The Streets of Naval Station Norfolk: Admiral Taussig Boulevard

By Elijah Palmer
Hampton Roads Naval Museum Educator

Many people, both Sailor and civilian, drive on Admiral Taussig Boulevard every day as the road forms the main route onto Naval Station Norfolk. It runs several miles from Little Creek Road at Wards Corner and ends several miles later on the naval base, terminating between piers 5 & 6. But like many street names, it is doubtful that more than a handful know about the man whose name is honored by the road.

Vice Admiral Joseph K. Taussig was born into a Navy family in 1877, the son of Rear Admiral Edward D. Taussig.  He attended the Naval Academy at Annapolis and in 1898, while a midshipman aboard USS New York, he participated in the Battle of Santiago de Cuba.  In 1900, Taussig also was part of one of the relief expeditions during the Boxer Rebellion in China. Most famously, as a commander in World War I, Taussig was in command of Destroyer Division 8 which comprised the first Navy ships to arrive in Europe to fight against the Germans.  This event is portrayed in Bernard Gribble's notable painting, Return of the Mayflower.  When asked by a British admiral when the destroyers would be ready to join the fight, Taussig replied, "We are ready now, sir."

USS Wadsworth (DD-60), flagship of Taussig's Destroyer Division 8. This ship is in the foreground of Bernard Gribble's painting. 

Taussig was promoted to captain in September 1918. The chevrons on his left sleeve are service chevrons for being in combat zones. He was awarded the Distinguished Service Medal for attacking a German U-boat. (Naval History and Heritage Command)

Due to frequent spats with Franklin D. Roosevelt, both when he was assistant secretary of the Navy and as president, Taussig's promotions were delayed.  In 1938, his seventh year as a rear admiral, Taussig was put in charge of the Norfolk Navy Yard and the Fifth Naval District, which included Naval Operating Base Norfolk. This would prove beneficial to both Hampton Roads and the Navy.

As the Navy prepared for war in the early 1940s, Norfolk's infrastructure was stretched, with a housing shortage being a prominent problem. This of course was due to the "boomtown" nature of the area during this time, much as the city had expanded rapidly during World War I.  Admrial Taussig coordinated with Norfolk city officials to explore options to better the situation. He had the Navy build a housing development near the naval base, while Norfolk also built a neighborhood (Merrimack Park) near Chambers Field, just east of the base. Just as importantly, Taussig worked with city and federal officials to improve the roads connecting the city with the base, which led Norfolk to name the improved thoroughfare after the admiral.

Admiral Taussig Boulevard was built during the 1940s (maps and aerial photos from 1944 show it in some form) by lengthening Kersloe Road (built by 1921) which ran parallel with the Virginian Railroad line towards the base. The Kersloe road ended just south of where the main runway of today's Chambers Field is located. This stretch was extended up to connect with what was then called 99th Street, which connected Ocean View with the 99th Street Pier (near Pier 6 on the naval base today).  To the west of the this new intersection was included as part of Taussig Boulevard, while to the east, 99th Street was eventually named Bellinger Boulevard.

1939 map showing Kersloe Road ending at the rail line in the middle of the picture, and the eventual route of Admiral Taussig Boulevard in red (Map from Norfolk, Virginia: Evolution of a City in Maps by Irwin M. Berent)

The boulevard quickly became the main artery into the naval base. The intersection of Admiral Taussig and Granby Street (at Wards Corner) was a bustling intersection, and for over a decade was adorned with the famous airplane, the "Turtle," which had set the world distance flight record in 1946.

The Turtle near the beginning of Admiral Taussig Blvd at Wards Corner (from Norfolk, Virginia: Evolution of a City in Maps)

The Turtle at Wards Corner. The cars in the foreground are on Granby Street, with traffic barely visible on Admiral Taussig Boulevard to the left of the plane.  (photo courtesy of HRNM docent Ira R. Hanna)

The plane was removed in preparation for the 1970s expansion of most of Admiral Taussig Boulevard into the now three mile-long interstate classified as I-564 (although it retained its original name as well). This was a much needed renovation as during the 50s and 60s, the stretch of road to the naval base was known for its frequent accidents and fatalities. It did not help that there were no street lights illuminating the boulevard. The project was a success and greatly improved the base commute.

