18 Johnny Cake Hill New Bedford, Massachusetts 02740-6398508 997-0046 www.whalingmuseum.orgnonprofit org.u.s. postage paidnew bedford, mapermit no. 29THEBulletinfromJohnnyCake HillFALL 2010FALL HOURS (September - December): Daily 9:00 a.m. to 5:00 p.m. Until 9:00 p.m. every second ursday of the monthMuseum is fully accessible e New Bedford Whaling Museum is governed by the Old Dartmouth Historical Society.Subscription to this publication is a beneﬁt of membership. For more information about membership,call 508 997-0046 ext. 115 or visit www.whalingmuseum.org.All rights reserved. is publication may not be reproduced in whole or part without the expressed written consent of the New Bedford Whaling Museum.Save the DateNew Year’s Swingin’ EveTo Beneﬁt the New Bedford Symphony Orchestraand New Bedford Whaling MuseumFriday, December 31Join in on our “Museum of Music” and experience avariety of musical performances throughout the Museum’sgalleries. We won’t be swingin’ ‘till midnight, so countdown the New Year whenever you fancy! We’ll polish oﬀthe night with a march up to Custom House Square forthe City’s ﬁrework display.Further details and invitation to follow.For more information, contact Alison Smart [email protected] or (508) 997-0046 ext. 115.NEW BEDFORDSYMPHONY ORCHESTRALagoda outfitted for her next 100-year voyage
table of contentsFromthe Helm:he dedication and unveiling of the Azorean Whaleman Gallery in the restored Bourne Building is asigniﬁcant milestone for the institution. e next severalweeks will feature additional activities and events focusing on Portuguese culture and heritage. If you haven’tseen it yet, you must check out the new Azorean archwith volcanic rock imported from São Miguel nowcompleted on the mezzanine – a portal to this strikingpermanent exhibition on a critical chapter in whalingand local history. A traveling exhibit from Faial isadjacent and tells that island’s whaling story. A retrospective of artist Arthur Moniz’s ﬁne work is displayedin the San Francisco Room. Harpoons, spears, gunsand darts will festoon two walls of the Bourne buildingdescribing the blood red, dangerous and combativepractice of 19th C whaling.TMore subtle tones will soon pervade a decorative art andglass exhibit in the Volunteer Room in early 2011. Visitors rave about the new Wattles Family Gallery showcasing the best of our painting collections. Yes, you can seea Ryder and a Bierstadt on exhibit there. On scholarship, we are 16 months away from opening a permanentexhibit showcasing our superlative and world-beatingscrimshaw collection replete with a companion coﬀeetable book highlighting these masterpieces.Charmed by the Sea opens on September 24—thisexhibit looks at 150 years and more of yachting onBuzzards Bay. A magniﬁcent Fitz Henry Lane is on loanfrom the Newport Art Museum and nautical buﬀs willsee the wheel from the J boat Yankee reconnected to itsbinnacle (on loan from the New Bedford Yacht Club)for the ﬁrst time in 70 years.Partnerships and collaborations abound. We closed outa highly successful “Music on the Plaza” summer serieswith the New Bedford Symphony Orchestra only nowto announce a New Year’s Eve joint “friend-raiser” at theWhaling Museum. Lasse Antonsen, director of the artgallery at UMass Dartmouth College of Visual & Performing Arts, curates an outdoor sculpture show aroundthe perimeter of the Museum with 8 local sculptors, allworking on pieces relating to whaling themes. e USSConstitution Guild of Model Makers visits us late fallfor a display of their ﬁne work in the Jacobs FamilyGallery—there is a student component to this so if youhave a budding model-maker in your family, please inquire. e lure of cash prizes just might do the trick!Continued on inside back coverCover story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3Azorean Whaleman Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-5Contemporary Sculpture Exhibition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5ODHS Wattles Family Gallery Dedication . . . . . . . . . . . . . . . . . . . . . . . . . . . .6Arthur Moniz; Model Ship Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7Charmed By e Sea . