXHIBITION Museum of Art (Spring). www.store.whalingmuseum.org. July 3 – November 1, 2020 | Wattles Family Gallery

Left: Albert Pinkham Ryder, Flying Dutchman, completed by 1887, oil on canvas mounted on fiberboard, Smithsonian American Art Museum, Gift of John Gellatly, 1929.6.95

18 bulletin | spring 2020 For up-to-date calendar listings visit www.whalingmuseum.org 19 EXHIBITION A Prevailing Spirit

Christina Connett Brophy, The Douglas and Cynthia Crocker Endowed Chair for the Chief Curator Excerpt from upcoming publication “A Wild Note of Longing: Albert Pinkham Ryder and a Century of American Art”

ne of the most intriguing things about Albert Pinkham of William Bradford, the literary naturalism of the Hudson River Ryder is his authenticity, one of the many factors that con- School, and even, to some extent, the Tonalism of his acquaintance O tribute to the cult status he had already achieved during his Dwight Tryon. As Lloyd Goodrich and others have pointed out, lifetime. While we can find parallels and numerous connections with Ryder was “remote from the prevailing spirit of his time.” That was his peers on many fronts, probable inspiration from the sites of his true, but he was also to redefine the prevailing spirit on the horizon. youth and travels, and the influence of predecessors and contempo- He served, knowingly or not, as a bridge between his peers and fol- raries, Ryder was a prophetic visionary, seeing and representing the lowers, between European and American modernism, realism and world in a way that diverged from everyone else. Like George Inness, emotive naturalism. He privileged the internal over the external, he searched for a new and authentic visual language for landscape; spiritual evocation over technical proficiency, intimate compression like Robert Swain Gifford and countless others, he sought inspira- over conspicuous grandeur. A true pioneer, Ryder was at the center tion in Europe and Africa, testing Barbizon tones and orientalist of the cultural shift from a European-driven modernity to a powerful themes; and like J. M. W. Turner, he eschewed interest in the long- and uniquely American voice. term physical integrity of his masterworks in favor of a more visceral It is fortuitous for New Bedford, Massachusetts, that the father of experimentation in material and effect. Throughout, he somehow American modernism at one time called our city home, and that his retained an originality of vision that was both ancient and modern, a brief time here overlapped with the transitions in American painting link between old and new, between reality and memory. that reflected our search for a uniquely national visual expression. Ryder rejected the grand-format paintings of Albert Bierstadt and A Wild Note of Longing brings Ryder home again. the crispness of his Düsseldorf style, the detailed land-and-seascapes

Left: Albert Pinkham Ryder, Gay Head. Oil on canvas, undated. Acquired 1924, Above: Albert Pinkham Ryder, Near Litchfield, Connecticut. Oil on Canvas, Phillips Collection. undated. Collection of Mrs. Robin Bradley Martin.

20 bulletin | spring 2020 For up-to-date calendar listings visit www.whalingmuseum.org 21 EXHIBITION

The artist should not sacrifice his ideals to a landlord and a costly studio. The Soul Attuned A rain-tight roof, frugal living, a box of colors and God’s sunlight through clear windows Elizabeth Broun keep the soul attuned and the body vigorous for one’s daily work. – Albert Pinkham Ryder, 1905 Excerpt from upcoming publication “A Wild Note of Longing: Albert Pinkham Ryder and a Century of American Art”

he shape of Ryder’s legend was well established by the time themes, he exemplified the romantic current running through much he died in 1917 at age 70. He was already revered as a “soul nineteenth-century art. attuned” to the world of the imagination, an idealist in a T At the same time, Ryder was, in his own words, striving for materialist age who brought a spiritual fervor to his art. This reclusive something new. artist was heralded as the harbinger of a new age in part because the emerging generation of artists needed a respected leader to under- Have you ever seen an inch worm crawl up a leaf or a twig, pin their new movement. The organizers of the 1913 Armory Show and then clinging to the very end, revolve in the air, feeling for featured Ryder with ten paintings in a central gallery surrounded by something to reach something? That’s like me. I am trying to find young modernists, as if they were acolytes tending a shrine. Even something out there beyond the place on which I have a footing. as the latest radical developments in European art were debuting in From the beginning, Ryder worked to create an aesthetic approach New York, the organizers sought an ancestor figure – more specifi- centered on novel techniques and processes that were expressive cally, an American ancestor – to claim for their modern movement of the subject. In 1908, Roger Fry, an English painter and critic a distinctly nativist heritage. Ryder served their interest by offering a who had become curator of paintings at New York’s Metropolitan developmental path that seemed independent of Europe. Museum of Art, was perhaps the first to locate Ryder’s genius in How and why Ryder became the best choice for this ancestor role is his unique technical methods: “by what unconscionable process- significant. After 1900, his increasing eccentricities made him almost es, by snatching at what felicitous accidents, by obedience to what a cult figure among younger artist. He was a sufferer; his feet and eyes half-guesses principles, he has wrought the slimy clay of oil pigment gave him endless problems, and he was overweight, suggesting that to this gem-like resilience and translucency.” he likely had diabetes, for which there was no effective treatment at Above: Alice M. Boughton, Albert Pinkham Ryder. Platinum print Marsden Hartley’s tribute, published just days after Ryder’s death, photograph, ca. 1910. New Bedford Whaling Museum, the time. He lived as a recluse in his Greenwich Village rooms, rarely embraced the dual nature of his work, romantic and modern. Gift of William Innes Homer, 1989.73. leaving except to wander all night along the wharves, absorbed in the Hartley spoke of “this profound spectacle of the soul’s despair in Right: Albert Pinkham Ryder, The Shepherdess. Gilded wood, skies and moon. His small apartment became a sanctum, bewitching conflict with wind and wave,” but he also singled out Ryde’s modern early 1880s. Brooklyn Museum, purchased through the to friends who came to see the paintings slowly evolving over the Frederick Loeser Fund. qualities, writing about “this master of arabesque, this first and fore- years, but equally shocking for the mountains of debris everywhere, most of our designers, this real creator of pattern.” the accumulation of a longtime hoarder. Artists and critics beat a path to his door, eager to be admitted into the mysteries. They revered The 1918 memorial retrospective at the Metropolitan Museum Ryder as a solitary spiritualist who was devoted only to art, living confirmed Ryder’s art as an iconic monument, a self-created temple apart from the world and almost outside of time, oblivious to all that without apparent aesthetic parentage, entirely original in technique. was external to his canvases. This “soul attuned” to spirit and emotion The New York Times reviewer wrote, “It is one vision form the had no concern for money or legacy or fame or the trash that threat- beginning to the end, and one technical achievement carried through ened to engulf him. By entering his studio, these visitors declared against innumerable obstacles and with many variations, but with- themselves also attuned to a different strain of American life. out a break in its essential integrity.” He concluded that “accident played no part in this achievement,…it is the outcome of an intel- Ryder’s example coalesced a growing dissent from the materialism of lectual force, fed, but not controlled, by emotion. the age and a sharp turn toward a new idealism. But beyond his per- sonal qualities, Ryder stood astride a fundamental divide; he was si- Dr. Elizabeth Broun directed the Smithsonian American Art Museum multaneously the last great Romantic painter and the first significant and its branch museum, the Renwick Gallery, from 1989 through 2016. American modernist. He chose classic subjects centering on roman- During her tenure, the Museum’s two historic landmark buildings were tic love, religious devotion, and mythic narratives drawn from the completely renovated with innovative enhancements. The education Elizabethan poets, Tennyson, Thomas Campbell, and Shakespeare. program, fellowship program, traveling exhibition program, and digital Like a true romantic, his landscapes and seascapes align his own outreach greatly increased. The collections dramatically expanded in the emotions with nature’s moods. Early in his life, his themes offered areas of contemporary art, new media art, African American art, and a naïve optimism about the possibilities of finding love; later, after Latino art. Currently, Dr. Broun serves as the Visual Arts Advisor to the disappointments, the themes turned tragic with a despairing fatalism. Kennedy Center, a member of the Henry Luce Foundation board, and a Always Ryder’s subjects were noble and high-minded, self-abnegat- board member of the Olana Partnership. ing, trusting in God when all seemed doomed. In these subjects and

