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Canoes: A Natural History in North America

Mark Neuzil and Norman Sims 2016
This is the story of the canoe, that singular American artifact so little changed over time. Featured here are canoes old and new, from birch bark to dugout to carbon fiber; the people who made them; and the adventures they shared. With features of technology, industry, art, and survival, the canoe carries us deep into the natural and cultural history of North America.

Follow author Mark Neuzil on Twitter: @mrneuzil

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  • 9780816681174 (hardcover)
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  • Literature
  • Native American Studies
  • Regional Studies
  • Cultural Studies
  • History
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A painting of dozens of canoes and figures approaching a portage.

The Red River Expedition at Kakabeka Falls

From Chapter 3: The Fur Trade

Frances Anne Hopkins, The Red River Expedition at Kakabeka Falls, 1877.

A painting of Samuel de Champlain.

Samuel de Champlain

From Chapter 3: The Fur Trade

Théophile Hamel, Portrait de Samuel de Champlain, 1870. Oil on canvas, 66 x 86 cm.

An illustration of pearl divers and canoes in the water.

Pearl Diving

From Chapter 3: The Fur Trade

French explorers witnessed the pearl diving industry in the Caribbean, where the newcomers got a glimpse of the native dugouts used in the activity.

A painting depicting Champlain's arrival. A large ship greeted by several canoes.

The Arrival of Champlain at Quebec

From Chapter 3: The Fur Trade

George Agnew Reid, The Arrival of Champlain at Quebec, 1909. Pastel on wove paper, 62 × 43 cm.

An illustrated map.

Map of New France

From Chapter 3: The Fur Trade

Samuel de Champlain, Map of New France, 1632.

A color portrait of Louis, XIV wearing fur.

Portrait of Louis, XIV

From Chapter 3: The Fur Trade

After Hyacinthe Rigaud, Portrait of Louis, XIV, after 1701.

The painter John James Audubon is more well-known for his images of North American birds, but he also painted other wildlife, such as these two beavers working on a tree.

Beaver

From Chapter 3: The Fur Trade

The painter John James Audubon is more well-known for his images of North American birds, but he also painted other wildlife, such as these two beavers working on a tree.

A map of the British possessions in North America.

A New and Exact Map of the Dominions of the King

From Chapter 3: The Fur Trade

John Bowles, Thomas Bowles and Herman Moll, A New and Exact Map of the Dominions of the King, 1731.

Beaver pelts were used in making felt, which could be turned into a top hat, shown here with its case.

Beaver Hat

From Chapter 3: The Fur Trade

Beaver pelts were used in making felt, which could be turned into a top hat, shown here with its case.

The process of making hats from the pelts of beavers is partially illustrated in this 1858 artwork from Charles Knight, produced by the London Printing and Publishing Company.

Making Beaver Hats

From Chapter 3: The Fur Trade

The process of making hats from the pelts of beavers is partially illustrated in this 1858 artwork from Charles Knight, produced by the London Printing and Publishing Company.

An oil painting of a group of voyageurs traveling at night in a birch-bark canoe.

The Voyageur

From Chapter 3: The Fur Trade

Arthur Heming, The Voyageur, 1915. Oil on canvas, 76.7 × 102.2 cm.

An oil painting of a voyageur wearing a red hat and smoking a pipe.

The Voyageur

From Chapter 3: The Fur Trade

Abby Fuller Abbe, The Voyageur, ca. 1860.

An oil painting of several people paddling a birch-bark canoe through water with trees in the background.

Radisson and Groseilliers

From Chapter 3: The Fur Trade

Frederic Remington, Radisson and Groseilliers, 1905. Oil on canvas, 110.2 x 194.3 cm.

A map depicting much of America.

Le Cours du Missisipi

From Chapter 3: The Fur Trade

Nicholas de Fer, Le Cours du Missisipi, 1718.

An oil painting of two fur traders and an animal in a canoe.

Fur Traders Descending the Missouri

From Chapter 3: The Fur Trade

George Caleb Bingham, Fur Traders Descending the Missouri, 1845. Oil on canvas, 73.7 × 92.7 cm.

This 1822 watercolor from the Manitoba Museum’s Hudson’s Bay Company Collection, illustrates a canot du maître carrying two officers.

Canot du maître

From Chapter 3: The Fur Trade

This 1822 watercolor from the Manitoba Museum’s Hudson’s Bay Company Collection, illustrates a canot du maître carrying two officers.

An oil painting of a canoe and going through rapids.

Chief Trader Archibald McDonald Descending the Fraser, 1828

From Chapter 3: The Fur Trade

Adam Sherriff Scott, Chief Trader Archibald McDonald Descending the Fraser, 1828, ca. 1942. 81.28 x 63.5 cm.

Frederic Remington’s drawing of a voyageur struggling with his load illustrates the use of a tumpline across the top of his forehead to help distribute the weight more evenly. ‘Tumpline’ is based on the Algonquian word for line.

Voyageur with Trumpline

From Chapter 3: The Fur Trade

Frederic Remington’s drawing of a voyageur struggling with his load illustrates the use of a tumpline across the top of his forehead to help distribute the weight more evenly. ‘Tumpline’ is based on the Algonquian word for line.

A map depicting the routes of the voyageurs.

Voyageur Routes

From Chapter 3: The Fur Trade

The voyageurs plied the North American frontier for generations, often leaving from Montreal or York Factory or Lake Winnipeg on their long-distance trading journeys and not returning for many months, or sometimes years.

An illustrated color map of the Great Lakes region.

Partie occidentale du Canada ou de la Nouvelle France

From Chapter 3: The Fur Trade

Jean Baptiste Nolin and Vincenzo Coronelli, Partie occidentale du Canada ou de la Nouvelle France, (Paris: J. B. Nolin, 1688).

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