mystic seaport magazine, fall-winter 2013

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Launching the

Charles W. Morgan

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Fa l l / w i n t e r

2013

FALL / WINTER 2013 | Mystic Seaport Magazine | 3

C O N T E N T S

3

IN THIS ISSUE

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

ADVANCEMENT NEWS .................. 5-7

MUSEUM BRIEFS ....................... 8-10

LAUNCHING THE MORGAN ....... 11-15

SHIP MODEL DONATION .......... 16-17

Q & A ............................................. 18

MY MYSTIC SEAPORT .................... 19

ON BOOKS ................................ 20-21

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

ON THE COVER: ROB WHALEN, LEAD SHIPWRIGHT ON THE CHARLES W. MORGAN RESTORATION PROJECT, MAKES A TOUCH-UP ON THE WHALESHIP BEFORE THE LAUNCH ON JULY 21, 2013.

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CONTACT US

VISITOR INFORMATION: 860.572.5315 • 888.973.2767

ADMINISTRATION: 860.572.0711

MEMBERSHIP: 860.572.5339

PROGRAM RESERVATION: 860.572.5322

MUSEUM STORE: 860.572.5385

MARITIME GALLERY: 860.572.5388

VOLUNTEER SERVICES: 860.572.5378

Please go to the Museum’s website for information on the Fall/Winter/Spring schedule

ADDRESS: 75 GREENMANVILLE AVE. P.O. BOX 6000 MYSTIC, CT 06355 -0990 WWW.MYSTICSEAPORT.ORG

Mystic Seaport magazine is a publication of Mystic SeaporT

President STEPHEN C. WHITE

executive vice presidents SUSAN FUNK MARCY WITHINGTON

Editor Göran R BUCKHORN [email protected]

PRODUCTION Susan HEATH

contributorsAlexandra AlpertTrudi BuseySarah CahillFred CalabrettaElysa EngelmanChris Freeman

Philip KuepperDan McFaddenCarol Mowrey Erin Richard Jonathan Shay Ken Wilson

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

Göran R BuckhornPhil Butta / Mystic River Press Christine Corrigan / the Westerly SUNChris Freeman

Dennis MurphyAndy PriceChris WhiteMYSTIC SEAPORT PHOTOGRAPHY ARCHIVES

PHOTOGRAPHY

Design Dayna Carignan, MYSTIC SEAPORT Karen Ward, THE DAY PRINTING COMPANY

&

and to

The famous documentary filmmaker Ric Burns, who was the keynote speaker at

the Launch of the Charles W. Morgan, opened his memorable speech on July

21 with the words, “There is nothing more magical than a ship…” Simple enough,

but Burns immediately connected with his audience, some 5,000 people strong,

who simultaneously nodded in agreement. With the Charles W. Morgan poised

proudly behind him on the shiplift in the Shipyard, we all understood where he

was headed. His talk was to be all about her beauty and her significance, and the

fact that we are, without doubt, bonded by

our intense commitment to her. But he went

one important step further by adding that the

magical power of “the compounded human

alchemy” was responsible for her restoration

and her rebirth. Burns had us in the palm of

his hand – and he delivered.

We listened attentively to the filmmaker

turned philosopher and poet. He spoke to us

and to the ship; he spoke to the other 2,700

whaleships now all gone, save one. He spoke

to all Morgan descendants, some present and

some not, but all understanding that together,

Mystic Seaport and the Charles W. Morgan

represent America and what life was like back

then and what it can become.

The magic of the ship, all ships perhaps,

dominated the pre-launch comments and

our thoughts drifted to our personal connec-

tion to vessels that we love, both large and

small, and the magic they play in our hearts and minds. Let’s admit it: the magic

is powerful and it’s one of the most compelling aspects of Mystic Seaport. I think

of the Emma C. Berry and Estella A.— perhaps for you it would be the L.A. Dunton

or Sabino or Brilliant—but regardless of the vessel, we are moved by her form,

her function, and her potential.

We see in the Morgan her potential to go back to sea, to be alive as a ship. That

potential, seen in the vessel on the shiplift, coupled with Ric Burns’s words, cre-

ated the magical energy of what will always be known as The Launch, all made

possible, he commented, by the “sheer stubborn seaborne love and wizardry” of

the Museum staff. There is such importance to our work and our vision. All of the

speakers that morning made it abundantly clear.

Some time ago in the Mystic Seaport Magazine, we answered the important

question: “Why sail the Morgan?” The answer still resonates: The Morgan’s voyage

will illuminate the whaleship’s history for audiences that never before have been

privy to her life; it will bring public history alive via a compelling adventure; it will

emphasize the innovative and influential nature of the maritime tradition; and it

will stimulate relevant conversations about the changing world.

Come see the magic of the Morgan and understand the potential.

S E A S C A P E S SPECIAL EVENTS at MYSTIC SEAPORT

SEPTEMBER 15 to Dec. 31 — 34th Annual International Marine Art Exhibition OCTOBER 5 — Fall Beer Tasting

6 — Argia Twilight Cruise

12 to 14 — Chowder Days

17 — Adventure Series begins

18 — Sights & Frights begins

19-20 — PILOTS Weekend

31 — Trick-or-Treat

NOVEMBER 9 — Charles W. Morgan Day

23 to April 14, — Marine Artists in Winter 2014

29-30 — Field Days

29 to Dec. 8 — Members’ Double Discount Days

30 — Lantern Light Tours begins

DECEMBER 14 — Santa Claus is Coming!

22 — Community Carol Sing

26 to — Holiday Magic Jan. 1, 2014

JANUARY 2014 8 — Maritime Author Series begins

FEBRUARY 2014 15-17 — Winter’s Aweigh

APRIL 2014 12-13 — Educators’ Weekend

STEPHEN C. WHITE President

| Mystic Seaport Magazine | FALL / WINTER 20134

RIC BURNS GIVING HIS MEMORABLE SPEECH. STEPHEN C. WHITE IS SEATED ON THE LEFT.

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

In Honor of the 1841 Charles W. Morgan

K

and to

A D VA N C E M E N T N E W S

On Friday evening, June 28, members of

the America and the Sea Society gathered

at the Maritime Art Gallery at Mystic Sea-

port for a cocktail reception to meet some

of the individuals from the organizations

that have built whaleboats for the Charles

W. Morgan’s 38th Voyage.

Earlier on that Friday, a group of stu-

dents, or apprentices, from the Appren-

ticeshop in Rockland, ME, arrived at Mystic

Seaport aboard a 29-foot whaleboat which

they had constructed. This was especially

newsworthy when you consider that they

had rowed and sailed it to Mystic, a 300-mile

voyage that started on June 16 in Rockland.

The students’ comments were inspir-

ing and pointed to the unique chance this

experience provided for them. They rarely

get to use the boats they build, but in this

case, they had the possibility to undergo

firsthand what whalemen in the nineteenth

century encountered in a whaleboat on the

open sea. Opportunities like these will also

be offered to the crew of Charles W. Morgan

when she goes to sea again in 2014.

MEETING THE WHALEBOAT BUILDERS

To find out more about the America

and the Sea Society, please contact

Annual Fund Manager

Elizabeth Benoit at 860-572.5302

ext. 5144, or email

[email protected]

WELCOME STONERIDGE!


Mystic Seaport is proud to

welcome StoneRidge, a con-

tinuing care retirement com-

munity in Mystic, as the new-

est member of our Community

Partner Program. This spring,

the leadership team at Stone-

Ridge stepped forward and

agreed to support the peren-

nial Adventure Series at Mys-

tic Seaport. For sixty years, this

popular winter program has

brought dynamic and engag-

ing speakers to Mystic Seaport

to share their compelling stories

with our members and friends.

This season’s series, “In the

Wake of the Whale and Other

Environmental Issues,” begins

in October and covers topics

from studying narwhals in the

Arctic to rowing alone across

the Atlantic Ocean. For the final

presentation in the series, on

April 17, 2014, Dana Hewson,

vice president for Watercraft

Preservation and Programs at

Mystic Seaport, will team up

with the captain of the Charles

W. Morgan’s 38th Voyage.

In addition to their partici-

pation in the Community Part-

ner Program, StoneRidge has

also become a Plankholder in

the monumental restoration

and 38th Voyage of the Mor-

gan. Their generous support

will augment a grass-roots com-

munity effort organized under

the name “Sail the Morgan

2014.” This group of members

and friends in the community

has set forth a challenge and

an invitation to help raise $1.5

million toward the funding

needed for the ship’s voyage

next year. To date, and with the

help of StoneRidge, “Sail the

Morgan 2014” has raised nearly

$400,000.

As Dr. Sylvia Earle, the re-

nowned oceanographer, has

stated about the Morgan: “[She

is] a ship from the past with a

message for the future: protect,

preserve, and cherish the sea and

its inhabitants.” We are grateful

to StoneRidge for their support,

encouragement, and enthusi-

asm. Mystic Seaport could not

ask for a better partner in the

community.

The Adventure Series runs

from October to April on the third

Thursday of each month. To learn

more and to purchase tickets, go

to www.mysticseaport.org

Chris Freeman is Director of Development.