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 e Same, But Diﬀerent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-11Whaling History Symposium; Old Dartmouth Lyceum . . . . . . . . . . . . . . . . . . 12Loomings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16Moby-Dick Marathon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19BOARD OF tRUSteeSJohn N. Garﬁeld, Jr., ChairLucile P. Hicks, First Vice ChairGurdon B. Wattles, Second Vice ChairJoseph E. McDonough, TreasurerElizabeth Huidekoper, Assistant TreasurerLlewellyn Howland III, ClerkCandida Rose BaptistaCharles E. BascomSalvatore F. BattinelliNathaniel BickfordRoger P. Cheever omas G. DavisWilliam do CarmoRoy EnoksenArmand FernandesMichelle N. HantmanEdward HowlandPatricia JaysonKeith KauppilaDavid N. Kelley IIFrances LevinSteven LubarSarah Kendall MitchellGeorge B. Mock IIIEugene MonteiroMichael J. MooreJeﬀrey RaymonDonald S. RiceFrances D. RicketsonBrian J. RothschildHardwick SimmonsDawn Blake SouzaJanet WhitlaHarvey WolkoﬀmUSeUm ADviSORy COUnCiLCalvin Siegal, ChairLisa Schmid AlvordTalbot Baker, Jr.John W. Braitmayer*Truman S. CasnerCarl J. Cruz*Anne F. FazendeiroBarbara B. Ferri*Frederic C. HoodIrwin JacobsPeter T. KavanaughWilliam N. KeeneWilliam T. Kennedy*Albert E. Lees IIID. Lloyd Macdonald*Arthur H. ParkerJohn S. PenneyJohn C. PinheiroCarl RibeiroGilbert L. ShapiroCharles T. ToomeyElizabeth H. WeinbergRichard B. Young*PendingvOLUnteeR COUnCiLexeCUtive COmmitteeJohn Brindisi, PresidentAlice Larson, Vice PresidentDonna Sargent, Recording SecretaryJudith Giusti, Corresponding SecretaryMary Crothers, TreasurermUSeUm StAFFKaren J. Allen, Events ManagerDamien J. Astor, Facilities AssistantCynthia Atwood, Visitor ServicesMaria Batista, Senior AccountantScott Benson, PreparatorMaureen Coleman, Sr. Director, Foundation/Government RelationsCasey Correira-Macy, Staﬀ AccountantJennifer Cruz, ECHO Program AssistantTara L. Duﬀ, Manager, Museum StoreMichael P. Dyer, Maritime CuratorCarole Foster, Project ArchivistStuart M. Frank, Ph.D., Senior CuratorGregory Galer, Ph.D., Vice President, Collections/ExhibitionsRobert Hauser, ConservatorMary Hodgkins, Museum StoreRose E. Horton, Visitor ServicesBarry W. Jesse, Facilities AssistantMichael Lapides, Photo Curator and Director of Digital InitiativesPamela L. Lowe, Supervisor, Visitor ServicesRichard Mason, Facilities AssistantSara Meirowitz, Director of EducationKate Mello, Photo ArchivistHenry Moniz, Facilities AssistantAmy Morrison, Donor Relations CoordinatorArthur Motta, Jr., Director, Marketing/CommunicationsJessica Niemann, Museum StoreTracy Pelland, Visitor ServicesLaura C. Pereira, LibrarianJohn F. Pimental, Facilities AssistantShannon Reynolds, Museum StoreRobert C. Rocha Jr., Science Programs ManagerJames Russell, President and CEOMaureen Santos, Museum Store AssociateKate Schreitmueller, Campaign AssistantJohn Silva, Facilities ForemanAlison Meyer Smart, Director of Individual Giving eresa Smith, Assistant Project ArchivistKristen Sniezek, Vice President, AdministrationBrian Witkowski, Education Assistant2009 AnnUAL RepORt ADDenDUmTribute gift honoring Mildred G. Lopes from Carl J. CruzeDitORiAL COm mentSArthur Motta, [email protected] Pereira, [email protected] Allen, [email protected] Mello, [email protected] Johnny Cake Hill New Bedford, MA 02740 e mission of the Old Dartmouth Historical Society-NewBedford Whaling Museum is: “to educate and interest all thepublic in the historic interaction of humans with whalesworldwide; in the history of Old Dartmouth and adjacentcommunities; and in regional maritime activities.”On tHe COveRFitted out for her next 100 years, the Lagoda stands ready inthe fully restored Bourne Building, which looks much as itdid when ﬁrst dedicated in 1916. See page 2 for more on therededication set for October 22. (photo: Arthur Motta)CReDitSProduced by: NBWM Marketing/CommunicationsPhotography: Katie MelloDesigned by: Amanda Quintin DesignWhaling Museum on the .