Steamboat Illustrations, Page 33


Excerpted from the following book:

"The soldier in our Civil War : a pictorial history of the conflict, 1861-1865 illustrating the valor of the soldier as displayed on the battle-field from sketches drawn by Forbes, Waud, Taylor, Beard, Becker, Lovie, Schell, Crane and numerous other eye-witnesses to the strife."

by Frank Leslie and Paul Fleury Mottelay

edited by Thomas Campbell-Copeland, Robert Burns Beath and Paul Vandervoort

Published 1893



The IBERVILLE had quite a history in connection with the military operations on the Mississippi. She was taken possession of by the United States authorities on the surrender of New Orleans, and was engaged as a transport during the expedition. She several times ran the gantlet of Confederate batteries and guerrillas. On one occasion she sustained a running fire from a battery of six guns for at least twenty minutes, while passing Donaldsonville, having four men killed and four wounded, one of her engines disabled and her upper works riddled."

Way's Packet Directory Number 2700
Sidewheel packet boat
Built at New Albany, Indiana in 1859. 368 tons. 179 x 35 x 6.3. Engines, 22's- 7 ft. Four boilers.Built for the Bayou Sara Mail Co. of New Orleans, Eugene Lanone, president.

The IBERVILLE was used by the Confederates in war service, captured by the U.S. and they used her as a transport. Burned at New Orleans, laid up, July 13, 1866. Rebuilt 1867. Owned and operated by Capt. A. T Dunbar, New Orleans. Sold March 1867 to J. Morgan Hall, New Orleans with Capt. Emile F Gross, master Sold March 1869 to Capt. Samuel J Seymour, New Orleans. Ran New Orleans-Bayou Sara in her latter days. Off the lists by 1869.

Transcript of orders given by General Franklin during the Civil War with history that pertain to what was taking place in the engraving:

Headquarters 19th ARMY CORPS
No. 12.
New Orleans
September 2, 1863.


The First Brigade, First Division, with the light batteries already designated, will embark immediately on the transports now lying at Baton Rouge, as follows:

Steamer GENERAL BANKS, One hundred and sixty-first New York Volunteers, and horses of officers entitled to draw forage steamboat ARAGO, Thirtieth Massachusetts and Second Louisiana Volunteers

steamboat IBERVILLE, One hundred and sixteenth New York and One hundred and seventy-fourth New York Volunteers.

At New Orleans, the troops on board the ARAGO and IBERVILLE will be transferred to the transport ALEXANDER

Steamer POCAHONTAS, Third Division, First Brigade, One hundred and sixty-fifth New York Volunteers, and Battery F, First Artillery;

steamer NORTH AMERICA, Fourteenth Maine, One hundred and sixty-second New York, and One hundred and tenth New York.

Horses of officers entitled to draw forage, on steamer BELVIDERE; second Brigade

steamer CRESCENT, Twenty-sixth Massachusetts Volunteers and First Texas Cavalry

steamer CONTINENTAL, Eighth New Hampshire, One hundred and thirty-third New York, and One hundred and seventy- third New York.

Horses of officers entitled to draw forage, on hoard BELVIDERE;

steamer EXACT, First Vermont Battery.


The troops will carry three days' cooked rations in their haversacks.

Ten days' additional rations will be embarked on each boat, of which three days' rations must be easily accessible.

By order of Major-General Franklin:

WICKHAM HOFFMAN, Assistant Adjutant-General.


From the book entitled:
"The soldier in our Civil War : a pictorial history of the conflict, 1861-1865 illustrating the valor of the soldier as displayed on the battle-field from sketches drawn by Forbes, Waud, Taylor, Beard, Becker, Lovie, Schell, Crane and numerous other eye-witnesses to the strife."

by Frank Leslie and Paul Fleury Mottelay edited by Thomas Campbell-Copeland, Robert Burns Beath and Paul Vandervoort

Published 1893

The caption for the ALICE DEAN engraving:


Our sketch shows the ALICE DEAN, a crack Western steamer, leaving Memphis with re-enforcements, and with doctors, nurses, etc., for the wounded. She was in charge of the Cincinnati branch of the United States Sanitary Commission, and commanded by Mr. R. B. Moore, of Cincinnati. She was a very fast boat, having run up to Cincinnati from Memphis in 2 days, 23 hours and 5 minutes. The scene depicted was one of constant occurrence, as troops were pouring daily into Memphis from all parts."