MELINDA CARLISLE, CO-CHAIR OF “SAIL THE MORGAN 2014,” HANDS OVER A TRUNNEL RECOGNITION PLAQUE TO PAMELA KLAPPROTH, EXECUTIVE DIRECTOR OF STONERIDGE (ON THE RIGHT).

and to

and to

MYSTIC SEAPORT RECEIVES PRESTIGIOUS NEH AWARD



Just a few days after the successful launch of the Charles W.

Morgan in July, Mystic Seaport received more good news: the

National Endowment for the Humanities (NEH) announced that

it would award the prestigious Chairman’s Special Award to the

Museum. This $450,000 grant will help fund a suite of engaging

public programs and new exhibits revolving around the upcoming

ceremonial 38th Voyage of the Morgan next summer.

Titled “Voyaging in the Wake of the Whalers,” this was one of only

two nationwide projects to receive the designation of a Chairman’s

Special Award in this competitive grant cycle, the highest possible

funding level. The grants in this funding line, named “America’s

Historical and Cultural Organizations: Planning and Implementa-

tion Grants,” support museum exhibitions, library-based projects,

interpretation of historic places or areas, websites, and other project

formats that NEH reviewers and officials determine will “excite and

inform thoughtful reflection upon culture,

identity, and history.”

The five anonymous reviewers serving on

the advisory panel all rated the project “Excel-

lent.” One called the project, “Far and away, the most comprehensive

and exciting public-history/museum/humanities project I have

ever had the privilege to review.” As NEH program officer Christina

Cortina wrote in her summary of the panel’s assessments, “Reviewers

unanimously agreed this ‘groundbreaking’ project was deserving

of a Chairman’s Special Award. They were very impressed by the

‘exceptional’ advisors and praised the ‘brilliant array of program

formats’ designed to deepen the humanities content. We commend

the excellent work of your team in conceptualizing the project and

writing an engaging proposal. The NEH is very pleased to support

this project.”

Created in 1965 as an independent federal agency, the National

Endowment for the Humanities supports research and learning in

history, literature, philosophy, and other areas of the humanities by

funding selected, peer-reviewed proposals from around the nation.

In order to receive NEH funding, the “Voyaging in the Wake

of the Whalers” grant proposal needed to demonstrate that the

project would build on sound humanities scholarship, deepen

public understanding of significant humanities questions, involve

a team of humanities scholars in all phases of development and

implementation, appeal to broad audiences, approach a subject

analytically and interpretively through an appropriate variety

of perspectives, and encourage dialogue and discussion.

In addition, in order to receive funding at the higher level

of a Chairman’s Special Award, the Museum’s proposal

needed to convince the expert reviewers, NEH staff, and the

NEH Chairman that the project “will be unusually signifi-

cant and appealing,” with “exceptionally broad reach nationally.”

The project activities include dockside activities, exhibits, and

educational programs exploring four main humanities themes:

the changing perceptions about whales, the perils and profits of

the whalehunt, the whaleship as global crossroads, and the impact

of whaling on American culture. The project period runs for three

years, beginning in September 2013, and will include scholarly

input, audience evaluation work, and staff training.

“We are very grateful to NEH for their financial and intellectual

support of this exciting project. NEH funding in the planning and

implementation stages enables the Museum to maximize the

impact of the Morgan’s story through exhibitions, interpreta-

tion, and the commemorative 38th Voyage,” said Susan Funk,

executive vice president at Mystic Seaport.

Dr. Elysa Engelman is the Museum’s exhibits researcher/developer.

(TOP AND BOTTOM) CONCEPT DRAWINGS FOR THE DOCKSIDE EXPERIENCE DURING THE MORGAN'S 38TH VOYAGE, BY EXHIBIT DESIGNER JEFF CREWE. (CENTER) CONCEPT DRAWING FOR THE UPCOMING GALLERY EXHIBIT, BY BILL RUGGIERI OF 680 DESIGN.

and to

Newly appointed Vice President for

Advancement Elisabeth Saxe speaks

to Mystic Seaport Magazine.

Why did you choose fundraising as a profession?

As an intern in the late 1970s at New

York City Ballet, I had the opportunity to in-

teract with inspiring philanthropists, many

of whom founded some of New York’s most

notable cultural institutions. Their dedi-

cation to charitable endeavors made an

imprint on me and I chose to devote my

career to connecting those who are phil-

anthropically minded to important causes.

Where did you work prior to Mystic Seaport?

I have always worked in the non-profit

sector. Most recently I served as director

of institutional advancement for Westport

Country Playhouse, my second time work-

ing there as I had previously led their $30.6

million Campaign for a New Era, which

successfully concluded in 2005. I was direc-

tor of development at Caramoor Center for

Music and the Arts, a beautiful 90-acre site

and home to a renowned music festival in

Katonah, NY, and was part of the found-

ing team of Stepping Stones Museum for

Children in Norwalk, CT. My affiliation with

School of American Ballet in New York City

launched my non-profit career in the early

1980s. I held my first professional fundrais-

ing post there as director of special events

and membership.

What attracted you to Mystic Seaport?

As it is among the preeminent maritime

history museums in the nation, I have al-

ways respected Mystic Seaport, so when I

was approached to take on the role of vice

president for advancement, I felt it would

be an honor to be part of the leadership

team during this transformational era for

the Museum. The field of public history is

vitally important. The Museum does an

impressive job making the past relevant to

a broad and diverse audience—this deeply

resonated with me. Taking the Morgan to

sea and all the content being developed

around this project is truly thrilling. Also,

the potential for the 38th Voyage to have a

long-lasting impact on the national scope

of Mystic Seaport seemed like a vital en-

deavor and I wanted to lend my expertise

to the amazing team of professionals and

volunteers who had such an exciting vision.

Do you have any specific plans for the

advancement effort at the Museum?

There is a strong advancement effort

in place here upon which to grow. The

Annual Fund is our top priority. It is truly

the building block to keep Mystic Seaport

thriving. We are endeavoring to expand the

Annual Fund and add to the devoted core of

philanthropists who are currently so gener-

ous. Of course, we are still fundraising to

complete the restoration of the Morgan and

to take her to sea. Other important capital

improvements that will enhance and enrich

the visitor experience are on the horizon.

All will be part of the advancement effort.

What are your interests outside of work?

Like so many of my colleagues here at

Mystic Seaport, one of my favorite pastimes

is sailing. I practice yoga regularly and enjoy

“gentle” hikes in the Berkshires with my

family, which includes a blue merle sheltie

named Luna.

ELISABETH SAXE IS NEW VICE PRESIDENT FOR ADVANCEMENT

At Mystic Seaport, an ocean voyage is per-

haps the best metaphor for a major capital

campaign. When setting out to sea for any

substantial offshore passage, we all hope for fair

winds and following seas. We know, however,

that we must be prepared to face foul winds and ill tides. We set out ,

confident of our destination, yet uncertain how our voyage will unfold.

During the campaign to restore the Charles W. Morgan and take her

to sea once again, we have had our share of both “fair and foul winds.”

We have also had the company of good shipmates who have pulled

together to bring us through. At this point in the campaign, slightly

more than 900 members and generous philanthropic friends have

contributed $10.4 million of the $12 million necessary to sail the Morgan

in 2014. Gifts have ranged from a leadership gift of $2 million to three

consecutive gifts from young Matthew H., who has contributed $34.25.

The restoration of the hull is completed and the vessel is once again

afloat on her keel; the same keel that was laid down at the Hillman

Brothers Shipyard in New Bedford 172 years ago. Four and one-half

years of passionate labor, tons of live oak framing, and thousands of

board feet of longleaf yellow pine planking have made the Morgan

seaworthy once again. We now seek to raise the balance of $1.6 mil-

lion to enable us to rig her, fit her out, and sail her on her 38th Voyage.

A grass-roots effort to once again sail the Morgan is underway

alongside our traditional campaign. A special group is setting forth

both a challenge and an invitation to all the friends of the Morgan to

raise the remaining funds to take her to sea next year. Thus far, under

the flag of “Sail the Morgan 2014”, they have raised nearly $400,000 in

support of the 38th Voyage.

If this campaign is indeed a voyage, we are homeward bound, the

headlands of our home port just rising into view over the horizon.

For the Morgan, the conclusion of this voyage of restoration will in

fact take her homeward bound—first out again on the open sea, for

which she was built, and then on to revisit New Bedford, MA, where

she first set sail in 1841.

King Neptune is calling the Morgan back to the sea and your sup-

port will be her fair winds and following seas.

CHARLES W. MORGAN POST-LAUNCH CAMPAIGN UPDATE



A new exhibit opened this fall at Mystic Seaport with the work of

two American photographers, who have documented very differ-

ent aspects of life on the water in black and white photographs.

The exhibit features the work of Milton Moore, who documented Cape

Cod fishermen during the 1970s, and Barry Winiker, who photographs

luxury cruise ships.

Milton Moore’s show is titled “Working Men, Working Boats: Images of

the Cape Cod Fishery in Its Heyday.” Moore is currently a news designer

at the newspaper The Day in New London, CT. He produced this body

of work thirty years ago, while working for the Cape Cod Times, and has

recently restored and digitized these historic images. The photographs

have a timeless feel, capturing techniques that date back before the

1970s. Moore explains, “When I look at these photographs now, these

images of men hauling nets and dredges no longer seem connected to

my own hand, but are like some family heirloom I have always known.