ﬂickr.com/photos/nbwmfacebook: www.facebook.com/whalingmuseumtwitter: http://twitter.com/whalingmuseumWelcomeBoard of Trustees, Class of 2013] Candida Rose BaptistaA New Bedford native, Candida is a professional vocalperformer, music/choir director, arranger, composer,songwriter and producer. After a 20 year career in banking, she returned to school to pursue her musical interests, graduating summa cum laude from UMassDartmouth. She represented the New Bedford ECHO Project and has beenhonored by many organizations for her work in the community.] Charles E. BascomA Marion resident, Charles is a graduate of BostonUniversity and Columbia Graduate School of Business.He is President of Watch Captain LLC, a marine softwarecompany. He was President of Quadrant Corporation.He currently serves as Treasurer, the Brooks School. Heserved for 7 years on the Rotch-Jones-Duﬀ House board (4 as President),and is a board member of the Marion-Bermuda Cruising Yacht Race.] Thomas G. DavisA graduate of University of Michigan, Tom received anMBA from Northwestern University and did post-graduate studies at the Kennedy School and the BrookingsInstitute. A former Exxon senior executive, he is currentlyDirector of the GNB Industrial Foundation. He is activein the SouthCoast Development Partnership, Global Learning CharterSchool, SouthCoast Educational Improvement Foundation, GNB Workforce Investment Board, Charlton School of Business, SRPEDD, and others.] William Do CarmoA New Bedford resident, Bill is a graduate of RogerWilliams, UMass-Boston, and Fitchburg State College,with post-graduate study at Cambridge College. An architect and engineer, he has worked with HUD, Mass.Housing Finance, Mass. Civil Rights Oﬃce, and theRedevelopment Authority. He is active in the City of New Bedord’s Electionand Human Relations Commissions, and the Whitﬁeld-Manjiro FriendshipSociety. A past president of the NAACP, Red Cross, Airport Commission,and Port Society, Bill is also a pilot and an avid sailor.] Roy EnoksenA Mattapoisett resident, Roy is a graduate of Bryant College and is founder/CEO of Eastern Fisheries. A recipientof the Governor’s Inner City Investment Award, he is amember of the NB Port Society Board of Managers andthe Industrial Foundation. A former advisor to the NewEngland Fisheries Management Council, he remains involved in regionalﬁsheries governance issues. A former YMCA board member, Roy is also active in NB Child & Family Service.] Keith KauppilaKeith Kauppila of Boston and South Dartmouth is an attorney-at-law and developer. He has a deep interest in thevisual and decorative arts and has been active on theCollections Committee, helping update its policies. Heserves on the Board of Governors at the Addison Galleryof American Art at Phillips Academy, has been a long-standing member ofthe Museum’s Leadership Council, and is a member of the NB Yacht Club.] David N. Kelley IIA Marion resident, Dave graduated from Tabor Academyand UMass Dartmouth. He headed D. N. Kelley & SonShipyard and Kelley Dock and Marine for over 40 years,the 5th generation to operate the companies founded in1864. Dave is a board member of the Bank of Fall Riverand Port Society and former member of the Industrial Foundation and St.Luke’s Capital Drive. Dave is a member of the Mattapoisett Bay Club andthe New York Yacht Club.] George B. Mock IIIA Mattapoisett resident, George is a graduate of Princeton and the Sloan School of Management at MIT. He isCEO of Nye Lubricants, Inc., beginning work there in1986. He serves as a Trustee for the Cannonville BeachAssociation, the Mattapoisett Casino, and formerlyserved as a Trustee for the Lloyd Center, Sippican Tennis Club, and TaborAcademy. George’s family has a long history of service to the NBWM. He isasecondgeneration Trustee.]Dawn Blake SouzaA New Bedford resident, Dawn is a graduate of UMassAmherst and the Harvard Graduate School of Education,with additional post-graduate studies in Arizona. Her27 years in public education included elementary and secondary teacher, principal, mentor/trainer, researcher and adult education.She is an author, and translator, ﬂuent in Spanish. A former Women’s Center board member, Dawn volunteers for Our Sisters’ School, Cape VerdeanAmerican Veterns Association, NB Historical Society, and at church activities.R] A Salute to Jack Penney e New Bedford Whaling Museum is honored toacknowledge two decades of extraordinary service byJohn S. (Jack) Penney, Jr. Beginning as a member ofthe Board of Trustees in 1991, Jack has workedtirelessly in many capacities to build the Museuminto the world-class