Way's Packet Directory Number 0155
Sidewheel packet boat
Built at Cincinnati, Oh. in 1863. 411 tons. Ran Cincinnati-Memphis.
When Gen. John Hunt Morgan and his cavalry, often referred to as Morgan's Raiders, crossed the Ohio River from Kentucky into Indiana on July 8, 1863, they appropriated a small packet named JOHN T McCOMBS and used her as a decoy to hail down and capture the ALICE DEAN. They used the DEAN as a ferry, and afterwards burned her. Her machinery was salvaged in the fall of 1863 and auctioned off to the C.T Dumont Co. for $4,500. The Morgan crossing was at Brandenburg, Ky., and the DEAN was burned along the Indiana shore between Morvin's Landing and Mauckport.

Abridged article regarding plays to raise the remains of the ALICE DEAN where she sank in the Ohio River;

3/12/2015 6:57:00 PM
Plan revealed to recover sunken Civil War-era steamboat near Mauckport

Ross Schulz, Corydon Democrat

Clarence Merk Jr., formerly of Laconia, continues to move forward with his plan to raise the Alice Dean, a Civil War-era steamboat from the Ohio River.

The boat was burned and sunk by Confederate Brig. Gen. John Hunt Morgan and his cavalry near Mauckport during the Civil War in June 1863.

Merk detailed the plan and updated the progress to the Mauckport Town Council on March 2.

He said the area where the ship was sunk—generally between Morvin's Landing and Buck Creek—will eventually be designated as a national park.

"We have national treasure," Merk said. "It's something people have never seen."

And Mauckport could see some benefit from the project, if it goes according to plan, he added.

Merk said the Navy, as well as the National Registry of Historic Places, now officially recognizes the Alice Dean as a military casualty of a battle on the Ohio River near Morvin's Landing involving Home Guard militia, The Heth Rifle Corps led by Col. John Timberlake under the command of Louis Jordan and two Union gunboats, the USS Springfield and the USS Elk.

"On July 7 and 8, 1863, a 24-hour battle ensued, including a five-hour cannon battle waged with Confederate forces, trying to prevent them from crossing into Indiana," Merk said. "The inability of combined Union land and naval forces to prevent an invasion allowed the infamous Morgan to commandeer two steamships, the civilian ship J.T. McCOMB, docked at Brandenburg, and a huge, new luxurious wooden hull side-wheeler packet ship named the ALICE DEAN that recently had been chartered to the Cincinnati Sanitary Commission by the U.S. Navy to transport medicines, supplies and wounded troops between Memphis, Tenn., and Cincinnati. The ALICE DEAN was never relieved of her duty and charter."

Last May, Merk led a combined effort to find the ship and see how much of it is still intact. With the help of Indiana conservation officers, the Louisville Rescue and Dive Team and the U.S. Coast Guard, Merk identified its location and sonar showed at least one large piece of the ship was still intact.

Merk said he's working on establishing a 20-year plan for the Alice Dean, which could include a museum on both sides of the Ohio River, once it's raised, as well as the chance for economic growth, such as a floating restaurant, a dock, marina, fuel station, riverside park or local craft station.


Beautiful cubist influenced painting by St. Louis artist Joe Jones of steamboats and the Eads Bridge:

River Front (Saint Louis Levee) 1932

40 x 60 inches Oil on canvas

Joe Jones From the Collection of Rex and Jeanne Sinquefield


Only 54 when he died, Jones managed to accomplish an incredible amount of art and influence in his relatively brief 5 and and a half decades.

He gravitated away from St. Louis to New York City and the artists and political awareness there.

During one of his last visits to St. Louis Jones concluded:

"The people stand off, convinced sufficiently but without enough courage to follow their own conviction. And still that other thing exists, indifference."

This St. Louis Art Museum online documentary is very informative . . . see link below:
Joe Jones:
Painter of the American Scene

Produced in conjunction with the Museum's 2010 exhibition entitled Joe Jones: Painter of the American Scene, this video explores the life of the extraordinary artist Joe Jones and his connections to St. Louis of the 1920s and '30s. The video features interviews with the artist's children, insights from exhibition curator Andrew Walker, and comments on Jones's work by art historians. Archival photos of St. Louis locations that played a role in the early work of the artist, as well as historic pictures of Jones and his family and friends make the film visually compelling. This film received a mid-America Emmy for directing in October 2011.