Time contains both to the photographs and the photographer. It is as

easy for me to imagine these photographs as records from the 1930s as

to conjure the cold winds and shifting light of the days when they were

made. Much has been swept away.”

Barry Winiker’s show is titled “Sun Ships: Modern Cruising.” Winiker’s photographs of luxury

ships contrast with the rugged environment of fishermen. His fascination with the photography

of cruise ships and ocean liners began in 1980, when he boarded a passenger ship in New York

and discovered a world of style, design, and function. His photographs from the past three

decades record passenger activities and architectural and design elements on board. Winiker

describes his approach: “My views from the deck are documentary and informative, as well as

interpretive. They are concerned as much with architecture and design as they are with weather

conditions, time of day, and play of light and shadow. The wealth of shipboard visual information

is enormous — it is a subject that inspires, challenges, and offers immeasurable possibilities.”

The exhibit opened on September 13 on the second floor in the Stillman Building.

Jonathan Shay is Director of Exhibits at Mystic Seaport.

CONTRASTING ASPECTS OF MARITIME LIFE IN BLACK AND WHITE

ABOVE: SPIRAL STAIRCASE ON CARNIVAL CRUISE LINE’S CARNIVAL LEGEND, FROM 2002.

BELOW: SHADOWS HIGHLIGHT THE GRACEFUL WALKWAY ON THE CUNARD LINE’S QUEEN ELIZABETH II, FROM 1981.

ABOVE: A 900-POUND TUNA, WHICH LANDED ON A HAND-LINE, IS SLOWLY HOISTED UP TO THE PACKING HOUSE ON MCMILLAN WHARF IN PROVINCETOWN.

LEFT: ON BOARD RENIVA, THE CAPTAIN AND CREW HAUL A FULL TRAWL NET TO THE RAIL TO POSITION IT FOR THE WINCH.


M U S E U M B R I E F S


CONTRASTING ASPECTS OF MARITIME LIFE IN BLACK AND WHITE


The state of Connecticut

has designated the 2013-14 ac-

ademic year to be the “Year of the

Charles W. Morgan.” The desig-

nation affords students across

the state and country a unique

opportunity to learn about Con-

necticut maritime history, the

significance of the whaling in-

dustry, and the importance of

the state’s maritime heritage. The

“Year of the Charles W. Morgan”

features educational resources

and programming that teachers

can use to cover a range of sub-

ject material. These educational

activities will offer students access

to engaging history and science

education through vibrant on-site,

online, and in-school activities.

The special educational op-

portunities available during the

“Year of the Charles W. Morgan”

include:

Thematic lesson plans: Schools

have access to a suite of flexible

online thematic lesson plans

that teachers can incorporate

into their existing curriculum

and that will help them meet

some of the Common Core State

Standards.

Videos: We have developed

a series of short (2-3-minute)

videos about the Morgan and

related 19th-century whaling

trades for teachers to use in

their classroom.

Music on the Morgan: This in-

teractive music program traces

maritime music history and the

Morgan’s place in it.

Period Performances: The

“Year of the Charles W. Mor-

gan” features two new 45-min-

ute period performances that

relate to the Morgan and whal-

ing. Karlee Turner Etter (in

the picture) will portray Lydia

Landers in 1895. Mrs. Landers

accompanied her shipmaster

husband on the Morgan’s sev-

enth voyage (1863-1867) and

was the first woman to travel on

the Morgan. The second role-

player, Jason Hine, will portray

Conrad Geller, a common sailor

on board the Morgan’s 28th,

29th, and 30th voyages. He will

speak directly about what life as

a whaler was like.

Primary source workshops:

Students can participate in pri-

mary source workshops related

to the Charles W. Morgan that

hone their historical and criti-

cal thinking skills and meet key

aspects of the Common Core

State Standards.

Virtual educational program-ming: Using Skype technology

and state-of-the-art equip-

ment, students can participate

in virtual programs from the

deck of the Charles W. Morgan

and from our Collections Re-

search Center.

Professional development for teachers: Teachers can partici-

pate in professional develop-

ment related to the Charles W.

Morgan. The Museum’s profes-

sional development programs

provide teachers with behind-

the-scenes tours and thematic

workshops that correlate our

vast collections and exhibits

with classroom curriculum and

align with state and national

standards.

All of these educational ma-

terials are housed on our new

Online Learning Community

website, which is geared toward

enhancing access to our collec-

tions and other educational pro-

grams using today’s technology.

The website features thematic

resource sets, articles about ar-

tifacts in our collections, “living”

documents, active maps, educa-

tor profiles and projects, online

lectures, scholar interviews, and

much more.

Sarah Cahill is Director of Education at Mystic Seaport.

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

MYSTIC SEAPORT GOES TO CUBAAfter hearing Paul Hendrickson talk at the Museum’s Maritime

Author Series in April 2012 about his book Hemingway’s Boat (2011),

I was inspired to travel to Cuba. With the expertise of Dana Hewson,

Mystic Seaport vice president and Clark Senior Curator for Watercraft,

the Museum organized a trip to Cuba in March this year for a group

of 17 members. The highlight of the trip was visiting Ernest Heming-

way’s home, Finca Vigía, where his boat Pilar is on display and about

which Hendrickson wrote so beautifully in his book. Other highpoints

included hearing the choral group “Cantores of Cienfuegos” sing

“Shenandoah” (you can find them on YouTube), as well as sharing

great experiences with the Cuban people. It was a humbling experi-

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

will probably see transformed in our lifetime.

Thank you to those who traveled with Mystic Seaport and helped

make this trip so memorable.

Mystic Seaport will return to Cuba in the spring of 2014 for a

maritime history tour with Dr. Eric Roorda, who is the author of

Cuba, America and the Sea (2006) and co-director of the Museum’s

Munson Institute.

Alexandra Alpert is Director of Membership and Volunteer Services.

For more information, please visit – www.mysticseaport.org/members or email the Membership Department at [email protected]

KICKING OFF THE “YEAR OF THE CHARLES W. MORGAN”


In November 2011, Mystic Seaport en-

tered into a PPA (Power Purchase Agree-

ment) with Altus Power of Greenwich, CT,

to construct a solar array on the roof of the

Rossie Mill, where the Museum’s Collections

Research Center and boat storage area are lo-

cated. Altus Power worked for several months

to secure the approvals and permits necessary

to construct the system. By December 2012,

all the approvals were in place. Construction

then began in January and was completed

in April. The system was inspected and ap-

proved by Connecticut Light & Power and

came online May 21, 2013.

How it works: Every minute, enough of

the sun’s energy reaches the earth to meet

the world’s energy demand for one year. So-

lar modules capture this energy through a

number of solar cells. Light is absorbed by

the semi-conductors located inside the solar

cells and converted into electrical energy.

This process generates direct current (DC)

electricity which is routed to an inverter that

converts the electricity generated by the solar

modules into alternating current (AC). This is

the form of electricity used in lighting, heating,

and cooling systems.

The system on the roof of the Rossie Mill,

which consists of 963 solar panels connected

by over four miles of wire, has a designed ca-

pacity of 200 kilowatts. This equates to about

20 percent of the annual electrical demand of

the Rossie Mill.

Ken Wilson is Director of Facilities.

It was a banner year for launches at

Mystic Seaport. In addition to the Charles

W. Morgan’s return to the water, the Mu-

seum launched another large item this

past summer: a new and improved web-

site. The brand new www.mysticseaport.

org premiered the first week of June, greet-

ing web visitors with compelling imagery

and videos, user-friendly navigation, more

news, an enhanced calendar of events, and

My Trip. The latter is an online organizer

that lets visitors plan their next visit by us-

ing the “Add to My Trip” buttons to save

vessels, exhibits, and anything else they

don’t want to miss to their personalized

itinerary, which can be viewed or printed

at any time.

An image gallery showcasing different

aspects of Mystic Seaport is the main focal

point of the site’s new homepage. Below

the fold, three new elements are featured:

a calendar of upcoming events and two

news feeds—one sharing the latest Mystic

Seaport news and one highlighting mari-

time news from around the world.

The Museum’s social network activity is

now featured on the site’s new Connect page.

From Tweets to blog posts, the webpage –

which somewhat resembles a digital news-

paper– displays a constantly updated view

of Mystic Seaport’s social media presence.

Additionally, website navigation is now on

the top of each page and features extra-deep

main menus so the entire site can be explored

just by pointing at the menu on any page.

While improved functionality was a ne-

cessity for the new website, so was a fresh

look. Photo galleries, larger-sized images,

and videos have a key presence. On select

pages, viewers can watch Mystic Seaport

moments that have been captured by the

Museum’s Film & Video Department and

also attend events online by watching live

streaming videos. One such event was the

Morgan launch, which garnered more than

11,000 views during the live broadcast.

The next time you’re online, stop by

the Museum’s website. Follow the lead of

the navigation menu and learn, join, shop,

connect, support, and research the collec-

tions. It may not be quite the same as a real

visit to Mystic Seaport, but it provides an

enjoyable, user-friendly, and informative

experience of its own.

Erin Richard is the Web Content Manager at Mystic Seaport.

