Evinrude Serial Number Year

[Eryn]

Evinrudechanged how they indicate year in the model number in 1980. Depending on the whether your engine is from before or after that year determins how you will find your Evinrude engine year information.

The first serial number sold in a year becomes the beginning serial number. Serial numbers between that year's beginning serial number and the next fall into the same year. Search for your engine horsepower on the Mercury Mariner serial number year chart located here to find the beginning serial number for the range that includes your engine.

A bit of a shock on the serial number .I am located in Ontario Canada I have my dads Sportwin N that he bought used in 1930 in Racine Wis it is serial number NX 6218 thats only 35 away from yours .they could have been made on the same day.The X in my serial number was added by Evinrude when the motor was rebuild at the factory in Milwaukee in early 1930.

Thanks Tom is there any chance you could post a picture of the carbs.I think mine was replaced by Evinrude when it was rebuilt in 1930 as it looks different then the two you showed.

About 10 years ago I bought what was supposed to be a 1926 N on ebay from a seller in Wisconsion It had the early carb with the holes.He assured me it would be well packed I sent him an extra 30.00 to ensure it would be well packed.He stuck it in a card board box with nothing else.When I picked it up in Grand Portage Mn the carb was broken off.

John

One other point of intrest my N is a fresh water model but when it was rebuilt they put on a brass tank it has serial number plate on the tank 1963 so I guess the the tank came from the 463rd one made as they started at 1500.

John

This exhibition highlighted some of the most significant engineering marvels in Milwaukee's history and includes photographs, documents, ephemera, and a number of the actual machines highlighted in the book by engineer Thomas Fehring, who served as co-curator alongside Museum Director James Kieselburg.

Two awards for historical exhibits on Wisconsin themes are offered each year: one for an exhibition budget of $5,000 or less and one for an exhibition budget greater than $5,000. The Grohmann Museum received the award for an exhibition greater than $5,000. Each award is given to the organization that creates an exhibit that meets the award criteria and, in the opinion of the judges, made the most valuable contribution to public understanding of Wisconsin's past during the preceding calendar year.

For many Canadians, paddling in a canoe serves as a refuge from our hectic day-to-day lives, and as a means of reconnecting with nature, family and friends. But thousands of years before European settlers arrived in what we now call Canada, the lakes and rivers served as vital trade routes for the Indigenous peoples here, with the canoe at the heart of that experience. In this episode, we pay a visit to the Canadian Canoe Museum in Peterborough, Ontario, and get a behind-the-scenes tour of its incredible canoe collection with curator Jeremy Ward.

Genevive Morin (GM): Welcome to "Discover Library and Archives Canada: Your History, Your Documentary Heritage." I'm your host, Genevive Morin. Join us as we showcase treasures from our vaults; guide you through our many services; and introduce you to the people who acquire, safeguard and make known Canada's documentary heritage.

JW: It's really big. This is an enormous collection, in part because it's a watercraft collection. Many of these have been on exhibit, will be on exhibit in a future exhibition. Some of them are here for important research processes. It's a collection that has about a 60-year history now and continues to grow, continues to be sculpted and nurtured and so on.

If you keep tinkering with that basic idea, this freighter canoe ended up at this point; it's fiberglass over a wooden hull that's been modified to carry a motor on the back. This was for getting families back out to their hunting grounds and for taking southern hunters out sport hunting. They have just, step after step, been tweaking with the hull design and so on to suit the needs. Eventually, you're going to end up with something you can land airplanes on.

There are no hard boundaries to what makes a canoe. If we can keep deconstructing it down to where we recognize its origins, then it's an interesting conversation that resonates with all of the other watercraft in this collection.

GM: It's kind of like what we do at the archives where we're asked, "Why do you keep acquiring soldier's diaries?" or like, "How many more of these do you need?" and it's, "Well, we need them all because it evolves; it evolves in different ways, in different directions and there's always something new to learn with every specimen we get in."