facility it is today.He was President of the ODHS-New Bedford Whaling Museum, 19971999, and served as Chair of the Advisory Council and Chair of theBuilding Committee, 1999-2000, during the construction and openingof the Jacobs Family Gallery and the Educational Resource Room. Hewas also Vice President of the ODHS-New Bedford Whaling Museum,and Chair of the Leadership Division of the “Lighting the Way” capitalcampaign. Jack even spent time as a volunteer at the Museum’s ResearchLibrary to work on logbooks and the Joshua Slocum collection.A special gift from Jack and his wife, Celeste, provides ﬂoral displays forthe Museum’s Visitor Services desk to greet visitors. Celeste Penney hasserved in her own right as a member of the Board, Leadership Council,and Collections Committee. e unwavering support of Jack and Celeste has allowed the Society andMuseum to move forward into a second century of service as part of thecultural heart of New Bedford.
QBourne Building transformation complete;Lagoda Ready for Re-LaunchNew Bedford, Mass., January 4th, 1915After seven months of restoration, the Bourne Building re-opens,and a fully-restored Lagoda welcomes visitors once againMy Dear Mr. CrapBy Gregory Galer, ph.D., Vice President, Collections & ExhibitionsAt last I am able toAs I write this piece in early August we are making the ﬁnaltouches to complete renovation of the ﬁrst ﬂoor of theBourne Building to allow this space once again to return topublic view. Everyone who enters the Lagoda room will beawed by the transformation. e changes are striking and hityou instantly — restored original colors of plaster and woodtrim, a sparkling reﬁnished ﬂoor, and modern museum lighting. Lagoda shines in all her glory within a dramatic space thatfeels as fresh as it did in 1916, and the changes make the roomfeel even larger than before, with a dramatic vaulted ceilingthat seems to lift Lagoda’s masts higher than ever.Into early fall we will be installing the ﬁrst round of new exhibitions in the Bourne Building, beginning with the AzoreanWhaleman Gallery, a traveling exhibition from the AzoreanIsland of Faial, and an exhibit from our world-class collectionAttendees of the Museum’s Over the Top Fundraiser on August 7th were provided a special treat, a preview of the almostcomplete Bourne Building. It was gratifying to hear many“Ooooh”s and “Aaaah”s as people entered the room and therestored facility came into full view, looking just as EmilyBourne ﬁrst surveyed its gleaming interior in 1916.say to you that I shallbe very glad to put up an addition tortmouth HistoricalSociety, and one thshall be quite worthaty, for the housingof all the properties belonging to theciety which repressoent the whaling industry, in its various activities. In dothis, I am happy toingmake it a memorial to my father, who was recognizedthe leading whalingasmerchant in NewBedford, the manwhose unfalteringpurpose and indomitable energy secured for the industryamong the commits important placeercial lines of theworld.From the first suggestion it has seemed to me so eminently important thsome such way that ine old traditions, and activities of thecity should be perpated, and put in aetuform to be easily recognized by its future inhabitants thshould indeed beat Ivery sorry if the plan failed of accomplishment. In helpithis manner I amng inrelying on your former assurance that the endowmenshall be entirely adt fundequate for amplemaintenance of both buildings, the oldand the new possessions of the Society.the building belonof harpoons. Additional exhibits will continue the transformation of the Bourne Building over the next year or so. e renovation of the building has been an exciting, albeitseemingly chaotic one at times. With our aggressive schedulemany construction trades worked in the building simultaneously. In any given area in the room they worked in rapid succession — painters closely followed behind ﬁnish carpentersand plasterers who themselves were working on the heels ofelectricians and ﬁre protection installers and HVAC specialists.Many thanks go to Buﬀtree Building Company, theirSuperintendent Mike Woodby and Project Manager, TonyDiGiantommaso for managing what at times felt more likea war zone than a museum facility. e