Anne Butler was presented with the 2013

William C. Noyes Volunteer of the Year Award

at the Mystic Seaport Celebration of Volunteers

event in July. Butler, of Jamestown, RI, began

volunteering at the Museum in May 2008 and

has since contributed more than 10,000 hours.

It is not unusual to find Butler working seven

days a week, and at present she is volunteering

in the Shipyard, the Exhibits department, and

the G. W. Blunt White Building, which holds the

National Rowing Hall of Fame, the rowing exhibit

“Let Her Run,” the archive of the Cruising Club

of America, the exhibit “Adventurous Use of the

Sea,” and a small selection of images from the

Rosenfeld Collection.

“It came as a big surprise and I am very proud

to have been chosen,” Butler said. “By now, I

have volunteered in every department at the

Museum, and it’s great fun.”

During the winter, Butler and a small group

of volunteers in the Shipyard make between

10,000 and 12,000 hulls for the high season’s toy

boat building for children. “I do love working in

the Shipyard,” Butler said.

“Consistency is Anne Butler’s code of work

ethic, and she represents the true spirit of the

Corps of Volunteers. Her multi-faceted efforts in

so many departments remain the marvel of staff

and fellow volunteers throughout the Museum,”

said Rhoda Hopkins Root, associate director of

Volunteer Services.

The William C. Noyes Volunteer of the Year

Award was established in 1998 by Bettye Noyes

in memory of her late husband and is annually

given to a volunteer who “best personifies Bill

Noyes’s example and the ‘true spirit’ of a Mystic

Seaport volunteer.” At the award ceremony in

July, special recognition was also given to vol-

unteers Kit Werner and Barry Boodman and

to Arleen Anderson, graphics specialist at the

Museum’s Exhibits department.

JOIN US ONLINE

SOLAR POWER SYSTEM INSTALLED ON THE ROSSIE MILL

10 | Mystic Seaport Magazine | FALL / WINTER 2013

VOLUNTEER OF THE YEAR: ANNE BUTLER

ANNE BUTLER, STEVE WHITE, AND, ON THE FAR RIGHT, BETTYE NOYES.

THE SHIP RITE

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

On her maiden voyage, the Morgan

rounded the Horn and gained the Pacific.

Gone three years and four months,

she made homeport,

her hold a cornucopia

of 2,400 barrels of oil,

10,000 pounds of whalebone.

The year was 1841.

This year, 2013,

she is launched again,

to sail for pleasure,

then lie anchored, as testament,

to the men who built her,

to the shipwrights who have restored her,

to the 80 years she sailed,

to the 1,000 men who sailed her,

to the 37 voyages,

to the boats launched from her,

to the oil, rendered,

from the blubber by her tryworks,

to her surviving the fire

from the wreckage of the Sankaty,

that struck her in New Bedford’s harbor;

all this, then, testament

to the very ship of her,

her planed planks bearing

the shipwrights’ handprints,

whose fingertips shaped her

to restoration with their work,

the touch of love in the work of their hands,

that pressed her, again,

into the embrace of oceans.

~ Philip Kuepper

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


from the Launch of the MorganVOICESRob Whalen, lead shipwright on

the Charles W. Morgan restora-

tion, could finally exhale when

the vessel was successfully and

officially launched. Rob is quick to give credit

to the many talented shipwrights and volun-

teers whose skills, hard work, and dedication

have given new life to the Morgan. Rob says

he has learned a lot of new things through-

out the five-year restoration process. When

every last detail of the ship’s rebirth is com-

pleted, Rob anticipates having more time

to do something else he enjoys—cooking!

Tireless Museum volunteer, Julia Doering,

began her “Morgan connection” in 1999 as

a novice volunteer interpreter aboard the

historic whaleship. During the vessel’s resto-

ration, Julia returned to supervise a volunteer

crew totaling 25 men and women, all eager

to be involved in revitalizing the Morgan to

her original majesty. Julia stresses, “Because

we were working on a historical artifact, it

was imperative that volunteers be assigned

to specific jobs, based on their individual

talents and abilities.” As a PILOT and a donor

to the Morgan restoration, Julia deservedly

feels pride in a job well done and satisfaction

in helping reach a monumental goal.

Mystic Seaport mem-

bers John and Claire

Bolduc, of Gales Ferry,

CT, are excited about

the 38th Voyage of the Charles W. Morgan.

They have kept up with the vessel’s restora-

tion progress via videos and newspaper and

magazine articles. “To us the magnitude of

the project is awesome on all counts; we

could not miss the Launch day.”

“I first boarded the Morgan back

in 1968,” says Donald Peacock,

chairman of Lynx Educational

Foundation, Nantucket. “It was

important for me to be here today to share

this historic event. My son, Alexander, is a

rigger on the Morgan and the ship is a won-

derful educational tool. By the way, our foun-

dation’s schooner Lynx was rigged at Mystic

Seaport this past spring.”

Chris Kretch, from St. Michaels, MD, finds

the entire history of the Morgan fascinating.

He had a very special reason for attending

the Launch. Chris built one of the whaleboats

that the Morgan will carry when she sets sail

next year. He learned his boat building skills

at the Great Lakes Boat Building School in

Cedarville, MI. It’s easy to see why Chris is

excited about the Morgan’s planned voyage!

Sean Patrick Kelly hammered the “golden

nail” into the Morgan’s shutter plank, the last

plank to close up the ship. Sean admits that

he wasn’t a skilled shipwright, but wander-

lust, curiosity, and a love of history drew him

to Mystic Seaport. He took the opportunity

to learn new skills and be part of the Charles

W. Morgan restoration. Sean did most of the

fastening and feels he could now “pretty

much build a boat.” He says the comradeship

and the “graffiti” his fellow Shipyard workers

wrote or drew on the wooden scaffolding

kept things fun.

David Benvenuti, of Waterford, CT, has been

a Museum member for five years. He first

boarded the Morgan on a Cub Scout field

trip. His strongest recollection was the eye-

opening sight of how sailors lived aboard a

ship. As a woodworker himself, David can

appreciate the fine quality of workmanship

on the restoration project.

Prior to joining the Charles W. Morgan res-

toration project, shipwright Matt Barnes,

a Connecticut native, had spent two years

studying at the International Restoration

Yacht School in Newport, RI, then he worked

at Morris Yachts in Maine. Matt describes

Master Shipwright Roger Hambidge as a

good teacher with whom he worked on the

whole front section of the Morgan. For Matt,

installing the Morgan’s Golden Billet Head

was an unforgettable experience.

Michelle Norelli, a Mystic Seaport member

and a first year PILOT, had a sentimental

reason for attending the Morgan Launch

celebration. Her recently deceased husband,

Neil Norelli, called the Charles W. Morgan his

favorite ship. For Michelle, attending Launch

day was partly to honor her late husband’s

love for the Morgan, and partly to locate the

commemorative bench given to the Museum

in his honor.

Nate Nevins, from Voorhees, NJ,

who visited the Morgan in the

mid-1930s when she was still at

Colonel Green’s estate, was eager

to view the whaleship just before

the Launch. “It feels so special to see her

again, and to meet some of the wonder-

ful people who have made the Morgan so

beautiful for coming generations,” says Nate.

Jean-François Viguié, from Se-

yssinet-Pariset, near Grenoble,

France, is not a stranger to Mys-

tic Seaport. Now a retired engi-

neer, a sailor, and a fanatic about

wooden boats, he first visited the Museum

in 1987. In the summers of 2008 and 2009,

Jean-François signed up as a Museum vol-

unteer to work both as an interpreter and

in the Shipyard. As a special guest of the

Museum, he was thrilled to be here for the

Launch. “The Museum is a special place for

me,” Jean-François says. “I was here in the

beginning of the restoration work of the Mor-

gan, and it was wonderful to be back for this

big event and to see her return to the river.”

Interviews conducted by Trudi Busey who is a volunteer at Mystic Seaport.

“

12 | Mystic Seaport Magazine | FALL / WINTER 2013

By DAN McFADDEN

I want everyone who has touched her,

every paid craftsman and unpaid

volunteer who has treasured and

cherished her and who has lovingly

brought her back to sail again into New Bed-

ford Harbor to know that they will be with

me as I swing the bottle. Along with these

amazing craftsmen, I will also swing the

bottle with all of those who had the foresight

in 1925 to want to preserve this great ship.

They would indeed be astounded to see her

now. I am truly humbled by this honor.”

T H E L A U N C H O F T H E

CHARLES W. MORGANJ U LY 2 1, 2 0 1 3

With those words, Sarah Bullard,

the great-great-great-granddaughter of

Charles Waln Morgan, smashed the cer-

emonial bottle across the bow to chris-

ten the Charles W. Morgan on Sunday,

July 21, 2013. The breaking of that glass

stands as the proud moment when the

Morgan started her journey back to sea.

This day had been long in the making.

The ship had been out of the water in the

Museum’s Henry B. duPont Preservation

Shipyard since November 2008 for the

most comprehensive restoration she has

had since she arrived at Mystic Seaport

TOP: A WHALEBOAT FROM PHILADELPHIA'S INDEPENDENCE SEAPORT MUSEUM PASSES BY THE MORGAN AS PART OF A PARADE OF WHALEBOATS BEFORE THE LAUNCH. ABOVE: THE MYSTIC FIREBOAT SPRAYS RED AND BLUE WATER TO CELEBRATE THE LAUNCH. PHOTO COURTESY OF PHIL BUTTA/MYSTIC RIVER PRESS.


