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inv. 235
Unloading a Ship
c. 1850 Oil on canvas 11 3/4 x 15 1/2 in. (29.8 x 39.4 cm) No inscription found
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Historical Materials
Below is historical information related to the Lane work above. To see complete information on a subject on the Historical Materials page, click on the subject name (in bold and underlined).
Schooners in Lane’s time were, with few exceptions, two-masted vessels carrying a fore-and-aft rig having one or two jibs, a fore staysail, gaff-rigged fore- and main sails, and often fore- and main topsails. One variant was the topsail schooner, which set a square topsail on the fore topmast. The hulls of both types were basically similar, their rigs having been chosen for sailing close to the wind. This was an advantage in the coastal trade, where entering confined ports required sailing into the wind and frequent tacking. The square topsail proved useful on longer coastwise voyages, the topsail providing a steadier motion in offshore swells, reducing wear and tear on canvas from the slatting of the fore-and-aft sails. (1)
Schooners of the types portrayed by Lane varied in size from 70 to 100 feet on deck. Their weight was never determined, and the term “tonnage” was a figure derived from a formula which assigned an approximation of hull volume for purposes of imposing duties (port taxes) oncargoes and other official levies. (2)
Crews of smaller schooners numbered three or four men. Larger schooners might carry four to six if a lengthy voyage was planned. The relative simplicity of the rig made sail handling much easier than on a square-rigged vessel. Schooner captains often owned shares in their vessels, but most schooners were majority-owned by land-based firms or by individuals who had the time and business connections to manage the tasks of acquiring and distributing the goods to be carried. (3)
Many schooners were informally “classified” by the nature of their work or the cargoes they carried, the terminology coined by their owners, agents, and crews—even sometimes by casual bystanders. In Lane’s lifetime, the following terms were commonly used for the schooner types he portrayed:
Fishing Schooners: While the port of Gloucester is synonymous with fishing and the schooner rig, Lane depicted only a few examples of fishing schooners in a Gloucester setting. Lane’s early years coincided with the preeminence of Gloucester’s foreign trade, which dominated the harbor while fishing was carried on from other Cape Ann communities under far less prosperous conditions than later. Only by the early 1850s was there a re-ascendency of the fishing industry in Gloucester Harbor, documented in a few of Lane’s paintings and lithographs. Depictions of fishing schooners at sea and at work are likewise few. Only A Smart Blow, c.1856 (inv. 9), showing cod fishing on Georges Bank (4), and At the Fishing Grounds, 1851 (inv. 276), showing mackerel jigging on Georges Bank, are known examples. (5)
– Erik Ronnberg
References:
1. Howard I. Chapelle, The History of American Sailing Ships (New York: W.W. Norton & Co., 1935), 258. While three-masted schooners were in use in Lane’s time, none have appeared in his surviving work; and Charles S. Morgan, “New England Coasting Schooners”, The American Neptune 23, no. 1 (DATE): 5–9, from an article which deals mostly with later and larger schooner types.
2. John Lyman, “Register Tonnage and its Measurement”, The American Neptune V, nos. 3–4 (DATE). American tonnage laws in force in Lane’s lifetime are discussed in no. 3, pp. 226–27 and no. 4, p. 322.
3. Ship Registers of the District of Gloucester, Massachusetts, 1789–1875 (Salem, MA: The Essex Institute, 1944). Vessels whose shipping or fishing voyages included visits to foreign ports were required to register with the Federal Customs agent at their home port. While the vessel’s trade or work was unrecorded, their owners and master were listed, in addition to registry dimensions and place where built. Records kept by the National Archives can be consulted for information on specific voyages and ports visited.
4. Howard I. Chapelle, The National Watercraft Collection (Washington, DC: Smithsonian Institution, 1960), 74–76.
5. Howard I. Chapelle, The American Fishing Schooners (New York: W.W. Norton & Co., 1973), 58–75, 76–101.
1852
Oil on canvas
28 x 48 1/2 in.
Cape Ann Museum, Gloucester, Mass., Deposited by the City of Gloucester, 1952. Given to the city by Mrs. Julian James in memory of her grandfather Sidney Mason, 1913 (DEP. 200)
Detail of fishing schooner.
Also filed under: Gloucester Harbor, Inner / Harbor Cove »
Stereograph card
Frank Rowell, Publisher
stereo image, "x " on card, "x"
Cape Ann Museum Library & Archive
View showing a sharpshooter fishing schooner, circa 1850. Note the stern davits for a yawl boat, which is being towed astern in this view.