Attached a painting of Stephen Foster by Walter Richards commissioned by the Magnavox corporation back in the '50's for a series of prints dedicated to great composers, mostly classical musicians of Europe and Russia.

We originally paired this with graphics from a greeting card in which little "colored" boys replicated the poses and costumes of the adult African Americans. An excerpt from "bobjanuary.com" about Foster's early career makes a perfect caption for the painting of Foster on the Cincinnati wharf while he enjoys the folk singing of some off duty roustabouts in 1847.


The Early Years in Stephen Foster's Career As A Composer
* * *
In 1846 Stephen Foster went to Cincinnati to work for his brother Dunning, as a bookkeeper of the firm of Irwin & Foster. This position he held only two years, being very unhappy in this work. The Irwin & Foster firm was located at No. 4 Cassilly's Row (presumably the sixth building from the left) later known as "Old Rat Row." There is a pleasing traditional story that on a dreary afternoon in March, 1847, Stephen Foster, perched on a high stool in the office of Irwin & Foster, added a column of figures, closed the ledger and began to hum a tune and write these words (paraphrased to make them more "politically correct":

"No use talkin' when they want to go where thee corn-tops blossom and de cane-brake grow;

Then come along to Cuba and we'll dance the polka-juba, way down South, where the corn grows."

Mr. Irwin, head of the firm, smiled at Dunning Foster and said: "Stevie's writing another song." Dunning replied, "I'm afraid my little brother will never make a business man." This is the song which was submitted by Stephen Foster at a prize contest for minstrel songs. It did not win the prize. As a practical bookkeeper, Stephen Foster was a success; his books were models of neatness and accuracy. In his heart he was a glorious failure. Glorious, to the extent that it caused him to turn to the one thing he longed to do. Uncle Ned and Oh Susanna were written during Foster's musical bookkeeping days in Cincinnati, and although the latter was not so successful in those days, he has been quoted as saying: "Imagine my delight on receiving $100 for Oh Susanna."



Here is an extraordinary painting by artist Robert Hagemann which was published in black in white in an issue of the S&D Reflector. I wrote to Bob back in the 80's and he kindly sent me a color slide of the painting from which this print was made. Bob also sent some beautiful black and white prints made from his expert pen and ink drawings of a number of classic steamboats. Bob's style is classical in the tradition of European masters and also evocative of John James Audubon who was born into a French Colonial family in Santa Domingo which is now Haiti in 1785. Audubon's paintings of birds and mammals often included landscapes in the background in a style similar to Bob Hagemann's.

The JACOB STRADER was out of the ordinary in style with a cylindrical-shaped pilot house and smokestacks aft of the pilot house instead of ahead of it. Also the front of the boiler deck enclosed with formal windows was unusual and anticipated how the CAPE GIRARDEAU's boiler deck would be entirely glazed in during her dozen year reign beginning in 1923 and and ending in 1935 when she became the GORDON C. GREENE. When the 1914 vintage IDLEWILD became the AVALON in 1948 she was given a similar window treatment in a less formal style. Attached plumbed, cropped and resized photo of the STRADER from the La Crosse collection which proves that her rather fantastical appearance was accurately depicted by Bob.

JACOB STRADER (1853-1866)
Sidewheel Packet
Way's Packet Directory Number 2915

Built 1853 at Cincinnati, Ohio which was also her first home port.

Owned by the U.S. Mail Line Company
She ran Cincinnati-Louisville, entering the trade on June 7, 1853.

Captain John Blair Summons (master); Captain Charles Dittman (master, pilot); Captain David Whitten (master) Ohio; Tennessee; Kanawha and Mississippi rivers

The STRADER had "low pressure" machinery and advertised as such to assuage the fears of those who were leery of the high pressure engines of those days. During the early part of the Civil War she was often used to convey wounded and sick soldiers as her cabin was 306 feet long with 310 available berths.

She was dismantled at Madison, Indiana in July 1866 and her machinery went into the construction of the steamer RICHMOND.


