A Whale of a Tale: Vernacular Maritime Art in New England

Image: A wooden whale sign seen on the roof of a structure in Sandwich, Massachusetts.

As the Class of 2018 explored New England, our days and drives teemed with natural beauty – from clouds of mist obscuring the rolling mountains of Vermont to the rocky shores of Cape Cod. We were treated to some spectacular views of the land and sea that the material culture around us often reflected, and it was clear to see how all of these natural environments provided inspirational fodder for artists and architects who lived and worked in the Northeast. However, it is often the vernacular creations that provide an intimate and honest connection to a locale, a phenomenon especially present in art of the sea. This material culture is created by a lived experience and often not for profit – but for enjoyment, personal documentation, and community consumption.

For coastal towns, the integral but turbulent relationship with the ocean has defined their literary, artistic, musical and architectural oeuvres. Tied to the sea by trade, industry and culture, artists of these communities celebrated the bounties of their rich heritage. This art often features tools of the trade and the commodities of the locale, including ships and the very marine wildlife that is hunted and harvested.

Image: Decorative ship mounted on a wall as seen in Beauport, the Sleeper-McCann House in Massachusetts.

At the Seamen’s Bethel in New Bedford, a unique cultural phenomenon remains on display. While the structure dates to 1832, it bears an addition that reflects an amalgamation of popular culture and maritime lore – the wooden bow-shaped pulpit. Conjured by Melville in Moby Dick, the nautical features of the unique pulpit are described in detail as the author compares the leadership of the pulpit to the role of the bow on a ship, bearing the wrath of the sea. Following the release of the Moby Dick movie, the once-fictional bow pulpit became reality in 1961 to appease fans of the film and bring the monumental work to life. As a piece of vernacular architecture in the novel’s alternate New Bedford universe, the bow-shaped pulpit now reflects the integral relationship between the coastal town, the sea, and literature.

Image: Inside the Seamen’s Bethel of New Bedford, the Melville-inspired wooden ship’s bow pulpit thrusts into the sanctuary’s space.

As one of the most outward displays of vernacular maritime art, signage closely reflects community interest. Utilized as whimsical lures for local institutions and restaurants, the signs become synonymous with the place itself. And while museums are brimming with examples from the past, a drive down Main Street in any costal town reveals no shortage of signage in the present.

Image: A metal swordfish, found on a fishing shack in New Jersey, currently housed in the Shelburne Museum in Vermont.

Image: A painted wooden sign for the Charles Banner establishment, currently housed in the Shelburne Museum in Vermont.

Image: This giant painted lobster serves as the sign for the Woodman’s of Essex restaurant in Cape Anne, Massachusetts. Image courtesy of www.yapp.co.uk

Vernacular art celebrates the sea for its bounty – but also reflects a deep respect for its unyielding power and unpredictability. The nineteenth-century notion of control over nature never seemed to fit the bill for the maritime community. Unlike mountains that can be fashioned with trails for climbing, or a waterfall outfitted with a set of stairs that enable humans to safely walk to the precipice, the ocean cannot be tamed. A subsection of this vernacular art include objects created by those who experienced the power and isolation of life on the water firsthand – sailors and sea captains. Sketched into logbooks, painted in to journals, and scratched on to scrimshaw, these artists provided a raw perspective to the understanding of the Sea.

Image: Examples of scrimshaw currently housed in the New Bedford Whaling Museum.

Image: A watercolor image of a whalehunt in a sailor’s logbook, currently housed in the New Bedford Whaling Museum.

Image: The painting ‘Whale with a Long Tail,’ done by ship’s cook R. Costa, c. 1840. Currently housed in the Shelburne Museum.

As students of material culture, it is crucial to study the vernacular contributions inspired by the land and sea. These objects provide a candid approach to understanding the lives of those who lived and worked in nautical areas, often unmarred by attempts for profit and forging a connection between the environment and community. Looking towards the future, the tradition persists as the sea continues to inspire artists of all mediums.

 

By Allie Cade, WPAMC Class of 2018