Also filed under: Historic Photographs »
Model made for marine artist Thomas M. Hoyne
scale: 3/8" = 1'
Thomas M. Hoyne Collection, Mystic Seaport, Conn.
While this model was built to represent a typical Marblehead fishing schooner of the early nineteenth century, it has the basic characteristics of other banks fishing schooners of that region and period: a sharper bow below the waterline and a generally more sea-kindly hull form, a high quarter deck, and a yawl-boat on stern davits.
The simple schooner rig could be fitted with a fore topmast and square topsail for making winter trading voyages to the West Indies. The yawl boat was often put ashore and a "moses boat" shipped on the stern davits for bringing barrels of rum and molasses from a beach to the schooner.
– Erik Ronnberg
References:
Jeffrey Bolster, Black Jacks: African American Seafarers in the Age of Sail (Cambridge, MA: Harvard University Press, 1997).
Howard I. Chapelle, American Small Sailing Craft (New York: W.W. Norton & Co., 1951), 29–31.
Also filed under: Hand-lining » // Ship Models »
20 x 14 in.
Cape Ann Museum Library & Archive, Gloucester, Mass.
The image, as originally drafted, showed only spars and sail outlines with dimensions, and an approximate deck line. The hull is a complete overdrawing, in fine pencil lines with varied shading, all agreeing closely with Lane's drawing style and depiction of water. Fishing schooners very similar to this one can be seen in his painting /entry:240/.
– Erik Ronnberg
Newspaper
"Shipping Intelligence: Port of Gloucester"
"Fishermen . . . The T. [Tasso] was considerably injured by coming in contact with brig Deposite, at Salem . . ."
Also filed under: Newspaper / Journal Articles »
Newsprint
From bound volume owned by publisher Francis Procter
Collection of Fred and Stephanie Buck
"A Prize Race—We have heard it intimated that some of our fishermen intend trying the merits of their "crack" schooners this fall, after the fishing season is done. Why not! . . .Such a fleet under full press of sail, would be worth going many a mile to witness; then for the witchery of Lane's matchless pencil to fix the scene upon canvass. . ."
Also filed under: Fishing » // Newspaper / Journal Articles »
Also filed under: Cape Ann Advertiser Masthead »
Stereograph card
Procter Brothers, Publisher
Cape Ann Museum Library & Archive
"Gloucester Harbor from Rocky Neck, Looking Southwest. This gives a portion of the Harbor lying between Ten Pound Island and Eastern Point. At the time of taking this picture the wind was from the northeast, and a large fleet of fishing and other vessels were in the harbor. In the range of the picture about one hundred vessels were at anchor. In the small Cove in the foreground quite a number of dories are moored. Eastern Point appears on the left in the background."
Southeast Harbor was known for being a safe harbor.
Also filed under: Gloucester Harbor, Outer » // Historic Photographs » // Rocky Neck » // Small Craft – Wherries, and Dories »
Stereograph card
Cape Ann Museum Library & Archive
"Said schooner was captured about the first of September, 1871, by Capt. Torry, of the Dominion Cutter 'Sweepstakes,' for alleged violation of the Fishery Treaty. She was gallantly recaptured from the harbor of Guysboro, N.S., by Capt. Harvey Knowlton., Jr., (one of her owners,) assisted by six brave seamen, on Sunday night, Oct. 8th. The Dominion Government never asked for her return, and the United States Government very readily granted her a new set of papers."
Also filed under: Fishing » // Historic Photographs » // Waterfront, Gloucester »
Photograph
Cape Ann Museum Library & Archive
Also filed under: Gloucester Harbor, Inner / Harbor Cove » // Historic Photographs » // Waterfront, Gloucester »
Cape Ann Museum Library & Archive (2013.068)
Schooner fleet anchored in the inner harbor. Looking east from Rocky Neck, Duncan's Point wharves and Lane house (at far left), Sawyer School cupola on Friend Street.
Also filed under: Duncan's Point » // Gloucester Harbor, Inner / Harbor Cove » // Historic Photographs » // Waterfront, Gloucester »
See p. 254.
As Erik Ronnberg has noted, Lane's engraving follows closely the French publication, Jal's "Glossaire Nautique" of 1848.
Also filed under: Babson History of the Town of Gloucester »
Wood, cordage, acrylic paste, metal
~40 in. x 30 in.