process has been acomplex one as we’ve balanced the needs of an historic building, the requirements of a modern museum facility, budgets,and schedules. Now that the dust is settled it is clear that thework has paid oﬀ.o:1) Miss Emily H. Bourne, circa 1886.2) e newly constructed Jonathan Bourne WhalingMuseum in late 1916. e rear of Society’s NorthWater Street headquarters (now the ODHS WattlesFamily Gallery) is visible in the background.Historian Z.W. Pease noted “the architect HenryVaughan, of Boston, found his architecturalinspiration in the old Salem custom house, madefamous by Hawthorne.” (ODHS Sketch #44)3) Wood shavings cover the ﬂoor as Edgar B.Hammond’s half-scale model of the Lagoda nearscompletion in 1916. Henry Vaughan’s barrelvaulted ceiling provides a reverential space forthe “enshrined” ship. Vaughan was a notedchurch architect.2ging to the Old DaI have been held back in making thisknown to you by mypersuade my frienhope that I mightd, Mr. Henry Vaughan (an Englishman) of Boston, to untake the work. Hederhas planned two very successful buildings for me, theBourne Workshopof New York and the Bourne Libraryin Bourne, Mass. Hetells me now thathe will be here Tuesday, Jan. 5th. Heis so busy that it sefor a time that heemedcould not undertake this. I shall tryto have you meet.Very sincerely yours,Friday, October 22, 20104:00 pmEmily H. BourneQCommemoration of the Bourne BuildingRe-Launching of the Lagodapresidential Reception e Honorable Carlos Manuel Martins do Vale CésarPresident of the Regional Government of the AzoresSigning of a protocol between the Azores,new Bedford and San FranciscoAbove:With pristine ceilings above and gleaming ﬂoors in her wake, Lagoda awaits heroﬃcial re-launching, October 22. Below left: Michael Dyer (right) steadies the removalof a sperm whale jaw as Greg Galer (right of center) holds the line directing the movewith workers. Below right: Joe Mello re-rigs in half-scale at Lagoda’s mainmast(photos: Greg Galer and Katie Mello)2 fall bulletin 20103Mrs. Annette Lantzius, great great nieceof Emily Bourne, on a recent visit to thenewly restored Bourne Building, presentedthe Museum with a copy of her aunt’s 1915letter conﬁrming her intention to create alasting tribute in her father’s memory.Dedication of the Azorean Arch4) Gutzon Borglum’s bust of Jonathan Bourne was also unveiled during the dedication ceremonies on November 22,1916 with the sculptor present. Mount Rushmore was still 11 years in Borglum’s future, but his 1907 bust ofAbraham Lincoln for the Capitol in Washington was reminiscent, as W.W. Crapo noted, that Bourne as a delegateof the 1860 Republican National Convention had voted for the nomination of Lincoln for president.fall bulletin 2010 3
The AzoreAn whAlemAn GAlleryLong anticipated installation permanently commemorates the role of the Portuguesein the whaling industry and growth of greater New BedfordBy michael p. Dyer, Maritime Curator, and Gregory Galer, ph.D., Vice President, Collections & ExhibitionsLeft: Azorean Whaleman Gallery in the east mezzanine of the Bourne Building. e Azorean Arch is in the background. Middle: His Excellency Dr. João de Vallera, Ambassador of Portugal,relays oﬃcial commendations from Lisbon to the capacity audience. Right: Massachusetts Governor Deval Patrick praises the Gallery as another powerful example of the enduring strength of thepeople of the Commonwealth. (Photos: Arthur Motta)of immigration documents, completely transformed the demographic of this old, colonial seaport into a diverse industrial city.Sea Chest – interior lid, ca. 1859, Manuel E. de Mendonça, Azorean American whaleman (1836-1926 )Pith ﬁber carving “For the Honor of the Church of Flamengos” ca.1939, Father John Da Silva, FaialOn September 10th the Museum opened the Azorean Whaleman Gallery, prominently installed within the Museum’scentral core, the newly restored Bourne Building. Made possible by a gift from the Government of Portugal, the permanent exhibition celebrates the collective sea-faring heritage of the nine Atlantic islands of the Azores and the cityof New Bedford. A capacity crowd, which ﬁlled the Bourne and its mezzanine heard remarks by Dr. João de Vallera,Ambassador of Portugal, Congressman Barney Frank, Governor