22 bulletin | spring 2020 For up-to-date calendar listings visit www.whalingmuseum.org 23 EXHIBITION Ryder’s Legacy William C. Agee

Excerpt from upcoming publication “A Wild Note of Longing: Albert Pinkham Ryder and a Century of American Art” From the start, it has appeared in all manner of ways and forms, are Emily Auchincloss, Alan Prazniak, Peter Shear, and Farrell Brick- sometimes obvious, sometimes subtle, sometimes clear only to the house, which Jensen, Kahn, and Dodd, now old masters, continue yder’s legacy is vast, forming a distinct chapter in American the 1913 Armory Show – Pach, Walt Kuhn, and Arthur B. Davies artists themselves. It has jump-started the careers of some artist and apace in their exploration of Ryder’s art. Both Jensen and Kahn have art. It took root in the early 1880s and is still in full force among them – gave Ryder the place of honor as a father of modern remained at the core of their work, even though their art has gone in recently said to me, “Ryder is still one of my gods.” His force is so R today. However, to suggest that Ryder may well be the most art in the central gallery at this landmark event. Most famously of apparently far distant directions. widely felt today that it is scarcely passible to keep track of it, let influential American artist in America may seem a rash statement. course, Jackson Pollock proclaimed in 1944 that “the only American alone right sufficiently of it. But listen to the artists, look at what That Ryder’s first admirers were artists was noted as early as 1890 But it’s not a new idea. Consider what the artist and critic Walter master who interests me is Ryder.” they are doing, and you’ll know Ryder is a living presence. by critic Henry Eckford. The list of those who have engaged with Pach said in 1911: “The work of Albert P. Ryder seems destined to His influence through generations of artists has often been quiet, even his work is long and spans nearly a century and a half: Winslow William C. Agee is the Evelyn Kranes Kossak Professor Emeritus of Art hold a permanent and very high place in American art.” Or Mars- invisible, like an underground stream, but nevertheless one that flows Homer, Marsden Hartley, Arthur Dove, Thomas Hart Benton, Hans History, Hunter College. He has written extensively on American art. den Hartley’s words ten years later: “I find him so much the legend steadily. He is rarely discussed in college classrooms, so artists and Hofmann, Nathaniel and Richard Pousette-Dart, Clyfford Still, Jack- He is founding editor, contributing editor, and co-author of the essays in among professional artists.” And surely, Roger Fry, who spoke of other usually come upon him by surprise. Since Elizabeth Broun’s son Pollock, Mark Rothko, Milton Avery, Forrest Bess, Bill Jensen, Stuart Davis: A Catalogue Raisonné; former Director of The Museum Ryder’s “undeniable genius” as early as 1908, would not disagree. In seminal 1990 exhibition and catalogue, very little has been written Ron Bladen, Lois Dodd, Katherine Bradford, Albert York, Myron of Fine Arts, Houston and Pasadena Art Museum; and former curator his 1938 Tree Chart of Contemporary American Art, Nathaniel Pou- about the ongoing dialogue with Ryder’s work, although there have Stout, John Walker, Bruce Conner, Jill Moser, Sanford Wurmfeld, at the Whitney Museum and Museum of Modern Art. His most recent sette-Dart, progenitor of three generations of artists, gave a whole been smaller shows on the topic. It’s an inside job, mostly among Linda Lynch, and Wolf Kahn. Artists have kept his spirit and meth- publication is Modern Art in America, 1908 – 1968: A Critical and branch to Ryder and his offshoots, Eilshemius, Reginald Marsh, Paul artists, who have kept his art alive and brimming with possibilities. ods going strong even at this moment: among them working today Thematic History. Cadmus, and Arthur Dove. Remember, too, that the organizers of

Left: Arthur G. Dove, Clouds. Oil and sandpaper on zinc, 1927. Museum of Fine Arts, Above: Nicholas Whitman, Blood Moon Eclipse—Dark Forms. Epson ultra-chrome ink on Boston, Gift of the William H. Lane Foundation. Museo archival inkjet paper, 2015. New Bedford Whaling Museum.

