Catalogue Entry

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.

Fishing in Lane's time saw the height of hand-lining gear use and the introduction of multi-hook fishing (trawling) for ground fish (cod, halibut, haddock, hake, etc.). Then new to the mackerel fishery was the purse seine, which allowed a whole school of mackerel to be caught in one "set" instead of hand-lining over the rails, one fish at a time. These changes in fishing technology, in time, brought new life to the fishing industry on Cape Ann, which had ceded her leadership in the New England fishing industry to Maine. (1)

Lane would not live to see Cape Ann's restored dominance in the fisheries, nor did his late work document the process of change in any significant way. Apparently content with what he saw and depicted in the 1840s and early '50s, he did little to explore later developments and focused more on other types of merchant vessels in other harbors.

– Erik Ronnberg

Reference:

Wayne O'Leary, Maine Sea Fisheries (Boston: Northeastern University Press, 1996), 160–79.

Oakes & Swan were sheet music engravers and publishers, with a shop located on Tremont Row in Boston, Massachusetts. This was only a brief partnership (c.1840) of William H. Oakes and Samuel Swan. Oakes, however, went on to publish sheet music under his own name from 1840 to 1851.

– Catharina Slautterback

Sharp & Michelin was the lithography firm of William Sharp (1803–75) and Francis Michelin at 17 Tremont Row, Boston. Both Michelin and Sharp had worked at the London-based lithography firm of Charles Hullmandel before emigrating to America around 1839. Sharp & Michelin was founded the following year, but was shortlived, lasting from 1840–41. The work produced by Sharp & Michelin is regarded as interesting and highly accomplished, a result of William Sharp's determination to establish himself in Boston.

This information has been summarized from Boston Lithography 1825–1880 by Sally Pierce and Catharina Slautterback. 

One of the first uses of lithography, after its invention in France in the late eighteenth century and its development in America, was for sheet music covers. The music itself was printed from engraved copper plates, which was necessary for the clarity and evenness demanded by the public for the music. However, lithography provided a quick and inexpensive way to provide enticing pictorial title pages, or covers, for sheet music. Pendleton's shop produced the first lithographic sheet music cover printed in the United States in 1826. Much of Lane's work at Pendleton's involved sheet music covers, and examples here by other artists show some of the conventions around the designs.

This information has been summarized from Boston Lithography 1825–1880 by Sally Pierce and Catharina Slautterback.