Deval Patrick, Rep. Antonio F. D. Cabral, MayorScott Lang and other community leaders laud the work of the Advisory Committee and curatorial staﬀ.From the 1600s, European seaborne expansion into theNew World brought colonial mariners into contact withabundant natural resources including unexploited populations of whales in the North Atlantic. By the end of the1700s, erstwhile colonial America was an independentmaritime nation, and sperm whaling in the Atlantic helped tocreate an economic base for the young nation. at Americanmariners and Portuguese islanders should come together wasinevitable. American seafarers were intent on gaining wealththrough overseas trade and either bought up British seacharts or published their own new sailing directionswhich deﬁned these islands as safe havens withresources to facilitate navigation.As the American whaling industry grew throughout the18th and early 19th centuries, the islands were perfectlylocated to serve the needs of passing whalers includingthe transshipment of any oil taken on the outwardpassage, obtaining foodstuﬀs, and most signiﬁcantlyof all, adding Azorean seamen to augment the crews.Herman Melville observed that “Islanders seem to4 fall bulletin 2010make the best whalemen,” and these itinerant Azorean sailorsput down roots in New England. By the end of the 1800s thePortuguese community quickly grew in New Bedford asmariners, businessmen, craftspeople, mill workers and theirfamilies re-located.After the Civil War, many native-born Americans began moving westward. Azorean mariners came to play an increasinglyimportant role in the declining market for the products of thewhale ﬁshery. Greater numbers of Azorean crew membersappear over these decades and by the turn of the 20thcentury half the masters in the New Bedford ﬂeet wereAzorean. Signiﬁcantly, not only were the crews andmasters made up of Atlantic islanders but Azoreanbusinessmen began investing in packet ships that sailedbetween New Bedford and the Azores increasing tradeand bringing together the relatives of mariners andothers seeking new lives in America. us the greatperiod of cultural exchange, reﬂected in thousandsViola de Terra, 1883, by Jose Linhares, an Azorean-Americaninstrument maker in New Bedford in the 1880s. (Photos: Katie Mello) e transformation was not one-way, however. e technology ofwhaling had also crossed over to the islands and by the 1900s theAzorean people had developed a highly successful sperm whalingculture of their own. By the initial use of boat parts made in theU.S.A., Azorean craftsmen built whaleboats distinct to the needsof their shore-whaling industry. e hunting andprocessing of sperm whales continued throughout the 20th century until ﬁnally declining in the1970s. By the last decades of the1900s Azorean whaling itself hadbecome preserved in island museums.Little in the way of the Museum’searly permanent exhibits providedinsight into this seismic shift, untilnow. e Azorean WhalemanGallery at last includes this story, so important to the understanding of the evolution of whaling and its impact on diversecommunities. It was a vision for the Museum ﬁrst promulgatedin the 1980s by the late Dr. Mary T. (Silvia) Vermette – a permanent exhibition of whaling on both the islands and on Yankeewhalers, an integral part of the fabric of our shared heritage.Many historic ﬁgures of the New Bedford Azorean communityare featured. Common seamen, Masters and vessel owners, andmaritime businessmen are an essential part of thestory as many Azorean immigrants becameintegral elements of the city’s maritime,business, and social community. rough art, objects, ﬁlm, photographs and manuscripts theAzorean Whaleman Gallery exempliﬁes the power of maritimeculture to link peoples, ideas andWorld War II “Victory” souvenir sperm whale tooth, Horta, Fayaltraditionsinto new and evolving(photo: Katie Mello), 1944. Pictured, two women in the traditional hoodedcommunities.capote, crossed Portuguese and American ﬂags and ﬂoral decorations. e otherside is inscribed “Sunvenyr of Vytorya 1944 Horta Fayal Azores.”In the Unequal Cross-LightsContemporary Sculptors Respond:An outdoor sculpture projectEight sculptors spent the summer and early fall studying the Whaling Museum’s