Right: Jackson Pollock. T.P.’s Boat in Menemsha Pond. Oil on tin, ca. 1934. New Britain Museum of American Art

“Major artists were impacted by Ryder by one way or another. His imapact and influence is really that vast. I believe Winslow Homer picked up on the aspects of Ryder, especially his light, and his moon imagery. Ryder is perhaps most famous for what is now called the ‘Ryder Moon’.” – William C. Agee

24 bulletin | spring 2020 For up-to-date calendar listings visit www.whalingmuseum.org 25 EDUCATION Lighting the Way: Historic Women of the SouthCoast Elizabeth Terry Delano

Artist Elizabeth Terry Delano (1845-1933) was born in Fairhaven, Lighting the Way uncovers the remarkable stories of women who have shaped their SouthCoast the daughter of Jabez and Elizabeth Terry Delano. Her father was a communities. Many extraordinary women have been profiled as part of the project. As educators first cousin of President Franklin Roosevelt’s grandfather, Captain Warren Delano, and they were both descendants of the French Hu- and philanthropists, abolitionists and crusaders for social justice, investors and confectioners, sister guenot Philippe de la Noye, who emigrated to America in 1621. sailors and millworkers, women from diverse cultural and ethnic backgrounds have shaped the Elizabeth began painting as a small child, and in school the oth- SouthCoast communities, the nation, and the world. Since 2017, Lighting the Way has been er children would bring their paper dolls to her to have their faces “marked,” as it was called. Her instructor gave her a good background unearthing stories of women’s callings that required grit, tenacity, and enduring commitment to their in drawing in black and white, and further instruction led to her mas- tery of color. She continued her studies at the New York Academy of families, careers and communities, and sharing those stories. Design, the Art Students League of New York, the Grouman Studios of Boston, and the studios of noted portrait painters William Merritt 2020 is the 100th Anniversary of U.S. Congress ratifying the 19th Even when women have not had sanctioned political power, they Chase, J. Alden Weir, and other famous artists. Amendment to the U.S. constitution, which made it illegal to pre- found many ways to be civically engaged through political and Elizabeth spent the majority of her working years in her studio at vent a woman from voting based on her sex. Early on in our research, non-political processes. The Lighting the Way website is filled with 91 Pleasant Street, Fairhaven. Here she created her still-life paint- we learned of three women from the SouthCoast who identified as stories of women, from the 17th century to the current decade, who ings, her portraits of family and friends, and her landscapes. She Suffragists - Elizabeth Terry Delano, Marie Equi, and Cecil Clark may not yet have had the right to vote, been in political office or held worked primarily in oils, but also did some wood carving of flowers. Davis. These three white women all worked for the passage of the official leadership roles, yet worked tirelessly and effectively to make She held exhibitions at her studio and also taught painting classes. amendment and lived to see it ratified by Congress. Their stories are changes, build communities, and help people. Known as a quiet, self-effacing woman, her whole life was devoted featured on the Lighting the Way website - historicwomensouthcoast. To commemorate the ratification of the 19th Amendment and to to her painting. org and on the following pages. honor the unfinished legacy of the women’s suffrage movement, She always painted subjects that were totally familiar to her. Among Elizabeth Terry Delano These three women are exemplary, but they don’t tell the whole story Lighting the Way programs in 2020 will highlight historic women of these were flowers and fruit she herself had grown. An interview of the struggle of voting rights for women. The 19th Amendment the SouthCoast who were civically engaged and encourage women published in the Sunday Standard of January 4, 1925, quoted her prevented voting discrimination based on sex, but in practice, many today to exercise their constitutional right to vote. as saying that “painting perishable flowers such as roses or peonies women of color and many poor women could not vote because of Visit www.historicwomensouthcoast.org to discover the means working at top speed as long as hand and eye will obey the other laws and restrictions. There were women in the SouthCoast, Although her art work took precedence, Miss Delano was also in- remarkable stories for yourself and find an up-to-date schedule observing brain.” Her portraits were also mainly of people whom who may not have identified as suffragists, who also worked to -se volved in the political issues of the day. She was a staunch supporter on events happening this spring. she knew well. cure rights and voting access for these women as well as for men who and admirer of Theodore Roosevelt and Herbert Hoover and an ar- did not have it. Indeed, many women worked on voting rights for There were many works for which Elizabeth became noted locally. dent enthusiast for Republican causes. In 1918, when her paintings African American men, and 2020 marks another important mile- Two of the most ambitious were friezes painted for the homes of her were being exhibited in the rotunda of the New Bedford Free Public stone in voting rights history—the 150th anniversary of the 15th cousin Warren Delano, Jr. One frieze for his home in East Orange, Library, she announced that all the money realized from the sale of Amendment, which states that the right to vote cannot be denied New Jersey, done in 1896, was 66 feet long by 2 feet wide with over her paintings would be used to purchase liberty bonds. Also in 1918 based on race. 700 chrysanthemum blossoms on the canvas. In 1903, her cousin when Rebecca Hourwich, national organizer for the National Wom- commissioned another even more grandiose work, a frieze 85 feet an’s Party, came to speak in Fairhaven, Miss Delano was chairman long and totaling 235 square feet, for the dining room of his house of the committee of arrangements. She later wrote an eloquent letter on Park Avenue, New York. The subject again was chrysanthemums to the Fairhaven Star urging Congress to grant full suffrage to wom- in various colors and in large numbers with sky above them. The en. Throughout her life, she worked for causes she felt were right. gardener for Henry Huttleston Rogers’s estate, James Garthley, as- Just before Christmas in 1931, she obtained some 216 signatures for sisted Miss Delano by regularly supplying fresh flowers as models an international disarmament petition sponsored by the Women’s for her work. International League in Washington, D.C. Elizabeth enjoyed creating portraits as well as still-life compositions. As Miss Delano aged her failing sight and health forced her to Among some of her noted portraits were those of Theodore Roos- abandon her artistic work that was her love. She passed away in her evelt and his son Quentin, John I. Bryant, Miss Melora Handy, and 88th year while residing in Fairhaven’s King’s Daughters’ Home. Mrs. John Coggeshall.