Image of an item listed in a 2013 catalogue from New Orleans based auction house Neal Auction Company. This painting looks like it was done over a pencil drawing on a smooth surface like "Masonite." There's a sort of fantasy-world style to it with all the bunting and flags fluttering and the windows in the pilot house are so narrow in height that they look like transoms that are usually featured over doors.

There was a sternwheeler named BAYOU BELLE which operated on the lower Mississippi from 1855 to 1860 but since the boat in this painting is a sidewheeler it couldn't be the same vessel, suggesting that it was a generic fantasy of a steamboat based on the Currier & Ives lithograph of the MAYFLOWER.

A St. Louis dining establishment called the Bayou Belle Restaurant was housed in a land bound retired sternwheeler named WHITE SPOT that was built around 1900. A cookbook written as a tribute to the restaurant entitled "Bayou Belle: memories and recipes" by Jean Koprivica Surrisi and Dorothea L. Wolfgram was published by West Wine in St. Louis in 2001.


John Stobart painted this in 1978. This is a detail and an appealing composition, that is the deck of a sailing ship in lower left corner . . . Original limited edition prints of this are expensive but can be found on eBay if you've got a windfall and want to invest in a deluxe Stobart.


This ROB'T E. LEE was the second boat bearing that name; she was nicknamed "Hoppin' Bob." Launched April 1876, at Jeffersonville, Indiana where she was built at the Howard boat yard. Lost in a fire at Yucatan Plantation, Louisiana in September of 1882. The first ROB'T E. LEE beat the NATCHEZ in a race from New Orleans to St. Louis in 1870.


Attached scan of the following, prints available on eBay from Tom's wife Ann:


"Robert E. Lee" painted in 1993
By Tom Freeman

This image is Numbered 21 from a limited edition of 500

Signed by Tom's Wife Ann

overall size of paper with margins 20" x 14-1/4"
image size 17-5/8" x 11-5/8"
Available for $100 each

Tom Freeman passed away, unexpectedly, on June 16, 2015. A brilliant artist, he will be missed by so many around the world. His prints are now signed by his wife Ann.

Tom Freeman was born in Pontiac, Michigan in 1952. He was the third child of James and Doshia Freeman, (3rd of 5 children). The Freeman's lived in Michigan until Tom was 12 years old when the family moved to Baltimore, Maryland.

Tom never had any formal art training and had always considered his talent as a God given gift. In fact school was of very little interest to him. Tom joined the U.S. Marine Corp Reserve in 1970. He later transferred from the Marine Corps Reserve to the regular Army. His military service extended from 1970 to 1977.

Tom's professional art career started when he left the military. He would visit the U.S. Naval Institute and would take samples of his work to them. Finally, he asked what it would take to get his artwork on Proceedings Magazine. A gentleman by the name of Dell Kaiser showed Tom the artwork of Carl Evers. Tom contacted Carl and to this day considers Mr. Evers the master of watercolors. "Carl was very supportive, he told me to look closely at the art and that I would figure it out on my own." Finally, Proceedings used one of Tom's paintings for their cover. This started Tom on the path of success.

Tom started taking 35mm slides of his work and sending them to various book publishers. The first publisher to contact him and offer him a cover was G.P. Putnam & Sons. Tom has worked with most of the large publishing houses such as Dell, Jove, Bantam, and Berkley. Tom's work has appeared on many magazines such as Readers Digest, Popular Mechanics, Boating, Yachting, Business Week, and even the TV Guide. His work has been placed on porcelain plaques and plates for Franklin Mint and the Hamilton Group.

Tom's artwork has been exhibited in many galleries Kirsten, Greenwich, Mystic, and the Grand Central Gallery. He has done work for the National Parks Service and many corporations throughout the world.

In 1986 Tom was asked to hang his original paintings in the West Wing of the White House. Currently, there are 8 original paintings hanging there along with several of his limited edition prints.

To commemorate the 50th anniversary of the Japanese attack on Pearl Harbor, Tom produced a collection of 42 paintings now on permanent exhibit at the Arizona Memorial in Honolulu, Hawaii. Tom completed 12 paintings, which were on exhibit at the Naval Museum in Washington, DC. commemorating the 60th anniversary of the attack.