T H E L A U N C H O F T H E

CHARLES W. MORGANJ U LY 2 1, 2 0 1 3

TOP: SARAH BULLARD CHRISTENS THE WHALESHIP.

RIGHT: “THIS IS THE FIRST TOTALLY GOOD THING I HAVE DONE IN TEN YEARS!” RIC BURNS TOLD THE ASSEMBLED CROWD. PHOTO COURTESY OF CHRISTINE CORRIGAN/ THE WESTERLY SUN.

in 1941. While her topsides have been ad-

dressed several times over the years—the

first instance was in the 1880s—this project

focused primarily on restoring areas of the

vessel from the waterline down to her keel

and structural work in the bow and stern.

Much of the material below the waterline

dated to her original construction in 1841.

After a morning thunderstorm that soaked

the grounds and shook the neighborhood

with a huge thunderclap—the clash appro-

priately striking just as an offering of rum was

poured for Neptune in the Shipyard—the

skies cleared and the sun came out to set the

stage for a perfect summer day as the crowds

started to pour through the Museum gates.

While people had the opportunity to view

the launch from several locations around the

Museum, the focus was in the Shipyard and

the proceedings got underway at 1:30 p.m.

with a concert from the U.S. Coast Guard

Band. The assembled crowd included visi-

tors, members, donors, and dignitaries—

including a sizeable contingent from New

Bedford, the site of the Morgan’s construction

and longtime homeport. The accents over-

heard in the crowd ranged from the Deep

South to Downeast Maine, and it was not

uncommon to hear how people had driven

12 hours or more to be there.

The ceremony commenced at precisely

2 p.m. with the singing of the National An-

them, followed by an invocation by Rev. Ann

Aaberg of the Mystic Congregational Church.

Bearing the good news of a state grant of

$500,000 for the restoration, Gov. Dannel P.

Malloy took to the stage to explain why he felt

the State of Connecticut needed to be behind

the project. “This ship behind me stands

as evidence of who we once were, and the

role we once played in the founding of this

nation, of the development of the Industrial

Revolution, and all that has transpired since

those days,” he said.

Earlier in the week, the U.S. Senate passed

a resolution honoring the Museum for its

achievement. The measure’s co-sponsor,

Sen. Richard Blumenthal, was present and


read the text for the audience. Citing the

ship’s importance to the nation’s maritime

heritage, the resolution officially designated

the ship an “Ambassador to the Whales” and

praised the goal of next year’s 38th Voyage

to “reinterpret the Charles W. Morgan as

a vessel of scientific and educational ex-

ploration whose cargo is knowledge and

whose mission is to promote awareness of

the maritime heritage of the United States

and the conservation of the species the

Morgan hunted.”

The keynote speech was given by film-

maker Ric Burns, whose PBS documentary

Into the Deep chronicled the history and

influence of whaling in America.

“This is the first totally good thing I have

done in ten years!” he exclaimed to great

applause.

Burns delivered a moving and inspiring

address that examined the Morgan’s role

as a connection to our shared history as a

seafaring nation, the avatar of the magic

and mystery of ships and the sea, and a

reminder of our evolving relationship with

the natural world.

“This one ship has embodied, made

possible, made real, and brought alive the

experience of whaling as no other single

artifact on the planet,” he told the crowd.

Burns described the Morgan project as

more than a restoration. “We have trans-

formed an instrument of commerce, of kill-

ing and rendering, into a source of wonder

and imagination and knowledge and un-

derstanding,” he said. “Once it went out

across the world and brought back profit.

Now it sails here, both really and in our

imagination, and brings back another kind

of treasure far more valuable–information

about worlds past, present, and to come.”

All eyes were on Sarah Bullard as she

stepped up on the platform under the bow

to christen the vessel. The bottle she carried

contained a blend of waters from oceans

around the globe where the Morgan had

ventured during her 37 whaling voyages.

Jim Carlton, the director of the Williams-

Mystic Program, coordinated the gathering

of samples from as far afield as Mauritius,

Argentina, and the Azores to represent the

Indian, Pacific, and Atlantic Oceans. Waters

from her original and current homeports

of New Bedford and Mystic were added

as well. The samples were blended in an

informal ceremony the day before; with

staff members who have made significant

contributions to the project each taking a

turn to carefully pour the samples into the

special, easily breakable bottle. A touch of

rum was added for good luck.

As those waters cascaded off the bow of

the ship in the wake of Bullard’s swing, U.S.

Rep. Joe Courtney shouted, “Mr. Nosewor-

thy, please commence the launch!”

And with that, the launch was on.

Shipyard staff member Scott Noseworthy

pressed the button to instruct the motors

THE SHIPYARD STAFF POSES FOR A GROUP PHOTO THE MORNING OF THE LAUNCH.


Dan McFadden is Director

of Communications at

Mystic Seaport.

on either side of the shiplift to lower the

platform holding the ship into the river,

a very slow and precise process that was

calculated to take about 20 minutes.

Museum President Stephen C. White,

who emceed the day’s events, stepped

forward to warn the audience with some

humor, “Ladies and gentlemen, this is going

to be a slow watch. Those of you who came

prepared for the big splash or the run down

the ways will be severely disappointed.”

“To fill the time,” as White put it, a

number of individuals from the Museum

community and beyond had the oppor-

tunity to speak. Jon Mitchell, the mayor

of New Bedford, spoke of the importance

of the Morgan to his city and the building

excitement around her homecoming next

summer, Mystic Seaport Executive Vice

President Susan Funk read excerpts from

the Morgan’s log books, and White read a

poem, “Building Her,” by Maine poet Phil-

lip Booth, dedicated to the Shipyard staff.

Rob Whalen, the lead shipwright on the res-

toration, shared his thoughts as the ship slowly

inched down into the water behind him.

“We got her done,” he said giving credit

to the staff, volunteers, and donors who had

contributed to the project. “What makes

all this happen is teamwork, and I thank

you for that.”

Finally, the moment arrived and Ship-

yard Director Quentin Snediker gave the

signal to fire the cannon: the Morgan was

afloat on her own bottom for the first time in

nearly five years. While it might not have had

the drama of a huge splash, the celebration

was no less intense. Cheers erupted up and

down the river, horns blew, the bells of the

town’s churches tolled, and the Mystic Fire

Department’s new fireboat sprayed the sky

with red and blue water.

State Sen. Andrew Maynard, who ear-

lier spoke eloquently about his memories

of the Morgan as a young boy growing up

in Noank, seized the podium and led the

crowd in three cheers for the ship: “Huzzah!

Huzzah! Huzzah!”

The moment was shared by far more

than those who were fortunate to find a

space in the Shipyard. It seemed like the

entire community turned out to see the

event as thousands of people lined the

nearby shores of the Mystic River and a

huge flotilla of kayaks, canoes, dinghies,

motorboats, sailboats, and more filled the

water. Present in the crowd were several of

the new whaleboats built for the Morgan

for her 38th Voyage in 2014. The old saw is

appropriate here: you could almost walk

from one side of the river to the other, there

were so many boats.

In fact, the launch had a global au-

dience as the ceremony was broadcast

through a live video feed available on the

Museum’s website. By Monday morning

more than 11,500 people had viewed the

feed either live or on demand. People from

around the country, and indeed around

the world, tuned in—including a couple

of viewers from Finland and a contingent

from New Zealand.

At the end of the day, once the crowds

dispersed, the band packed up, and visitors

had their last look at her afloat, the Morgan

was back where she belongs, quietly se-

cure in her berth, rising and falling to the

tide and movements of the Mystic River,

sensitive to wind and current, and ready

to begin preparations for the next chapter

in her illustrious career, which will see her

go back to sea to sail once again under her

own canvas, a sight not seen since 1921.

Huzzah, indeed.

For more photos, video, and the entire text of Ric Burns’ speech, visit www.mysticseaport.org/morganlaunch

By FRED CALABRETTA

Since the earliest days of Mystic Seaport, the growth and

refinement of the Museum’s world-class artifact collection

has relied primarily on the generosity of private donors.

This important trend continues through the present day, as it did in

2012 when a phone call brought a remarkable offer. A model builder

located in the very landlocked city of Lubbock, Texas, offered us an

entire collection of ship models as a gift.

Griffith “Grif” Henson, an avid modeler, developed a love of sailing

ships as a teenager in 1957, when he visited the east coast and saw

the USS Constellation and the replica ship Mayflower II. He began

A TEXAS-SIZED GIFT OF MODELSbuilding ship models and continued doing so as he pursued his

education. He entered the teaching profession in 1963 and retired

in 1999 after more than 30 years as a college history professor.

His retirement allowed him to focus on his love of ship model

construction, and his “fleet” eventually numbered more than 50

boats. The models include colonial vessels, clipper ships, packet

ships, early naval vessels, slave ships, and other vessel types repre-

senting about 400 years of maritime history. They range in size from

a nine-foot model of Titanic to a nine-inch early naval gunboat. All

but one of the models in the collection are built from scratch, and

many are based on the plans of preeminent maritime historian

Howard I. Chapelle.