26 bulletin | spring 2020 For up-to-date calendar listings visit www.whalingmuseum.org 27 EDUCATION

Dr. Marie Equi

New Bedford prepared physician and political agitator Marie Equi Mary Ellen Parker, Dr. Marie Equi graduated from the University of Marie was radicalized after being clubbed by mounted police during (1872-1952) for a lifetime of social justice advocacy. Born here on Oregon Medical Department. She would eventually set up a general her picketing with women cannery workers in Portland in 1913. April 7, 1872, in the family home at 185 South Second Street, Marie practice in Portland with a focus on obstetrics, gynecology, and pedi- Eighteen, including Marie, were arrested after this cannery protest Diana Equi was one of 11 children of John and Sarah Mullins Equi. atrics. Biographer Michael Helquist notes that Marie’s New Bedford turned violent. Marie received bruises from the police, while a paper Marie’s father John, anglicized from Giovanni, arrived in America at background facilitated her connection with Portland’s working class reported that she stabbed at the police with a pin. Strong women the age of 12 in 1853 from Italy and joined an older brother in New and immigrants. Throughout her practice, Marie served men as well, were often called “mad,” and an ultimatum was given to Marie to Bedford. A stonemason, John laid the foundation for St. Lawrence especially as she became more politically active. leave Oregon or be committed. She refused to leave, showed ad- Martyr Church, the family’s church for all Catholic sacraments. ditional bruises, and was never brought to trial. Outraged at the By 1905, as Marie began to practice medicine, the social reform Marie’s mother Sarah arrived in New Bedford with her mother at brutality, Marie moved from moderate social reformer to bold and movement of Progressivism was taking hold in Oregon. Progressiv- the age of nine in 1858 from Ireland, where both parents opposed fearless radical. ism proposed a new social order that protected workers, women and British rule. In a Catholic ceremony, John and Sarah were married children from labor abuses and that extended voting rights to wom- In 1914, Marie traveled back East on a predominantly political trip in April 1866. Sarah would have her 11 children in 16 years, and en. In this climate of Progressivism, Marie began her work as a polit- that included a stop in New Bedford. She was the official representa- Marie would help with childcare and household chores. The Equis ical agitator. She joined the Oregon Equal Suffrage Association and tive of Portland’s Unemployed League to the First National Confer- and their neighbors on South Second Street were working class fam- attended the National American Women Suffrage Association’s first ence on Unemployment in New York. Marie also did postgraduate ilies whose children were not protected from harsh realities. Marie convention in the West, held in Portland. In the spirit of Progres- work at Massachusetts General Hospital with Richard Cabot, pio- lost three siblings and three cousins to diseases prevalent at the time, sivism’s civic engagement, Marie volunteered on the Oregon relief neer in hospital social services. She spoke at a rally for the jobless including croup and diphtheria. Her father invited striking mill mission to aid victims of the 1906 San Francisco earthquake. As the at Boston Common. During her family visit to New Bedford, the workers for dinner, where Marie learned about working conditions only female doctor on the Oregon mission, Marie was put in charge New Bedford Standard called her “the little fighting doctor” who led in the factories. Later in life, Marie traced her sense of social justice of an obstetrics unit in a 300-bed San Francisco hospital. Count- a “one-woman fight . . . for the unemployed of Oregon and won.” back to her Italian father and Irish mother, each with roots against less Oregon and California newspapers detailed stories of Marie’s oppression. By the time World War I preparedness rallies reached Portland, compassion and professionalism. The U.S. Army awarded her with a Marie would call on local men to not enlist. In 1918, with increas- At the age of eight, Marie and her family moved to a new home at medal and citation for her relief work. Dr. Marie Equi ing suppression of dissent, Marie was indicted on charges under the 60 James Street in New Bedford’s West End, up from the waterfront Later in 1906, Marie returned to New Bedford for six months to Sedition Act, which included vowing allegiance to the red banner and into a more diverse neighborhood that included the wealthy take care of her mother Sarah, who died in February 1907. Upon her of industrial workers and attacking the character of U.S. soldiers. and the working class. Marie felt ostracized as both Italian, the city’s College, Marie enrolled at Northfield Seminary for Young Ladies, return to Portland, Marie began her longest intimate relationship She was wiretapped, her friends were followed, and an informant smallest immigrant population, and Irish, the city’s largest immi- where she excelled. Unable to afford a second year at Northfield, with wealthy heiress Harriet Speckart and eventually adopted an in- was planted in her inner circle. At her trial, she denied the charges grant group. Marie’s biographer Michael Helquist points out that Marie went to Tuscany to work on an uncle’s vineyards and olive fant girl (as a single woman) with the help of a local judge. and objected to excessive surveillance. The prosecution presented the Equis experienced anti-immigrant sentiment as both minority groves. Meanwhile, Bessie dropped out of Wellesley College and evidence of her lesbianism and anger issues. Marie affirmed her Italian and majority famine Irish. Nevertheless, at age 14, Marie Marie balanced her successful medical practice for women and chil- moved to an Oregon homestead in 1891. By 1892, at age 20, Marie patriotism and stated that she took issue, not with the government, graduated from Middle Street Grammar, an overcrowded school dren with an increasing activism for access to birth control informa- returned from Italy and joined Bessie on the Oregon homestead. but with corporate profiteering. Marie was found guilty and sen- where she excelled in a progressive curriculum that focused on learn- tion and other causes. Committed to women’s reproductive rights at Marie’s experiences in New Bedford had made her aware of the need tenced to three years in federal prison on December 31, 1918. She ing instead of traditional memorization and discipline. Marie next a time when distribution of birth control pamphlets was illegal, Ma- for medical care for working class families. She had lived through her served 10 months at San Quentin California State Prison before she attended New Bedford High School, where teacher Mary E. Austin rie was arrested in 1916, along with birth control advocate Marga- mother’s multiple pregnancies, her siblings’ deaths from infectious earned early release for good behavior. President Franklin Delano came to understand her as an excellent student despite behavior is- ret Sanger for distributing Sanger’s birth control booklet, revised by diseases, and her own respiratory problems from working in the Roosevelt pardoned Marie on December 24, 1933. In 1934, she sues. Marie dropped out of New Bedford High School after her first Marie to update medical information. With risk to her professional textile mills. While Bessie taught at a prestigious private school and supported the effective West Coast’s Longshoremen Strike as well as year to work in a textile mill as one of nearly 2,000 teenage girls standing, Marie believed that women should not be forced to bear Marie studied for medical school entrance examinations, their rela- the Maritime Strike. During a hospital stay in 1950, longshoremen already in the city’s factories. It is unclear whether her dropping out children and she performed illegal, safe abortions regardless of abili- tionship grew in closeness and intimacy. Both New Bedford women sent her red roses. Later, Marie’s daughter Mary cared for her in was due to family circumstances, her struggles with self-control, or ty to pay. Politically, Marie also worked for women’s suffrage, public were courageous enough to relocate 3,000 miles away and live open- Oregon as her health declined. On July 13, 1952, at the age of 80, other factors. Over the next two years, Marie worked long hours funding for the University of Oregon, prison reform, and against ly as lovers while each pursued a meaningful profession. Marie died in Portland and was buried there. Oregon labor activist at well below a living wage in deplorable conditions. Mill workers capital punishment. Soon after her work with Sanger, Marie trav- In 1897, Marie and Bessie left their Oregon homestead and moved Julia Ruuttila remembered Marie as “a real friend of the have-nots experienced debilitating noise and vibrations, oppressive heat and elled to Seattle to treat injured members of the Industrial Workers to San Francisco. In 1899, ten years after dropping out of New of this world.” lint-filled air. Marie later reported breathing and lung problems after of the World, “Wobblies,” who had been hurt at the dock on their Bedford High School, Marie enrolled at the College of Physicians her workdays in New Bedford’s mills. way to support striking mill workers. The Industrial Workers of the Visit biographer Michael Helquist’s website at and Surgeons in San Francisco as a first-year medical student. With World was a radical union that believed in one union for all, with all www.michaelhelquist.com for more information on Confident that she did not want to marry and rely on a husband’s women representing only 6% of U.S. physicians, Marie pushed authority and management shifted to the workers. By this time, the Marie Equi and her times. income, Marie knew that she had to find her own way in the world. through boundaries of class, gender and sexual orientation on her unemployed were known as “her army” and striking workers were In 1889, with financial support from Bessie Bell Holcomb, a wealthy way to becoming a medical doctor. In 1903, after two transfers and known as “her boys.” friend from New Bedford High School who attended Wellesley a move to Portland with new companion and fellow medical student