collections. e insights they gained will generatenew works, in a variety of materials, relating and interpreting whalingand maritime themes. ese will be installed around the Museum’sgrounds, with an opening on AHA Night, October 14.Left: Steve Whittlesey’s “Dreamboat.” Its old keel holds many dreams, as the artist willreveal. Right: Rick Creighton works on “Little Sailor Boy with Blue Mica Eyes.” e 7-foot wood and metal sculpture will be displayed at the corner of Johnny CakeHill and Union Street in October. e exhibition’s title is taken from Moby-Dick where Ishmael, after hearrives in New Bedford, enters the Spouter Inn and in the “unequalcross-lights” encounters a marvelous painting he is unable to makesense of. He realizes he is confronted with a work of art that requires “careful inquiry,” “earnest contemplation, and “repeated ponderings.”Lasse Antonsen, director of the art gallery at UMass Dartmouth’s College of Visual & Performing Arts, curates and participates in thisoutdoor show of new works by Richard Creighton, Elizabeth Dooher, Erik Durant, Stacy Latt, Eric Lintala, Stephen Whittlesey,Shingo Furukawa.fall bulletin 2010 5
Wattles Family Galleryopens new horizonsDrawn from New Bedford: Artist Arthur MonizGurdon B. Wattles notes restoration is exemplar of stewardship, reconnection and growthRA gala reception for the newly restored Old Dartmouth Historical Society Wattles Family Gallery was held June 25.Not since the early years of the Museum had the Society gathered en masse in its ﬁrst galleries, which date from 1906.A community celebration was held the next day with a ribbon cutting to open the old North Water Street entrance.Gurdon B. Wattles, a driving force behind the project, was keynote for the evening reception. His remarks follow:“Good evening, and thank you forattending this opening of yet anotherchapter of our developing history. I would liketo recognize the dynamic “can do” culture that isevolving at all levels in the Museum’s structure. e leadership of Chairman John Garﬁeld, theBoard, the Museum Advisory Council and theGurdon B. Wattlesmany committees are showing strong visionand support for new initiatives. e President, James Russell, hisstaﬀ, and the volunteers are showing a remarkable ability tograsp, manage, and steward the mission of the Museum withnew levels of achievement that are making our results most gratifying. Forces like these set the stage and motivation for eventssuch as the one we are celebrating tonight.Necessity is a great driver and the recent times we have beenthrough help us to push forward. is project evolved in an interesting way. I was involved in aninitiative to recover some underutilized spaces for managementand education oﬃces. I became aware of a large hidden spacebehind some access halls that was loaded to its very tall ceilingwith furniture and painting crates. Some of this, I was told, included many of the Museum’s best pieces. It also came out thatthis space had been the original entrance and gallery for the OldDartmouth Historical Society and had many memorial plaqueshonoring the original early contributors.Recognizing our early roots, hence the name Old DartmouthHistorical Society - Wattles Family Gallery, the space is completewith its original entrance and recognition plaques. It alsorefurbishes the wonderful President's Oﬃce that is used by thevolunteers, and enjoyed by members, and visitors. is areagives a beautiful and welcoming core area to the Museum. e main gallery’s high ceilinged and elegantly styled space wasperfect for displaying some of our larger and ﬁnest heritagepieces. I want to take this opportunity to thank our CollectionsCommittee Chairperson, Fran Levin, for her inspiration andvision. Also I want to congratulate Dr. Gregory Galer, our newChief Curator on a spectacular preparation and hanging of theexhibit. e historic entrance connecting to Water Street alsore-establishes the Museum’s connection t
worldwide; in the history of Old Dartmouth and adjacent communities; and in regional maritime activities.” Candida Rose Baptista N ewB d f or n at i v,C sp lc erf om ,u si c/ h d t ang p songwriter and producer. After a 20 year career in bank - ing, she returned to school to pursue her musical inter-ests, g