Erik Ronnberg
Model shows mast of fishing vessel being unstepped.
Also filed under: Burnham Brothers Marine Railway » // Fishing »
Watercolor on paper
8 3/4 x 19 3/4 in.
Cape Ann Museum, Gloucester, Mass., Gift of Rev. and Mrs. A. A. Madsen, 1950
Accession # 1468
Fishing schooners in Gloucester's outer harbor, probably riding out bad weather.
Also filed under: Elwell, D. Jerome » // Gloucester Harbor, Outer »
Photograph
Cape Ann Museum Library & Archive
Ignatius Weber's windmill (now defunct) is shown.
Also filed under: Flake Yard » // Fort (The) and Fort Point » // Gloucester Harbor, Inner / Harbor Cove » // Historic Photographs » // Rogers's (George H.) wharves » // Waterfront, Gloucester » // Windmill »
Print from bound volume of Gloucester scenes sent to the Philadelphia Centennial Exhibition.
11 x 14 in.
Cape Ann Museum Library & Archives
Schooner "Grace L. Fears" at David A. Story Yard in Vincent's Cove.
Also filed under: Historic Photographs » // Shipbuilding / Repair » // Vincent's Cove »
The yawl boat was a ninteenth-century development of earlier ships' boats built for naval and merchant use. Usually twenty feet long or less, they had round bottoms and square sterns; many had raking stem profiles. Yawl boats built for fishing tended to have greater beam than those built for vessels in the coastal trades. In the hand-line fisheries, where the crew fished from the schooner's rails, a single yawl boat was hung from the stern davits as a life boat or for use in port. Their possible use as lifeboats required greater breadth to provide room for the whole crew. In port, they carried crew, provisions, and gear between schooner and shore. (1)
Lane's most dramatic depictions of fishing schooners' yawl-boats are found in his paintings Gloucester Outer Harbor, from the Cut, 1850s (inv. 109) and /entry:311. Their hull forms follow closely that of Chapelle's lines drawing. (2) Similar examples appear in the foregrounds of Gloucester Harbor, 1852 (inv. 38), Ships in Ice off Ten Pound Island, Gloucester, 1850s (inv. 44), and The Fort and Ten Pound Island, Gloucester, Massachusetts, 1847 (inv. 271). A slightly smaller example is having its bottom seams payed with pitch in the foreground of Gloucester Harbor, 1847 (inv. 23). In Gloucester Inner Harbor, 1850 (inv. 240), a grounded yawl boat gives an excellent view of its seating arrangement, while fishing schooners in the left background have yawl boats hung from their stern davits, or floating astern.
One remarkable drawing, Untitled (inv. 219) illustrates both the hull geometry of a yawl boat and Lane's uncanny accuracy in depicting hull form in perspective. No hull construction other than plank seams is shown, leaving pure hull form to be explored, leading in turn to unanswered questions concerning Lane's training to achieve such understanding of naval architecture.
– Erik Ronnberg
References:
1. Howard I. Chapelle, American Small Sailing Craft (New York: W.W. Norton & Co., 1951), 222–23.
2. Ibid., 223.
Oil on canvas
12 1/8 x 19 3/4 in.
Museum of Fine Arts, Boston, Bequest of Martha C. Karolik for the M.and M. Karolik Collection of American Paintings, 1815-1865 (48.447)
A schooner's yawl lies marooned in the ice-bound harbor in this detail.
The terms "cob wharf" and "crib wharf" refer to a common form of wharf construction dating from pre-colonial times in Europe to the early nineteenth century in America. Both utilize a rectangular frame of timber called a "crib," which forms the foundation of the timber-and-fill structure built over it.The Hamersly Naval Encyclopaedia defines a crib as "a structure of logs filled with stones, etc., and used as a dam, pier, ice-breaker, etc." A cob is defined as "a breakwater or dock made of piles and timber, and filled in with rocks. The vagueness of these definitions probably explains the interchange of these terms in contemporary descriptions. (1)
In Lane's paintings of Gloucester Harbor, we see what could be both examples of these wharf types on the point of land in Gloucester Harbor, 1847 (inv. 23) at far left. The wharf built up of layers of cribs (like a log cabin) fits the definition of a crib wharf, while the wharf beyond it with vertical pilings enclosing exposed stone would be a cob wharf. Going by this observation, other examples of cob wharves can be found in the depictions of Harbor Cove from the 1840s in The Old Fort and Ten Pound Island, Gloucester, 1850s (inv. 28), The Old Fort and Ten Pound Island, Gloucester, 1850s (inv. 30), and The Fort and Ten Pound Island, Gloucester, Massachusetts, 1847 (inv. 271).