28 bulletin | spring 2020 For up-to-date calendar listings visit www.whalingmuseum.org 29 EDUCATION CULTURAL CONNECTIONS

Cecil Clark Davis Community Connections Cecil was born in Chicago in 1877 to wealthy Chicago industrial- ist John Marshall Clark and his wife Louise, a concert pianist. The 10th Anniversary of the Azorean Whalemen’s Gallery Clark family summered in Marion, staying first at the Sippican Ho- tel, then eventually building a 23-room cottage on 14 acres on Water In September, the New Bedford Whaling Museum will celebrate the Street. They named it “The House in the Lane.” In both Chicago 10th anniversary of the Azorean Whalemen’s Gallery. This important and Marion, Cecil was surrounded by some of the period’s most addition—which is now an essential defining feature of the Muse- brilliant artists, musicians, writers, and thinkers. During the Gilded um—represents an example of the telling of history and represen- Age, summer visitors to Marion included actress Ethel Barrymore, tation of culture that is possible when institutions collaborate with educator Booker T. Washington, novelist Henry James, President communities. The exhibition, its objects, and its maintenance were and Mrs. Grover Cleveland, and illustrator Charles Dana Gibson. established and are sustained by collaborating with the Museum’s During those summers, she would paint with other artists at the Old Portuguese Advisory Committee. The Portuguese Advisory Com- Stone Studio, play tennis at the Tennis Club, and golf at the Kittan- mittee is a group of individuals committed to Portuguese history and sett Club. At the Sippican Hotel and Casino, Cecil played billiards culture in the region. The committee guides, advises, and makes rec- regularly and once beat Willie Hoopes, a billiards world champion. ommendations to the Board of Trustees with regard to exhibitions, Cecil attended the Art Institute of Chicago, where she remained programming, funding, and strategic planning. active and connected for most of her life. She also attended the The exhibition continues to be central to the Museum. The Azorean progressive Miss Porter’s School for Girls in Farmington, Connecti- Whalemen’s Gallery features, among other things, the original wa- cut. As a member of the class of 1893 at Miss Porter’s, Cecil stud- tercolor illustrations­ by Yvon Le Corre that were used in the book ied the humanities, the sciences, and the arts. She also learned the Twice ‘Round the Loggerhead, by Bruce Halibisky, which details the importance of exercise, was very athletic, playing golf and tennis craft of Azorean whaleboat making. The gallery not only encompass- throughout much of her life. Cecil points to the Chicago World’s es Azorean whaling and tradition in the Azores, but highlights the Fair of 1893 as the place where her dream to be a great portrait artist Cecil Clark Davis contributions of Azoreans to Yankee whaling and New Bedford. began. In the Art Pavilion, Cecil saw great paintings, including a The exhibit also reinforces the New Bedford Whaling Museum’s ties Rembrandt. Cecil also visited the first ever Women’s Pavilion and with Portugal and the Lusophone world. The Museum received a heard speeches by suffragists about the rights of women, children, grew apart. In 1908, on the day after Christmas, Richard asked for grant from the Foreign Ministry of Portugal to create the exhibi- and factory workers. In her diaries, she reveals that she wants to be a divorce in the midst of a scandal with a chorus girl. On June 17, tion and it was visited by the President of Portugal in 2018. It has an “advanced” woman and not follow the traditional path of mar- 1912, the divorce was granted. Cecil and Richard remained close been visited by many dignitaries from mainland Portugal, the Azores, riage and family. Nevertheless, her mother encouraged her to con- friends for years. Madeira, and Cabo Verde. The New Bedford Whaling Museum also sider Richard Harding Davis, a handsome writer who summered in After her separation from Richard, Cecil threw herself into her engages in programming that invites scholars and the community to Marion as well. painting as well as the women’s movement. In 1910, her portraits explore the extent of the Lusophone diaspora and global Portuguese In 1898, Richard asked Cecil to marry him twice and Cecil said no were gaining recognition and she received her first major commis- influence. to both proposals. In 1899, Cecil finally said yes to Richard’s third sion, from Town & Country magazine, for a series of portraits of Many of the objects and documents in the Azorean Whalemen’s influential people, including Puccini and Alexander Graham Bell. proposal, delivered from London by his courier with an engagement Gallery were gifted or loaned to the Museum by individuals in the ring and a bouquet of violets. They were married in Marion at St. The subjects of her portraits ranged from society people and the Greater New Bedford Portuguese community. The Museum is proud Gabriel’s Episcopal Chapel with a reception on the lawn of the Clark historically important, to the unassuming gardener and nurses. Ce- to sustain these relationships and continue collaborating on projects home. Although Cecil and Richard agreed to a platonic marriage– cil’s paintings won several awards, including the Portrait Prize of the involving Portuguese culture and history with our local Portuguese to live as brother and sister–they shared worldwide adventures that Municipal Art League of Chicago in 1918, the Gold Medal of the communities, the government of Portugal, the government of the included travel to Europe, Africa, Cuba, Panama, Venezuela, and Salon in Rio de Janeiro in 1920, the Gold Medal of the Philadelphia Azores, and through the diligent work of our Portuguese Advisory Japan. Cecil accompanied Richard on his assignment to cover the Art Club in 1925, the Portrait Prize of the National Association of Committee. Boer War in Africa, where they were allowed to go to the front to Women Painters and Sculptors in 1926, the Popular Prize of the experience a battle. Their worldwide travels gave Cecil access to in- Newport Art Association in 1932, and the Portrait Prize of the Art ternational art and artists. At elegant dinner parties, Cecil stayed Institute of Chicago in 1934. She was represented by Grand Central with the men to smoke when the women traditionally left the dining Studios in New York, maintained studios worldwide, and “had more Top: Madruga, Manuel Joaquim. Offshore whaleboats pursuing whales in the Azores. room. Wanting a permanent home, Cecil and Richard designed and commissions than I could handle.” From 1911 through 1916, Cecil Oil on panbone. 1948-1970. moved into their dream house on 204 acres in Mt. Kisco, New York. attended suffrage meetings, lectures on feminism, dinners for the Middle: View of Azorean Whalemen’s Gallery. At one point, Richard had four plays on Broadway all at once, while suffrage cause, and suffrage parades. She worked on a suffrage car- Bottom: Image of Azorean women. Appears in the book “The Dabney Family” Cecil painted in her studio each day. As Richard enjoyed the night toon, designed a poster for a suffrage parade, and called legislators. by Joao A. Gomes Vieira. life in the city while Cecil preferred to stay home or in Marion, they Continued on page 36