TOP: A TRUCKLOAD OF CAREFULLY PACKED MODELS.

FAR LEFT: THE SLAVER DILIGENTE.

CENTER: THE PACKET SHIP NEW YORK.

RIGHT: U.S. NAVY GUNBOAT, CA. 1804.

THE SHIP RITE


On her maiden voyage, the Morgan

rounded the Horn and gained the Pacific.

Gone three years and four months,

she made homeport,

her hold a cornucopia

of 2,400 barrels of oil,


The year was 1841.

This year, 2013,

she is launched again,

to sail for pleasure,


to the men who built her,

to the shipwrights who have restored her,

to the 80 years she sailed,

to the 1,000 men who sailed her,

to the 37 voyages,

to the boats launched from her,

to the oil, rendered,

from the blubber by her tryworks,

to her surviving the fire

from the wreckage of the Sankaty,


all this, then, testament

to the very ship of her,

her planed planks bearing

the shipwrights’ handprints,

whose fingertips shaped her

to restoration with their work,

the touch of love in the work of their hands,

that pressed her, again,

into the embrace of oceans.

~ Philip Kuepper

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

Grif Henson had long been com-

mitted to the idea of finding a suitable

home for this impressive collection.

This prompted him to contact Mystic

Seaport. Although space limitations

and the practical burdens of profes-

sional collections care require the Mu-

seum to be selective about acquisitions,

we were intrigued by his offer.

Two aspects of the collection made

it an especially good fit for the Museum.

First, several of the model categories,

such as colonial-period ships, packet

ships, slavers, and early naval vessels,

fill gaps in our existing collection. Sec-

ond, the constant 1/8th scale of the

models—a factor Grif views as the

collection’s most important feature—

also made it very appealing. Existing

models in the Museum’s collections

were acquired from many different

sources over a period of more than 80

years. They were also built in a number

of different scales, which can be a bit

confusing for some of our visitors when

several are displayed in close proximity.

In the future, any display of a combina-

tion of the Henson models will allow

visitors to appreciate their similarities,

differences, and comparative size in

accurate scale.

After reviewing photos and ad-

ditional details, the Collections staff

confirmed interest in the collection.

Grif was enthusiastic about our response

and very pleased when the details for the

transfer were finalized. With Grif’s coop-

eration, Collections Manager Chris White

scheduled the pickup in Texas after the

threat of winter weather and between other

major projects at the Museum.

While Chris has transported many arti-

facts in the Collections Department truck,

the task of safely packing 50-plus models

and transporting them 2,000 miles posed

an interesting challenge. Chris began by

carefully measuring the truck’s cargo area.

He then created a scale drawing and cut out

individual pieces of paper–in scale–repre-

senting each of the models. We were pleas-

antly surprised—and relieved—when the

completed arrangement seemed to confirm

the truck could accommodate the entire col-

lection. Still, because of different methods of

taking measurements, different size bases,

safe spacing of the models, and other fac-

tors, Chris viewed the eventual loading of his

cargo with some understandable concern

and uncertainty.

The date for departure from Mystic Sea-

port was set for June 2 and Chris was ac-

companied by his wife Carla. They arrived

back in Mystic on June 13.

The Museum’s use of the models in fu-

ture exhibits promises to fulfill Grif’s vision

for them as teaching tools. In addition, we

expect a number of them will travel again

in coming years as they are loaned to

other museums in support of our active

outloan policy. This will extend their

reach and benefit to an even broader

audience.

The Museum’s collecting focus cen-

ters on American maritime history, and

although some of the Henson models

seem to fall outside this emphasis, they

are actually a good fit. The British-built

Titanic, for example, was bound for New

York and carried many American pas-

sengers. Another British ship in the col-

lection, the Mayflower, reflects the story

of immigration to America. Two other

ships, Columbus’s Santa Maria and a

Viking ship, represent the discovery of

North America by Europeans.

The models are temporarily stored in

CSR, the Musem's original Collections

building located on Hinckley Street.

Here they will receive the same treat-

ment given to all objects fabricated from

organic materials; they will spend sev-

eral weeks in our “CO2 bubble,” ensuring

they do not harbor any Texan insects,

before they are placed in permanent

storage in the Collections Research Cen-

ter in the Rossie Mill. Chris noted that

among his favorites in Grif’s collection

are the small and almost frail-looking

early naval gunboats, several of which

are propelled by oars. It could be that their

small size is part of their appeal – space is

a prized commodity in collections storage.

Finally, this remarkable gift may not

be the end of the parade of Grif Henson’s

ships to Mystic. He has indicated he plans

to continue to build models and has kindly

offered to build them “on demand” for us,

based on our additional needs and requests.

A TEXAS-SIZED GIFT OF MODELS


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

TOP LEFT: MODEL MAKER GRIFFITH HENSON. TOP RIGHT: A NAVAL ROW GALLEY, 1814. MIDDLE: THE MODELS – INCLUDING THE 9’ TITANIC – TEMPORARILY STORED IN THE RECEIVING AREA OF THE MUSEUM’S CSR BUILDING. BOTTOM: COLLECTIONS MANAGER CHRIS WHITE CAREFULLY HANDLES A MODEL FOLLOWING ITS 2,000-MILE TRIP.

Jeanne Potter, who has been

director of the Maritime Gal-

lery at Mystic Seaport since

2005, is busy launching art

exhibits year round. The Maritime

Gallery, which is known around the

U.S. for its contemporary marine art,

is located just outside the Museum's

grounds, overlooking the beautiful

and historic Mystic River. It is easy

to understand why artists are drawn

to the Mystic area to find inspira-

tion. Mystic Seaport Magazine asked

Jeanne some questions:

What is your background? Are you an artist yourself?

Yes, I’m an artist and have spent

my career divided between gallery

management, teaching art, book

design, and creating my own art.

I was lucky as a middle and high

school student to take art classes in

drawing and painting at the Carnegie

Museum of Art in Pittsburgh where I

grew up. I received my BFA and MFA from

Syracuse University School of Visual Art

with additional studies at the Art Students

League in NY and master courses with Burt

Silverman, Raymond Kinstler, and Philip

Pearlstein. My prior gallery experience in-

cludes corporate art buying and art gallery

management. I was a professor of painting

and drawing and an administrator at a col-

lege in Washington, DC. All these skills have

helped me in my current role as the director

of the Maritime Gallery.

Please tell us about the different art exhibits and other events you are organizing. Where do you find the artists?

We have five annual exhibitions in the Gallery, which was a gift

to Mystic Seaport by Rudolph J. Schaefer III. Additionally, we hold

exhibitions and have an Artist-in-Residence program at the Ocean

House Hotel in Watch Hill, RI. Our signature event of the year is the

Annual International Marine Art Exhibition. Now in its 34th year, it

features more than 100 of the finest marine art works from around

the world. Other shows during the year include Modern Marine

Masters, Maritime Miniatures by Maritime Masters, and Plein Air

Painters of the Maritime Gallery, where invited artists paint on the

grounds of Mystic Seaport. We also have a very popular program

called Behind the Canvas, featuring Maritime Gallery’s artists giving

personal demonstrations and lectures

about their work.

Most of the 125 maritime artists

who exhibit in the Gallery come to us

through the International Show where

artists are juried against their peers.

This is when we may accept any new

artists and also reevaluate the artists

we currently represent. The Gallery

standards are very high. We have a

number of artists who have been with

the Gallery for more than 30 years. We

also feature and award emerging new

marine art talent.

The Maritime Gallery has a special

“Patron Membership.” What are the

benefits of becoming a Patron?

The Maritime Gallery Patron Pro-

gram is a special program for discrimi-

nating marine art collectors. It is a way

for patrons to meet and mingle with

artists and fellow collectors. Patrons

pay annual dues to attend two private preview

openings, may purchase Gallery works at a

discount, and receive a Family Membership

for Mystic Seaport, along with Gallery and

Museum publications. They also receive dis-

counted rates around the Museum.

Some people are collecting art as an invest-

ment. What is the market for marine art

these days?

The market for marine art is good, but it has

changed over the years. People have always been fascinated with

the sea, so naturally we are attracted to images that pay homage

to it. Marine art began as a historical documentation of ships, sea

battles, and maritime events. Now, marine art is collected for a

variety of reasons, and contemporary marine art in particular has

become extremely popular over the last 20 years. A popular subject

for contemporary marine artists is documenting major sailing

events such as the America’s Cup, which began in 1851, and all

the glory and romanticism that surround it. Our award-winning

Maritime Gallery artists create the entire spectrum of marine art

with paintings, scrimshaw, sculpture, and ship models. Marine art

is a good investment as it holds its value and has timeless appeal.

I always tell our clients to purchase what they love and buy the

best they can afford.

Q&Awith

Art Gallery Director

Jeanne Potter

Q & A


“I n March of 1987, I began my Mystic Seaport experience,” says Adele McGuire, of

Noank, CT. “During the summer season, I greeted visitors from far and wide at

the Museum’s Main Gate. At that time, the ‘gate’ was a pilot house, just like the one we

are using now for selling tickets to our steamboat Sabino.” At present, during off season,

Adele is “the voice of Mystic Seaport,” when for three days a week she staffs the Museum’s

switchboard. Starting in mid-May and until Columbus Day Weekend, you will find Adele

at the Sabino ticket booth.