Going by the Hamersly definition of cob wharf, coupled with recent archeological studies of Boston's old waterfront, this constuction was used for both finger piers and bulkhead piers in Gloucester Harbor. Thus, the bukhead piers adjoining and linking the wharves on Fort Point were cob wharves, their stone fill appearing no different from that of the finger piers. (2)
The stone fill used in these wharves was rubble stone: beach stones, field stones, and boulders broken into irregular shapes. Shaped stone blocks of quarried granite do not appear in Lane's depictions of wharves until George H. Rogers began construction of his wharf on Fort Point as noted in Ten Pound Island, Gloucester, 1850s (inv. 17) and Ten Pound Island in Gloucester Harbor, 1864 (inv. 104). The building of this wharf marks a clean break with older wharf construction in Gloucester's Harbor Cove.
– Erik Ronnberg
References::
1. A Naval Encyclopaedia (Philadelphia: L. R. Hamersly & Co., 1884. Reprint: Detroit: Gale Research Co., 1971), 146,182.
2. Nancy S. Seasholes, Breaking Ground: A History of Landmaking in Boston (Cambridge, MA: The MIT Press, 2003), 13–19.
Wood, metal, and paint
20 1/4 x 10 1/4 x 10 1/2 in., scale: 1/2" = 1'
Made for the Columbian Exposition, Chicago, 1892–93
Cape Ann Museum, from Gloucester Chamber of Commerce
The wharf is built up of "cribs", square (sometimes rectangular) frames of logs, resembling a log cabin, but with spaces between crib layers that allow water to flow freely through the structure.Beams are laid over the top crib, on which the "deck" of the wharf is built. Vertical pilings (or "spiles" as locally known) are driven at intervals to serve as fenders where vessels are tied up.
– Erik Ronnberg
Also filed under: Waterfront, Gloucester »
Commentary
Painted about 1850, Unloading a Ship depicts a calm inlet at sunset. On the beach in the foreground, two men engage in conversation as a third transfers cargo from a large dory to a horse-drawn cart. Two ships, meticulously studied and drawn, lie in the glassy water beyond. A warm red-orange light suffuses the scene, lending a nostalgic cast to the image.
In contrast to Lane's luminist work of the later 1850s and 1860s, Unloading a Ship embodies narrative elements that relate it to contemporary genre paintings by such artists as William Sidney Mount (1807-1868). Reading from left to right, the two men in the lower left appear to be a sailor and a landsman, respectively. Paralleling paintings by Mount depicting horse trading and other commercial negotiations, the two figures appear to be discussing some transaction or commodity. In this case, the subject of their discussion is probably the cart in the center foreground. Loading the cart from the empty boat to the right, a second pair of figures underscores the act of transferring goods from sea to land. Lane's contrived, almost didactic presentation of the foreground elements emphasizes the importance of coastal shipping, particularly to remote villages along the Maine coast.
If Lane's figural arrangement seems somewhat artificial, there is little that is fanciful in the artist's rendering of the ships. Carefully observed and delineated, the vessels are easily recognizable as to both their class and function. The ship on the left is a topsail schooner, a cargo carrier that appears frequently in Lane's paintings. To the right is a smaller schooner, perhaps a fishing vessel. In keeping with the sunset hour, the larger ship appears to be furling its sails for the night. The smaller craft is still fully rigged, suggesting that it has just arrived on the scene after a day of work.
An apparent celebration of coastal shipping combined with carefully observed images of sailing vessels, Unloading a Ship reinforces scholarly assertions that Lane's clients were most likely ship captains and others who were intimately familiar with the sea trade. Painted during an era when the owners and masters of ships ranked among New England's commercial elite, Unloading a Ship is not only an affirmation of their roles in society but a testament to their cultural aspirations as well.
Excerpt from V. Scott Dimond, “Unloading a Ship” Exploring American Art: An Online Resource for the American Collections, Currier Museum of Art, Manchester, NH, 2004, web, accessed February 2016.
REFERENCE
Franklin Kelly with Nicolai Cikovsky Jr., Deborah Chotner, and John Davis. American Paintings of the Nineteenth Century, Part I . Washington, DC: National Gallery of Art, 1996.
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