30 bulletin | spring 2020 For up-to-date calendar listings visit www.whalingmuseum.org 31 CONSERVATION CONSERVATION Conservation Spotlight: Seaweed Gatherers Out of the Collection By D. Jordan Berson, Director of Collections By D. Jordan Berson, Director of Collections

For the purpose of this latest Bulletin, the “Out of the Collection” feature could be more aptly titled “The Collections Are Out.” For the past decade or more, a large volume of the Museum’s collections have been divided among several offsite loca- tions. Some of these spaces were less than ideal for easily accessing the contents and have largely been off limits to visitors. Among the items kept offsite are a collection of Yankee whaleboats and other small watercraft, Old Dartmouth furniture, a vast array of whaling artifacts (including those of its supporting industries), dozens of sailors’ sea chests, textile working equipment, architectural remnants, gigantic whalebones, several full-size trypots, farming implements, antique tools, sculpture, models, and so much more. Mid-Conservation After Conservation In November 2019, the Museum began a massive effort to consolidate all of its disparate long-term collections storage units into one bright, modern 7,500 square foot facility. Included in the space is an office with workstations where staff can -bet In May 1931 the expanding Russell Memorial Library of Acushnet (commonly referred to as the Free Public Library of Acush- ter catalog, document, and field research inquiries regarding individual objects. For net) dedicated a new building at 88 Main Street after moving out of its original space in the Old Town Hall. This handsome example, computers and photo equipment enable digital imaging of collections new library was built of local fieldstones gathered from the fields of Acushnet farms and boasted an attractive columned that will then be accessible to a worldwide audience. In cases where researchers require in-person visits, large worktables are now available to enable object exam- portico, a pair of symmetrical entry staircases, diamond paned leaded glass windows, and several important works of art inations and study onsite. decorating the reading room. Three paintings by Clement Nye Swift (1846-1918) were among these, presented to the library Many of the pieces that have recently been brought back to light directly relate to a by his widow for the new building. series of life-sized dioramas that were installed for many years along the mezzanine of the Bourne Building, right beside Lagoda. From the early 1920s until some- The works would remain in place until 2015 when the library relo- water stains, evidence of mold, and glued-on patches that had been time during the late 1980s, visitors could peruse what the 1924 Whaling Museum cated to a larger facility in town -- but one that ultimately offered less added over the years to stabilize tears. On the recto (face) side were a guidebook described as “replicas of old-time shops such as were characteristic of wall space. Consequently, two of the Swift paintings were donated number of severe cracks in the paint, losses, and discolored varnish, New Bedford when the whaling industry was at its height.” These re-creations were to the New Bedford Whaling Museum by the Library’s Board of as well as accumulated surface grime. The conservation of this large planned and arranged by a team including then-curator Frank Wood, collector of Trustees at that time. One of these, Seaweed Gatherers, is a monu- painting became an involved process. marine antiques F. Gilbert Hinsdale, Edward T. Pierce Jr., and celebrated artist mental oil-on-canvas in an ornate gilt frame that measures nearly 10 Clifford W. Ashley, among others. They created scenes of sail and rigging lofts, a First, the painting was removed completely from its frame and both feet long. cooperage, shipsmith’s shop, whaleboat shop, and a ship agent’s office. They were were treated for mold using an alcohol solution. Then surface dirt replete with groupings of furnishings and artifacts that, when combined, made for Painted during Swift’s time in Brittany, France – some time during was removed, followed by removal of the discolored varnish with charmingly nostalgic yet educational tableaus. Installed at a time when New Bed- Seaweed Gatherers the 1870’s, was one of several large works inspired acetone, and the cracks were consolidated. Afterward, the edges and ford’s whaling and supporting industries were quickly fading away, the dioramas by the work of noted animal painter Rosa Bonheur. The painting is surface deformations were flattened and tears were carefully mended. were (perhaps like Lagoda herself) meant to serve as a testament and memorial to said to have been exhibited at the Salon de Paris shortly thereafter. The entire canvas was relined onto two layers of stable, acrylic fabric New Bedford’s bygone activities. that was then stretched over a brand-new, custom built frame and Although Seaweed Gatherers remained striking and beautiful when it attached with copper tacks. Paint losses were filled using a mixture of It is interesting to note how effectively the dioramas contextualized what were came to the Museum, 85 years of hanging untouched on the library’s chalk, gelatin, and conservation-grade adhesive. The same adhesive otherwise individually arcane and obscure relics. In their day, the displays were well exterior plaster wall left the painting with several areas of deteriora- was used as a pigment binder for inpainting. Finally, a fresh coat of photographically documented and the surviving images make it possible to phys- tion that called for intervention. protective spray-varnish was applied overall. The result is simply ically group the artifacts back together again. The images also help to inform how The most obvious problem was a great deal of plaster debris from stunning as these mid and post treatment photos illustrate. the curious objects would have appeared and been used in their original context, the library wall lodged behind the lower stretcher member. This despite how foreign some may appear to the modern eye. This is a tremendous We wish to thank The Community Foundation of Southeastern caused pronounced surface deformations in the painting along the aid to staff as they work to improve the informational value of catalog records, Massachusetts – William H. and Mary H. Woods Fund for Arts bottom. Adding to the problem, tacks around the edges had pulled while ensuring that the meaning of these artifacts will continue to be preserved and and Literacy for a major contribution to the conservation of Seaweed away from the frame in several areas. The old-fashioned stretcher conveyed well into the future. Gatherers. Without their generous financial support this important could only be adjusted in one direction, so there was no way to make work could not have been completed. the canvas more taut and flat. Also on the verso (reverse) side were Photo 1: The Rigger’s Loft, seen in this 1940’s photo featured a collection of rare tools and implements donated by William R. Wing, whaling merchant and his daughter Mrs. Charles S. Hussey. Photo 2: This early 1930’s photo shows the corner of the Whaling Merchant’s Counting Room. The Museum still holds most of the contents of this and the other dioramas. Photo 3: This chest, featuring vessel names on its drawers (visible in period photos of the Whaling Merchant’s Counting room) remains attractive today with a selection of cooperage arranged upon it. Photo 4: Most of the objects in this recent photo were once featured in the original Bourne Building exhibits.