One of Tom's paintings was donated to the State of Israel; it hangs in the Immigration/Clandestine and Naval Museum in Haifa.

On April 10, 2002 Tom had the honor of giving one of his paintings to the Holy Father, Pope John Paul II in Vatican City, Rome. The painting is hanging in Pope Pius IX museum in Italy.

The White House Historical Association commissioned Tom for 4 years to produce cover art for the Association's annual Christmas card.

Tom was awarded the Department of the Navy Superior Public Service Award on April 3, 2003.

On September 3, 2003 Tom presented a painting to President George W. Bush depicting the President's landing aboard the U.S.S. Abraham Lincoln. The painting was presented to him in the Oval Office.

Tom won the 2003 Gold and Platinum Ozzie Award in the category of "Best use of illustration for a single article," Popular Mechanics Magazine, The Hearst Corporation.

Tom also won the SILA award for the 42nd Society of Illustrators Los Angeles annual contest; winning the silver award for Editorial Artwork.

Tom had been selected as the first artist in residence to the United States Naval Institute.



In 1987 Clay Lancaster reissued this book in a horizontal format under the title of THE FLIGHT OF THE PERIWINKLE. The summary below incorporates ingredients from the 1961 and 1987 editions.

Baseport seems to have have been a reincarnation of New Orleans in this parallel universe where the equestrian statue reminiscent of Andrew Jackson becomes the equestrian statue of "General Stonewall" who had saved Baseport "from Pirates" rather than the British.

South of Baseport where the river flows into the Gulf stood the Southern mansion called Steamboat Bluff which has two steamboat style smokestacks protruding from the roof.

Clay Lancaster's storytelling accompanied by his imaginative drawings of architecture implies that the whole tale was spun from a dream Timmy had in his sleep.

Written and Illustrated by Clay Lancaster
Published by Viking - March 20th, 1961

Through the upstairs upstairs window of Timmy's bedroom during that cold rainy night on Pennypacker Square came three talking animals who joined Timmy and his puppy Dingle: a goose who got lost from its flock, a squirrel that the wind blew out of his tree, and a cat who got wet in the rain and requested that it be permitted to dry off in front of the fireplace.

Timmy heard a steam whistle in the street and looking down he saw the street was flooded and a little sidewheel steamboat named the PERIWINKLE commanded by Captain Jonathan Bill was pulling up to the curb.

After Timmy gave the Captain directions he inquired if the boat had room for passengers and the Captain cordially invited Timmy, his dog, the goose, the squirrel and the cat to come aboard and join him on the voyage to Baseport.

A balloon popped out of the "bonnet" of the pilot house, expanded and pushed the stacks to the left and right and a net held the balloon in place between the stacks.

"This is a story about a flying steamboat that takes Timmy and his friends to where they want to go, and deposits Timmy and Dingle home again on the return flight.

The friends include

Blanche the goose,

Nutsy the squirrel,

and Tabby the cat;

and their host and pilot is Captain Jonathan Bill.

Through his remarkable conveyance they meet

Uncle Henry, Aunt Azalea and Nina at the Cottage in the Sycamore;

the Potentate of Poonly Poo and his courtiers Rajah and Punkah at Pachyderm Palace;

Mona Moss at Creech Castle;

Colonel Fleuroy and Miss Cynthia Louisa at Plentius Plantation;

and Captain Bill's housekeeper, Matilda, at Steamboat Bluff.

First stop on the journey was the glorious treehouse of Uncle Henry and Aunt Azalea, then on to the elephant-shaped palace of the Potentate of Poonlay Poo, and from there to blossom-shaped Sunflower Lodge. The precarious tour through the eerie domain of Mona Moss is happily offset by the hospitality extended in Plentius Plantation."


excerpts from the Wikipedia article on Lancaster:

Clay Lancaster (30 March 1917 - 25 December 2000), was an authority on American architecture, an orientalist, and an influential advocate of historical preservation. Among Lancaster's many non-fiction books on architectural and art history are Architectural Follies in America (1960), Ante Bellum Houses of the Bluegrass (1961), Antebellum Architecture of Kentucky (1991), The Arts and Crafts of the Animals (1993), and Pleasant Hill: Shaker Canaan in Kentucky (2000).