Near the ramp onto I-564 at Wards Corner today (Google streetview)

However with its heavy use and increased traffic volume, the route is now in need of further expansion.  The Virginia Department of Transportation is currently conducting a project to further expand Admiral Taussig Boulevard as part of a major traffic overhaul around the naval base.  While Sailors might not appreciate traffic delays stemming from this project, they should definitely be grateful for the work Admiral Taussig put forth in improving the lives of both past, current, and future Sailors.

1918 Artist's Study for "The Return of the Mayflower" by Bernard Gribble

Artist’s Study of The Return of the Mayflower by Gribble

By Diana Gordon

Hampton Roads Naval Museum Educator

Recently, our collection gained a preliminary study of The Return of the Mayflower by Bernard F. Gribble. This famous painting illustrates Norfolk-based Destroyer Squadron 8 heading into Queenstown, Ireland, in May of 1917—only a month after the United States declared war on Germany. Gribble created several different studies of The Return of the Mayflower before he finished the final piece. In art, studies are often done in preparation for the final product and are used to understand problems of the different elements of a piece, such as light, form, and composition.

In comparison to the final rendition of The Return of the Mayflower, the study offers a different perspective, one of less urgency and hope. The composition of this work is the exact opposite of the finalized piece. For instance, the British fisherman’s boat is located on the right hand side of the canvas instead of the left-as found in The Return of the Mayflower. Having the fisherman’s boat located on the right shifts the viewer’s eye to that corner and away from the United States destroyer steaming straight ahead, moving away from these signs of hope. In addition, the local fishermen waving to the Navy ships seem less urgent in their desire to see these signs of hope. The fishermen, each outlined and defined, seem to be casually waving to the ships as they approach. Gribble even added a dog to the fisherman’s boat, which removes some of the serious tones of the piece. In the final masterpiece, Gribble shows the fisherman less defined and more chaotic in their movements, as though they would do anything to see a glimmer of hope and salvation in their world of despair.

Final rendition of The Return of the Mayflower, by Gribble

 As many artists often do, Gribble created different studies of his final work with slightly different compositions. A master in oils and watercolors, Gribble stayed true to his skill and continued with darker color tones and dramatic atmospheres in his study of The Return of the Mayflower, but the piece lacked the strong sense of urgency and hope displayed in his final rendition.

This piece is a valuable new addition to our collection. Come by and see it today!

The Return of the Mayflower, by Bernard Gribble

 


























We have several paintings in HRNM’s gallery, but one in particular stands out as we approach the 100^th anniversary of the United States’ involvement in World War I. The Return of the Mayflower, by Bernard F. Gribble, illustrates Norfolk-based Destroyer Squadron 8 heading into Queenstown, Ireland, in May of 1917—only a month after the United States declared war on Germany. These U.S. destroyers were the first American ships to arrive in Europe. Britain suffered immense shipping losses due to German U-boat attacks, and this convoy helped turn the tide on the battle against underwater warfare. Assistant Secretary of the Navy Franklin D. Roosevelt commissioned the painting in 1919. In 1933, when Roosevelt became President of the United States, the painting hung in the oval office. Our museum proudly displays a copy of the original piece (the original can be viewed at the U.S. Naval Academy Museum in Annapolis, Maryland).

Bernard Gribble, a master in oils and watercolors, used darker tones to create a dramatic feeling while filling the canvas with a setting full of crashing waves and eerie clouds. He strategically placed a local British fisherman’s boat on the left side, full of darker shadows, expressing Britain’s despair and turmoil over the war. The fisherman’s boat fills the left side of the canvas, leading the viewer’s eye toward the center, where a United States destroyer steams straight ahead. This particular destroyer is USS Porter (DD 59), which was one of the six destroyers that was part of the mission; the rest include USS Wadsworth (DD 60), USS Conyngham (DD 58), USS McDougal (DD 54), and USS Wainwright (DD 62). The American destroyers are highlighted by sunlight peering through the parting clouds, emphasizing these ships as signs of hope. This dramatic painting not only displays the artist’s knowledge and skill in oil work, but also shows the power and hope the United States Navy provided worldwide.

(This blog post was written by HRNM Educator Diana Gordon.)