32 bulletin | spring 2020 For up-to-date calendar listings visit www.whalingmuseum.org 33 SAILORS’ SERIES SUPPORTED BY RUTH AND HOPE ATKINSON

TEACHING MELVILLE June 19 – July 2, 2020

Mural by Richard Ellis Honoring Llewellyn Howland III An Institute for School Teachers on Herman Melville’s Moby-Dick and the World of 2020 Fall Members’ Trip Whaling in the Digital Age. The New Bedford Whaling Museum’s annual Sailors’ Series presents a wide variety of experiences Education colleagues from accross the country will gain and adventures by individuals with lifelong commitments to sailing, boats, and the sea. The 2020 Exploring Madeira & Sao Miguel insight into the art and context of Herman Melville’s Sailors’ Series is presented in honor of Llewellyn Howland III, and is supported in part, by The September 11– 20, 2020 iconic 19th-century American novel Moby-Dick, Samuel D. Rusitzky Lecture Fund. Join us for the New Bedford Whaling Museum’s annual while learning new approaches to interpreting the book for 21st-century students. Tickets: Members $15 | Non-members $25 | Reserve at 508-997-0046 or whalingmuseum.org members’ trip and enjoy four nights in Madeira and four nights in the Azores. The rich culture, stunning beaches, and Principal faculty from the Melville Society Cultural Project: unique countryside featured in this trip will be enhanced by Timothy Marr (University of North Carolina at Chapel Hill), the deep knowledge and passion of the Museum’s Curator Tuesday, May 12 Tuesday, June 2 Institute director of Social History, Dr. Akeia de Barros Gomes, who will Jennifer Baker (New York University) travel with the group. Yachting in Greenland Vendee Globe: Racing Solo Non-Stop Mary K. Bercaw Edwards (University of Connecticut) Reception 6 pm | Presentation 6:30 pm Around the World Space is limited! Reserve your spot by calling Wyn Kelley (Massachusetts Institute of Technology) Onne van der Wal is one of the most Reception 6 pm | Presentation 6:30 pm Emily Mead, Director of Philanthropy, at (508) 717-3850 Chris Sten (George Washington University) prolific and talented marine photog- Marvel at Rich Wilson’s stories about Robert K. Wallace (Northern Kentucky University) raphers in the world of sailing. Enjoy or email [email protected] the toughest sailing race in the world. Jeffrey Markham (New Trier High School) Onne’s photos and stories from his Fewer than 150 sailors have ever * Trip includes round-trip airfare from Boston, transportation sailing trips to Greenland in 2018 finished the non-stop, round-the- to and from the airport, 8-night accommodation, 14 meals, and 2019. world Vendee Globe - Rich has private tour guide, and tours with the Museum’s Curator done it twice. of Social History, Dr. Akeia de Barros Gomes. A $500 non- refundable deposit is due at the time of booking to secure The Teaching Melville Summer Institute for Teachers is funded by a grant from This year’s series is presented in partnership with the Cruising Club of America, New Bedford Yacht Club, Beverly Yacht Club, and Tabor Academy. the National Endowment for the Humanities. Any views, findings, conclusions, reservation. Final balance will be due by June 24, 2020. Above: Photo courtesy Onne van der Wal or recommendations expressed in this program do not necessarily represent those of the National Endowment for the Humanities.

34 bulletin | spring 2020 For up-to-date calendar listings visit www.whalingmuseum.org 35 The White Whale New Bedford Whaling Museum

