
Catalogue Entry
In the wood engraving reproducing this painting in Harper's Weekly in June 1882, the caption reads “Dredging in New York Harbor” (fig. 1). The article it accompanied described a construction project to deepen New York's harbor to facilitate large ships.
The article's unidentified author focused on “a battered old man with a grizzly beard,” a treasure hunter, who “sat at the edge of a dredging scow,” his legs dangling over the edge and smoking “a worn cob pipe with great gravity and satisfaction as he kicked his heels in the sunshine and talked with a drawl.” Instead of illustrating what the author described, Twachtman featured the dredge itself, with its scow arm lifting mud and debris from the floor of the river and pouring smoke into the air, while a tiny figure mans the dredge from its deck. Indicating the vessel's name, "America" in white paint across its crowbar, Twachtman related the dredge's energy and the progress it heralded to the character of the nation itself.
The painting was known as Dredging in the East River when it was at Kleeman Galleries in New York, in the 1920s. Dredging occurred in the East River especially in 1876, when the United States Army Corps of Engineers blasted away Hallert's Point Reef in the Hell's Gate section of the river.[1] The Harper's Weekly article itself states: “This here dredge that you’re standing on is the one that lifted a twenty-four ton rock out of the bed at Hell’s Gate. It was the biggest rock ever handled.” However, it is unclear whether Twachtman's image is meant to depict the East River or a generalized rendering of dredging.
[1] Entry on the painting on the website of the New-York Historical Society.