These records are found in the online catalog of The Mariners’ Museum and Park in Newport News, Virginia. Uncurated search results are presented to give researchers and interested readers an idea of whether the museum’s archives contain information about this vessel and whether it may be worthwhile to visit the museum’s catalog search page for further investigation. Uncurated results may be inaccurate or incomplete.
Mariners Museum online catalog search, July 12, 2026. Search phrase: "Charles Butler". Catalog returned 7 records; this selection table includes 7 records fetched through catalog result pages.
Use these buttons to send uncurated search results to your own app or text document for further research. First, check the box for any row, or click "Select All" then uncheck any rows. Then click "Show Selections". You can then copy your selections from the text box and past them into your app.
Published anonymously. By Charles Butler, who was named as author on the t.p. of Cadell's 1778 ed. Cf. Halkett & Laing, NUC pre-1956. Signatures: [A]1(=R1?) B-Qp4s Rp4s(-R1). R2, 3 signed R and R2.
Library's copy donated in memory of CDR Donald Lee Hark, USN Retired and his dedication to the sea, 1935-1994.
World War, 1939-1945–Naval operations, American.; World War, 1939-1945–Search and rescue operations–Pacific Ocean.; Shipwrecks–Pacific Ocean.; Courts-martial and courts of inquiry.; Judicial error.; Vindication.
Indianapolis : - the true story of the worst sea disaster in U.S. naval history and the fifty-year fight to exonerate an innocent man - Lynn Vincent and Sara Vladic
RIVERS, BRIDGES, BOATS AND TREES The series that I describe resides as a subset within the broader genre of landscape photography. My interest in landscape also includes remnants of our social landscape, including industrial architecture, domestic housing, modes of transportation and various other interests. I have investigated these aspects of our environment for nearly forty years. The natural landscape encompasses a romantic notion that involves our sense of place, i.e. the depiction of a locale that is both specific and general. I can name most of these places in general terms, as many lie outside the boundaries of cities or towns. They are often located by examining what exists between 'here' and 'there'. Most of our travels are determined by the desire to go from location to location, leaving the distance in-between unexamined and overlooked. This topography comprises, for me, one of the most interesting aspects of travel as I wander rather aimlessly into the land, hoping to distill content that is both interesting aesthetically and poignant psychologically. The psychological aspects of these remote areas encompass a sense of tranquility and of quietude. Historically, the land has served as a reservoir for our spiritual renewal, and has been prescribed as a balm for the stresses and travails of daily life. The spiritual aspects of this communion were felt so strongly by Teddy Roosevelt that he undertook to establish several national parks so that we could immerse ourselves as we seek renewal and inspiration. This describes a vast swath of our communal experience. It is not a new insight to assert that photography is created in the present but resides in the past. We enjoy the vast empty vistas of early explorative forays, more than a century ago, in the expanding westward migration we refer to as Manifest Destiny. Much has changed although much remains little changed during this passage of time. These contrasts between change and stasis are intriguing, and they inform our sense of the present and of our past. I have no understanding regarding how my photographs will appear after the passage of another century, however I imagine that our landscape will be much altered from our current experience. I photograph many of these locations simply because I enjoy occupying this space. Unfortunately, much of this land continues to fall into private ownership and is consequently posted with signs signaling no trespass. I cannot return to several familiar locations due to these newly established restrictions. I often wonder if future generations will be able to locate an accessible public space where they can fish, swim or recreate. Every year, more of our environment becomes restricted from our presence and from our personal experience. I produced these images with a cumbersome view camera. The prints were printed upon a paper that is no longer available. It is referred to as printing-out paper because the image was printed by exposing the negative and paper directly to sunlight for a length of several minutes. There was no developer used to create the image as it appears during exposure from the reduction of silver halide to a metallic state. The image coloration was produced by immersing the print into an aqueous solution of gold chloride, creating the range of warm hues that we often associate with 19th century photography. We make this association due to the fact that this paper began its long history with the origination of the photographic process, beginning in the mid-1800's.