What is your Mystic Seaport?I enjoy the friendship of many long-time employees as well as newer employees. I also feel

privileged to meet visitors from all over this country and, in fact, the world! And if spending

my days at one of the most gorgeous places in the southeastern Connecticut has something to

do with it, too — you are correct. Please, stop by to say “Hello” or even take a ride on Sabino,

one of our beautiful National Historic Landmark vessels.. . .Jeanne Gade, from Old Saybrook, CT, began working as the Director of Human Resources

at Mystic Seaport in January 2013.

What is your Mystic Seaport?My Mystic Seaport is our people. I knew when I started here that I would be meeting a whole

new group of interesting people. However, I had no idea just how diverse this group would be.

Everyday is another opportunity to learn new things from our dedicated staff and volunteers

through their stories and experiences. Not everyone can say that they spend their workday

in a place they absolutely love. But if you look around, you’ll see that sentiment is shared on

the faces of all the wonderful people who make Mystic Seaport the special place it truly is.. . .“My first job ever was working at the Museum’s Visitor Reception Center (VRC) for a

summer while I was in high school,” says of Melissa Barnes, North Stonington, CT. Fast

forward some years: this summer and fall, she is working in the Interpretation Department

as a seasonal employee in various exhibits.

What is your Mystic Seaport?My Mystic Seaport is the wonderful people working here! From the people at the VRC,

where I first started, to the whole Interpretation Department, everyone working at the Mu-

seum is kind, supportive, and knowledgeable. While being in “training” to be a member of

the demonstration squad, I could always rely on getting help from a staff member. Still, if I

don’t know the answer to a question from a Museum visitor, I can always direct the person

to a colleague who knows the answer. It’s the staff who make this a special place to me.


On her maiden voyage, the Morganrounded the Horn and gained the Pacific.

Gone three years and four months,she made homeport,

her hold a cornucopiaof 2,400 barrels of oil,


The year was 1841.This year, 2013,

she is launched again,to sail for pleasure,


to the men who built her,to the shipwrights who have restored her,

to the 80 years she sailed,to the 1,000 men who sailed her,

to the 37 voyages,to the boats launched from her,

to the oil, rendered,from the blubber by her tryworks,

to her surviving the firefrom the wreckage of the Sankaty,


all this, then, testamentto the very ship of her,

her planed planks bearingthe shipwrights’ handprints,whose fingertips shaped her

to restoration with their work,the touch of love in the work of their hands,

that pressed her, again,into the embrace of oceans.

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

ADELE McGUIRE JEANNE GADE MELISSA BARNES


MY MYSTIC SEAPORT

O N B O O K S


O N B O O K S

A lthough rowing — or as it is

called in America, crew — is a

minor sport compared to other team

games, each and every year sees a new

book published about this aquatic

activity. Nevertheless, it is rare to be

able to add a new title to the niche genre of rowing history. Amongst the

authors and the books which are still in print in this group, and worth

mentioning here, you will find: David Halberstam’s The Amateurs (1986),

Daniel Boyne’s two books The Red Rose Crew (2000) and Kelly: A Father,

A Son, An American Quest (2008), and Christopher Dodd’s Pieces of Eight

(published in Great Britain in 2012).

To this small but splendid collection of authors and their books can

now be added Daniel James Brown and The Boys in the Boat – Nine

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

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

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

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

where these young American oarsmen became Olympic champions

by a slim margin.

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

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

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

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

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

oarsman’s account, Brown realized that the story of these Olympians

is not as commonly known as, for example, Jesse Owens’s, whose four

golds at the Berlin Games seriously challenged Nazi ideology.

While rowing in the 1930s was regarded as a sport for the privileged

few, Joe and his oarsmen comrades at the University of Washington

were the sons of farmers, fishermen, and lumberjacks. Although Brown’s

narrative is about all the boys in the boat —their route from freshmen

rowers on Lake Washington to Olympians on Langer See, a three- to

four-year voyage not always on an easy, straight course—it is the human

story of young Joe’s life struggles of Dickensian dimensions during the

Depression that grabs the reader.

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

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

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

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

Pocock, the Englishman whose father had built boats for the “wet-bobs”

at Eton College. George Pocock helped to coach the Husky boys, using

the same techniques he used to build the best racing shells in America:

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

crews are carefully balanced blends of both physical abilities and

personality types.”

BY DANIEL JAMES BROWN • Reviewed by GÖRAN R BUCKHORN

The Boys in the Boat Nine Americans and Their Epic Quest for Gold at the 1936 Berlin Olympics

However, when Ulbrickson had found the perfect combination of

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

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

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

champions in both events. Then Joe and his mates had to overpower the

“snobs” from the East Coast at the 1936 IRA Regatta at Poughkeepsie;

this was a time when an incredible number of 90,000 spectators gathered

on the shores of the Hudson to watch the races. In the Pocock-built

Husky Clipper, the Huskies prevailed (told by the author in a beautiful

race report). Later winning the Olympic trials in Princeton, it seemed

the Washington crew had their trip to Berlin in the bag, but not before

good people in Seattle and in the boys’ hometowns managed to raise

$5,000 in a few days for their tickets.

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

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

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

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

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

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

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

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

gold medal, leaving the silver to the

Italians, the bronze to the Germans, and

the Brits with nothing, coming in fourth.

Daniel James Brown is a clever

author, and it is a grand story he is

telling. He is not a rower himself,

which is probably good, because he

has made sure that a non-rower can

easily follow the Husky boys when they

catch a crab or feel the pain like they do

after a hard race on Lake Washington.

Rowing purists may notice a few places

where Brown’s knowledge of the sport is lacking, but it was evident,

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

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

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

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

Göran R Buckhorn, editor of the Mystic Seaport Magazine, has rowed

in Sweden, England, and the United States, but truth be told, he never

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

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

of BARJ, British Association of Rowing Journalists.

E D I TO R ' S P I C K S

21FALL / WINTER 2013 | Mystic Seaport Magazine |

O N B O O K S

Scrimshaw – The Whalers’ Art in the Age of SailMystic Seaport has

recently published a new book, Scrimshaw and Provenance, by Dr. Stuart M. Frank, Senior Curator Emeritus of the New Bedford Whaling

Museum. Scrimshaw and Provenance, subtitled A Third Dictionary of Scrimshaw Artists, presents 406 biographical sketches of the men and women who produced scrimshaw on shipboard and ashore, participating in a homegrown occupational folk art. For the history buff and the general reader, it is eminently readable and delivers intimate glimpses into the burgeoning seafaring prowess of Young America.

Scrimshaw is the whalers’ indigenous occupational art from the Golden Age of Sail: engraving, carving, decorating, and building things out of sperm whale teeth and other byproducts of whaling, including baleen (so-called whalebone), walrus ivory, and skeletal bone. Typically a shipboard pastime practiced by common seamen, ship’s carpenters, officers, and captains during idle hours at sea, it was also the occasional pursuit of the wives and children who accompanied whaling captains to sea, of sailors in the Navy and merchant trades, and even of some adventurous passengers

who were inspired by the enthusiasm of sailors around them. The artists, mostly self-taught amateurs, came from all six inhabited continents, forming polyglot ship’s companies whose workmanship exhibits a broad spectrum of the protocols, cultural proclivities, and stylistic conventions of all the races of mankind. The results were such decorative objects as pictures incised on whale teeth and walrus tusks, as well as practical hand-tools, kitchen implements, canes, workboxes, sewing accessories, chests of drawers, toys, and even inlaid furniture – some made by carvers for their own use at sea, but most made as souvenirs and gifts for loved ones back home.

“Until a few years ago the identities and careers of the young men and women who created this distinctive, mostly American folk art were entirely unknown,” Stuart Frank writes. “Thanks to increasing interest in this compelling genre (beginning with President Kennedy, the most famous collector of scrimshaw), and thanks to the participation and collaboration of collectors, curators, and enthusiasts on three continents, we have gradually come to know who these artists were, where they came from, and something about the genesis of their aesthetically worthwhile and historically significant artistic output.”

On that point, the late scrimshaw historian Norman Flayderman, author of Scrimshaw and Scrimshanders, wrote, “It has become unmistakably evident within these past two decades that the unique nautical folk art of scrimshaw has dramatically increased in popularity as a maritime antique artifact, and that this popularity has been greatly owed to devoted students and scholars whose information received ever greater circulation in publication. Certainly, the most influential among them all and the most widely read and published, has been Stuart Frank, who is due highest acclaim for his years of research and

accomplishment!”Frank, who has been

at the New Bedford Whaling Museum since 2001, is the founder and director of the Scrimshaw Forensics®

Laboratory and was previously executive director of the Kendall Whaling Museum. Before that, he was Research Associate at Mystic Seaport, which published his two companion volumes, Dictionary of Scrimshaw Artists (1991) and More Scrimshaw Artists (1998).

Aida – The Finest Shallow-Draft Yawl A Book of VoyagesFor anyone who is interested in wooden boats, Aida: N.G. Herreshoff’s

Finest Shallow-Draft Yawl by Maynard Bray (published by the Herreshoff Marine Museum and NOAH Publications, 155 pp.) is a must-read and must-buy book.