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N 3 0 E 0 H 2 U ~ N 03 DR 19 ED YEARS Board of Trustees 2019-20 Museum Staff Anthony R. Sapienza, Chair John C. Pinheiro Lucile Hicks Kayleigh Almeida, Senior Accountant Tina Malott, Director of Marketing & George B. Mock III, First Vice Chair Cathy Roberts Frederic C. Hood Ciera Arruda, Accounting and Human Public Relations Explore the Oceans Gurdon B. Wattles, Second Brian J. Rothschild, Ph.D. Lawrence Huntington Resources Assistant Jacob Andrew Mark, Exhibits Assistant Vice Chair Tricia Schade William N. Keene Akeia de Barros Gomes, Ph.D., Curator Amanda D. McMullen, President and CEO Joseph E. McDonough, Treasurer Guy R. Shepherd David N. Kelley II of Social History Emily Mead, Director of Philanthropy Hardwick Simmons, Bernadette Souza Morris W. Kellogg Jordan Berson, Director of Collections Sarah Mink, Web Designer Shop Online: store.whalingmuseum.org | Phone: 508-997-0046 ext. 127 | At the Museum Gift Shop – The White Whale Assistant Treasurer Gunga T. Tavares William T. Kennedy Brett Carlsen, Museum Store Associate Henry Moniz, Facilities Associate Christine Shapleigh Schmid, M.D., Carol M. Taylor, Ph.D. Frances F. Levin Christina Connett Brophy, Ph.D., Michael Novak, Facilities Associate Clerk R. Davis Webb Jack Livramento The Douglas and Cynthia Crocker Endowed Joclyne Nunes, Programs and Alice Rice Perkins, Assistant Clerk Susan M. Wolkoff Hon. D. Lloyd Macdonald Chair for the Chief Curator Events Manager Onésimo Almeida, Ph.D. David W. Wright Barbara Moss Kelly Corralejo, Visitor Experience Manager Sabrina Paulson, Visitor Services Associate Paulina Rocha Arruda David A. Wyss, Ph.D. Arthur H. Parker Kevin Dias, Facility Rentals Associate John F. Pimentel, Facilities Associate Christina M. Bascom Celeste Penney Cindy Ayala Duran, Visitor Services Associate Mark Procknik, Librarian Museum Advisory Council Ricardo Bermudez Donald S. Rice Michael P. Dyer, Curator of Amanda Quintin, Graphic Designer Carol M. Taylor, Ph.D., Chair Paula Cordeiro, Ph.D. Maryellen Sullivan Shachoy Maritime History Emma Rocha, Curatorial Assistant Lisa Schmid Alvord EDUCATION Douglas Crocker II Gilbert L. Shapiro, M.D. Eric Franco, Facility Rentals Manager Robert C. Rocha, Jr., Director of Education Patricia L. Andrade, M.D. Pamela Donnelly Charles T. Toomey Alize Furtado, Visitor Services Associate & Science Programs Nathaniel Bickford John N. Garfield, Jr. Capt. Robert G. Walker Joshua Goncalves, Facility Rentals Associate Jose Salinas Rodriguez, Facilities Associate Mary Jean Blasdale Continued from page 30 Vanessa Gralton Janet P. Whitla Gayle Hargreaves, Marketing Manager Veronica Rojas, Museum Store Associate John W. Braitmayer Edward M. Howland II Phoebe Magee, Manager of Young Maryanne Monsour Santos, Visitor Truman S. Casner Volunteer Council James S. Hughes Executive Committee Adult Programs Services Associate Carl J. Cruz Patricia A. Jayson Andrew Ilsley, Facilities Associate Catherine Saunders, Project Coordinator, Cecil Clark Davis continued William do Carmo Dee Leclair, President Robert H. Kelley, Esq. Tanya LaFerriere, Visitor Services Associate Lighting the Way: Historic Women of Roy Enoksen Jenn Gady, Recording Secretary Eugene A. Monteiro Catherine Lannan, Visitor Services Associate the SouthCoast Hon. Armand Fernandes, Jr. Judy Giusti, Corresponding Secretary Michael Moore, Ph.D. Michael A. Lapides, Director of Digital John M. Silva, Operations Foreman Cecil described herself as self-taught, and her diaries show that she constantly worked at improving herself. Her independent study included (Ret.) Clif Rice, Treasurer Faith Pierce Morningstar Initiatives Nathan Silveira, Digital Initiatives Intern countless visits to museums and an extensive art book collection. She befriended John Singer Sargent, sought his advice, and appreciated his Barbara Ferri Barbara H. Mulville Steven LePage, Membership Manager honesty. Audrey Spina, Development Associate Cecelia Tavares, Assistant Librarian For the last several years of her life, Cecil suffered from paralysis and debilitating pain. She hired Frederica Dibblee Poett, the daughter of a Brittany Taylor, Volunteer and School Mission Programs Manager friend, to assist her in getting around and running the household in Marion. She died on September 12, 1955, and is buried in Evergreen The New Bedford Whaling Museum ignites learning through explorations of art, history, science, Michelle Taylor, Chief Administrative Cemetery next to her parents in Marion. Cecil left “The House in the Lane” to Frederica and the contents of her studio, including many and culture, rooted in the stories of people, the region, and an international seaport. Stay Connected Officer & CFO Chelsea Texiera, Museum Store Supervisor portraits, to a local private school, Tabor Academy. The Marion Art Center owns many of Cecil’s paintings and named one of its two galleries Credits: Produced by: NBWM Marketing/Communications | Designed by: Amanda Quintin Design Christina Turner, Director of Education in her honor. On the cover: Albert Pinkham Ryder. With Sloping Mast and Dipping Prow, ca. 1880-1885. Cheryl L. Wilson, Museum Store Associate Oil on canvas mounted on fiberboard. Smithsonian American Art Museum, Gift of John Gellatly, 1929.6.102.

36 bulletin | spring 2020 For up-to-date calendar listings visit www.whalingmuseum.org 37 nonprofit org. u.s. postage paid Museum Store new bedford, ma 18 Johnny Cake Hill • New Bedford, Massachusetts 02740-6398 permit no. 29 18 Johnny Cake Hill 508-997-0046 • www.whalingmuseum.org New Bedford, Massachusetts 02740-6398 www.whalingmuseumstore.org

MUSEUM April – December: Daily 9 a.m. – 5 p.m. (Monday – Sunday) The New Bedford Whaling Museum is a 501(c)3 non-profit organization, HOURS Open Holiday Mondays | Closed Thanksgiving, Christmas and New Year’s Day and is governed by the Old Dartmouth Historical Society. January – March: Tuesday – Saturday 9 a.m. – 4 p.m. | Sunday 11 a.m. – 4 p.m. Subscription to this publication is a benefit of membership. For more information about membership, call 508-717-6832 Museum is fully accessible or visit www.whalingmuseum.org. All rights reserved. This publication may not be reproduced in whole or part LIBRARY Tuesday – Friday 10 am – 4 pm without the expressed written consent of the New Bedford Whaling Museum. HOURS First Saturday of each month 10 am – 4 pm

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N 3 0 E 0 H 2 Friday, July 31, 2020 U ~ N 3 0 Friday DR 19 ED YEARS July 31, 2020 Summer SummerGala Gala