Lancaster was born in Lexington, Kentucky, and studied at the University of Kentucky. He spent half of 1936 at the Art Students League of New York. Returning to Lexington, he served as stage designer for the university's Guignol Theatre and was also elected to Phi Beta Kappa. He took his A.B. in Art in 1938.

In 1943, Lancaster moved to New York and, as a graduate student there, worked in Columbia University's Avery Architectural and Fine Arts Library with Talbot Hamlin, biographer of Benjamin Henry Latrobe.

At Columbia, Lancaster received the appointment of Ware Librarian. In the fifties he lectured at Cooper Union, Columbia, and the Traphagen art school in New York. In 1968 he originated a course, "Asian Art and its Influence on Europe and America," that was given at New York University.

In 1954 and 1955, during the first of two John Simon Guggenheim Fellowships, he carried out the research that underlay The Japanese Influence in America (1963); a second Guggenheim, in 1963 and 1964, supported research on the architecture of Kentucky. In 1966, Parks Commissioner Thomas Hoving appointed Lancaster curator of Brooklyn's Prospect Park, Frederick Law Olmsted's landscape masterpiece, an assignment which led to his preparation of The Prospect Park Handbook (1967).

In 1971, Clay Lancaster moved from Brooklyn to Nantucket. Here he restored an 1829 saltbox dwelling and wrote studies of historic Nantucket, of Victorian architecture, and of train terminals and stations.

Lancaster returned to live in Kentucky in 1978, purchasing Warwick, a Federal-era residence on the Kentucky River.

On the grounds of Warwick, Lancaster built several architectural follies of his own design—an eighteenth-century tea pavilion, a guest-house replicating the first-century A.D. Tower of the Winds, and an Arts and Crafts style art gallery. He also assembled an extensive acreage nearby to serve as a nature preserve, called Shantalaya ("abode of peace").

Also, in his final years, Lancaster established a charitable organization, The Warwick Foundation, to promote and extend his many interests.

The foundation sponsors tours, lectures, scholarships, exhibitions, conferences, and maintains the Warwick compound as a museum.

Lancaster died on Christmas Day in 2000. The following spring, his ashes were scattered in the ravine next to his Warwick residence.


Hoagy Carmichael sings his own lyrics and was probably playing the piano in this recording youtube

(first dozen lines not sung in this recording):

All you cotton toters,
Mississippi floaters,
Gather all about!
Gather all about!
Got some things to tell ya.
Not a thing to sell ya.
Listen and you'll all find out.
What I'm about to say
Will take your breath away,
So, come a little closer,
Just a little closer,
Got a lotta news to shout! Say!

Good people, you're invited tonight
To the Riverboat Shuffle!
Good people, we got rhythm tonight
At the Riverboat Shuffle!
They tell me that slidepipe tooter is grand,
Best in Loosianna

So bring your freighter, come and alligator that band.
Good people, you'll hear Milneberg Joys
In a special orchestration!
Even Mama Dinah will be there to strut for the boys
In a room full of noise.
She'll teach you to shuffle it right,
So, bring your baby;
I'll be seeing you at the Riverboat Shuffle tonight.
The Riverboat Shuffle tonight.

slidepipe tooter - trombone player
Alligator: A devotee of jazz or swing music.
Mister Hawkins on the tenor! (tenor sax: Coleman Hawkins)
Mister Jordan on the alto (alto sax: Louis Jordan)
Mama Dinah - Dinah Washington

Bix Beiderbecke's cornet on this instrumental version of RIVERBOAT SHUFFLE is wonderfully bouncy Shuffle - Frank Trumbauer & His Orchestra (Bix Beiderbecke, Don Murray, Bill Rank) Recorded 9 May, 1927

Louis Armstrong And His Band - Milneberg Joys (Milneberg was a small town on the south end of Lake Ponchartrain north of New Orleans)


Sheet music cover for STEAMBOAT RAG by Ernie Burnett Copyright 1911
Published by SYNDICATE MUSIC CO. 3818 LaClede Ave St. LOUIS, MO 1914

A 1911 piano roll of the ragtime melody is played on a player piano which is finessed by foot and hand controls during performance at this link:


Steamboat Rag (Burnett) Ampico Lexington 88n

Published on Feb 21, 2013
Golden Age recut of Universal 88n # 66794B (Burnett)


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