Then there was the vision that this was a really important story to pursue and to tell. They were collecting at a time when you could jokingly say, "We'll trade for fiberglass," all of these wonderful wooden canoes that were part of a traditional working livelihood were being discarded for modern lifestyle, modern iterations of the same idea. These boats were being caught at a time when they would have otherwise just been left to rot. The same goes for archives, you know how these collections disappear and once they're gone, they don't come back.

This is my happy space, for sure, and amazingly so much time with museums is spent on developing exhibits and digesting an interpretive narrative for the public and how they're going to interact with your artifacts and the text panels and the research and all that goes into the education. The design, without exception, people walk into a room full of artifacts that it's almost unshaped how they will interact with it. We all respond much more strongly to this than I find to exhibits. Now that might be a reflection on my exhibits and I'll take that critique, but really it's the pick your own adventure. It's the discovery, the sense of discovery you have when you look at this. This is a sight you will never see anywhere else; you couldn't assemble a collection like this today.

There are some threads that we can explore just from where we stand on the north wall here, racking in pallets with canoes on individual mounts. These are, for the most part, dugout canoes that explore Canada's waterways and also international canoeing culture. On the far left, you'll see a stack of six canoes and a seventh on the upper to the right of that. Those are all wooden dugout canoes that have been recovered from lake beds, river bottoms, mostly in the Ontario area but these do turn up all the time.

Two below it, the grey and orange, that's a Khlong boat from the floating markets in Thailand. You see these coming in full of produce, ladies paddling in to get to the tourists, they're J-stroking, jockeying for position to sell produce. Sometimes there'll be a barbecue onboard, and there is oil and skillets making fry bread. The one below that, that's Solomon Islands, that's a miniature. Those are usually 40 to 50 feet long.

We think of that canoe as one of these icons of Canadian heritage. When you see that or you learn that the Kuna people in Panama on the islands, on birth were traditionally presented to their community in a small dugout canoe, livelihood bringing produce to market in a dugout. And then on death, of course, laid out as well. That's a pretty deep and rich tradition as well. Then these connections we can make, what is special about Canada, positions it on a much larger family tree, which I find very exciting.

GM: Brings us together, it's sort of a common design. I keep thinking about a spoon, no matter where you go in the world everybody's got something to shove food in their mouths. It's always something on a stick with a around bit at the end to scoop. This is pretty much the same design; something pointy to slice through the water.

JW: It is paddled facing forward and yet look at all of the carving on the forward end, there's a whole narrative here of struggle and power and I understand birth as well. All of these figures, one tangled into the next. It's an amazing canoe, amazing artifact.

This canoe to my right, it's a wonderful brown hull that's cedar planked, big wide planks and ribs. It has these really long arched decks at either end that really shorten the opening that makes the canoe. This was of a style that was very popular in the United States. This is a Canadian interpretation of what's called a courting canoe, and these were rented at canoe clubs. Young couples would be allowed to rent a canoe and drift out on the water, by the dozens, by the hundreds, and have their own privacy in plain view in the 19-teens, turn of the century.

So this is what's really fun then is you look at this and you pick it apart and you see the functionality is very clearly there, these things have to work, but then what are the other things that you're going for? What else is being expressed?

JW: You can imagine the racket of all those record players. The other thing about these boats is all of the other functionality has been bred out of that poor canoe. [Genevive laughs.]

You cannot portage it, there's no cross bar because that would be in the way of a young couple. You can't even pick it up. It's like hugging a barrel or, I don't know, a couch. It's this big rounded, moulded shape and so on. There's no grab handles for it. So it's really meant for just sitting and drifting, and that's lovely. It's a glimpse into an age, 100 years ago when this is how young couples were given a little bit more freedom than they had been in previous generations.

JW: This one was actually made in Toronto by Octavius Hicks. He was a prominent canoe builder in the late 19th century, early 20th. And this has been in the Hicks family now for 100 years.

JW: Absolutely right, yes. We were relying on Hudson Bay records. We were relying on some surveys and some research done 100 years ago by Edwin Tappan Adney, who was a researcher on birchbark canoes, and of course, Frances's paintings. There is no better pictorial record from that age of the canoes. Her paintings are like blueprints for the birchbark canoes.

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