Built in 1926, and first named Gee Whiz by the first owner, Edward Mallinckrodt, Jr., she was later named Aida by the second owner, Henry White, who named her after his son Nelson’s wife. (Aida and Nelson White’s youngest son, George, is now the Chairman of the

Museum’s International Council.) In 1967, the boat ended up in the hands of Anne and Maynard Bray, fourth owners of this 33-foot yawl. In his book about Aida, Maynard Bray tells how easy she is to sail and maneuver and writes about her design, the five owners, maintenance, Doug Hylan’s restoration work in 2007-2008 (with a lot of informative photos), and her six-day voyage from Brooklin, ME, to Shelter Island, NY, after she had been restored to her former beauty. This was the first major refurbishment of Aida since she was launched. Aida’s specifications: LOA – 33'6", LWL – 27'0", Beam – 9'2" and Draft – 3'0".

Like the boat, the book is a beautiful piece of art with many lovely photographs by Maynard Bray and renowned marine photographer Benjamin Mendlowitz.

After the book had been published, Aida was donated to Mystic Seaport and arrived just in time for this summer’s WoodenBoat Show. She now graces the Museum’s waterfront.

Patrick O’Brian (1914-2000), famed author of twenty novels in the Aubrey-Maturin series, collected and edited A Book of Voyages, originally published in Great Britain in 1947, and recently published in the U.S. for the first time. In this entertaining collection of voyages from seventeenth- and eighteenth-century travel books, O’Brian

offers a range of stories from empires and continents, such as the journey of the “exceptionally beautiful” Lady Craven through the Crimea to Constantinople; Philip Thickness’s “general hints” to those traveling through France; a whaleboat voyage from St. Helena to Brazil by some deserters who resorted to cannibalism to survive; a voyage to Greenland (actually Spitsbergen) in 1630; and Colonel Norwood’s voyage to Virginia in 1649. All these narratives are fascinating travelogues, even though some of them feel a little short. In the foreword, O’Brian writes that his intention with this collection is to give the reader pleasure, a goal he indeed fullfilled.

TO ORDER THESE OR OTHER BOOKS, please call 860.572.5386. or email

[email protected]

DON’T FORGET YOUR 10% MEMBERS’ DISCOUNT! MEMBERS’ DOUBLE DISCOUNT DAYS NOV. 29-DEC. 8

REMEMBER WE SHIP ANYWHERE!

F R O M T H E C O L L E CT I O N S


O n September 3, 1938,

The New London Day

newspaper reported

the arrival of the Chinese junk

Amoy into port “after having re-

ceived a cool reception at Gro-

ton Long Point.” The refusal of

a mooring was rare during the

junk’s lifetime. Since her arrival

in Victoria, B.C., on September

20, 1922, from Shanghai, Amoy

was a profitable curiosity in many

ports and even became home to

a family with three boys.

The original owner was Cap-

tain George Waard, a naturalized

Canadian of Dutch origin, who

spent years at sea and in China.

During those years he became im-

pressed with the construction and

the seaworthiness of the Chinese

Amoy fishing junks. These little

vessels were extremely dry, and in

the roughest weather they could

be seen bobbing like corks in the

stormy Formosa Channel. Cap-

tain Waard had the sixty-five-foot,

three-masted, twenty-three-ton junk Amoy

built in Amoy during the winter and spring

of 1921–1922. She was built by hand using

camphor wood for heavy timbers, Chinese

fir for planking, Foochow pine for masts,

and ironwood for the keel. The caulking was

a preparation of lime and wood oil (a prod-

uct of T’ung nut) called Chunam or shinam,

which was mixed with spent cotton fishing

net. During the junk’s lifetime, it was said

that “no bilge pump is carried, and the little

water that comes in is taken out with a rag.”

Captain Waard, his Chinese wife, their

son Bobbie, and a four-person crew set out

from Shanghai on June 21, 1922. According

to the sensational newspaper coverage of the

time, Amoy was reported to have experienced

a fantastic journey with the greatest thrills

imaginable, surviving two typhoons and three

rudder breaks. It was also reported that she

had a huge unwanted stowaway which, ac-

cording to some reports, made several hearty

“stewed snake” dinners.

By the time they arrived in Victoria, junk

Amoy was poised to be a celebrity. On her

first day, she was boarded by several visi-

tors, including movie stars Mary Pickford

and Douglas Fairbanks, who suggested that

Captain Waard charge admission–he earned

$100 the first day. The vessel began a tour

down the West coast, stopping at various

ports considered profitable, and it was in San

Francisco that the young future captain and

owner Alfred Nilson would find Amoy so fasci-

nating that he quit his job to become her first

mate. He helped take her down the California

coast and through the Panama Canal to the

northeast U.S. coast, where she was sold to

Leroy Lewis of Stratford, CT,

while Captain Waard returned

to a farm in Vancouver.

In May 1926, Captain Nil-

son and his wife, Leroy Lewis,

and a small crew set out on a

three-year round-the-world

cruise from Stratford aboard

Amoy. A few months later, she

was detained by the U.S. Coast

Guard for a breach of protocol

for flying the Chinese flag to

“dress the boat up” while the

U.S. flag remained aloft as well.

The passengers, Chinese stu-

dents from Harvard and MIT,

were held under suspicion un-

til they were able to produce

passports.

Junk Amoy was sold to Nil-

son and continued to have an

extraordinary life under his

command. Captain Nilson

was her biggest champion and

wrote several articles about her

adventures for the magazines The Rudder

and Yachting. During the 1930s and 1940s,

Amoy semi-retired from celebrity and tied up

at New Rochelle, NY, while the Nilson boys

attended school and Alfred Nilson worked

at the radio station WOR as a radio engineer.

Captain Nilson and his family called Amoy

home, “The House with Red Sails,” for more

than 35 years before she was sold in the 1960s.

THE IMAGE, CHINESE FISHING JUNK, AMOY (AC-CESSION NUMBER: 1984.187.15029F), WAS PHOTO-GRAPHED BY MORRIS ROSENFELD IN JUNE 1925.

Carol Mowrey is a Research Librarian at the Collections Research Center at Mystic Seaport.

CELEBRITYJUNK AMOY

B Y C A R O L M O W R E Y

The Rosenfeld Collection at Mystic Seaport, well-known for images of the celebrated vessels of the America’s Cup races and other yacht and speedboat races, also contains beautiful imagery of runabouts, fireboats, tugboats, military vessels, and much more. Please visit www.rosenfeldcollection.com

22

T H E S T O R Y A B O U T A P I C T U R E

Aetna Foundation, Inc.

Ameriprise Financial, Inc.

Anchor Capital Advisors LLC

AT&T Foundation

Bank Of America Charitable Foundation

The Boeing Company

The Capital Group Companies Charitable Foundation

Coca-Cola Enterprises, Inc.

ExxonMobil Foundation

FM Global

Gartner, Inc.

GE Foundation

General Re Corporation

Goldman Sachs Matching Gift Program

Hartford Chapter 168 Star Touring and Riding

Hartzell Propeller, Inc.

High Temperature Technologies

ING Community Matching Gifts

Iris Enviornmental

Josiah Macy, Jr. Foundation

McGraw-Hill Companies, Inc.

Medco Health Solutions, Inc.

Microsoft

Monsanto Fund

PepsiCo Foundation

Pfizer Inc.

Pitney Bowes Employee Involvement Fund

PNC Foundation

The Prudential Foundation

Stanley Black & Decker, Inc.

Tiffany & Co.

Travelers Foundation

United Technologies Corporation

Verizon Foundation

Waters Corporation

John Wiley & Sons, Inc.

Invest in our Success!

As you consider your annual giving to Mystic Seaport, a 501 (c) (3) non-profit organization, please remember

to ask your employer if they will match your gift.

The following 36 companies gave matching gifts to Mystic Seaport last year:

Your Annual Fund contribution is vital to Mystic Seaport. Gifts to the Annual Fund sustain all we do including

the quality experiential education programs that are a

hallmark of our Museum. Your philanthropy enables us

to have a positive impact on thousands of students each

year. Inspire an enduring connection to the American

maritime experience by making a gift today:

www.mysticseaport.org/support

To learn more about the Annual Fund and our premier gift level, America and the Sea Society call

Elizabeth Benoit at 860.572.5302 ext. 5144

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

Shop online from the comfort of your home at www.mysticseaport.org/shop | Main store: 860.572.5385 or email [email protected]

Bookstore: 860.572.5386 or email [email protected] | Maritime Gallery: 860.572.5388 or email [email protected]

Rosenfeld Collection: 860.572.5383 or email [email protected]

Ho, Ho… Ho lidays!

I n our Mystic Seaport Store we strive to provide matchless gifts: reproductions from the Museum’s collections, select photography from

the Rosenfeld Collection, jewelry, toys, ship models, prints, posters, and other unique seafaring gifts.

Our bookstore offers more than 90 titles published by Mystic Seaport, as well as rare volumes, and

one of the nation’s most complete selection of maritime books.

Next door to our gift shop is the Maritime Gallery, the nation’s foremost art gallery specializing in contemporary marine art and ship models.

Yes, we promise, we have the holiday gifts you are looking for.

Looking for the perfect gift?

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