Ships of State - NIEUW AMSTERDAM, 1938, Ship of Peace and Ship of Tomorrow

When NIEUW AMSTERDAM was launched 1937, she was one of the Ships Of State. Built as ship of peace and for tomorrow. These ships had been build by tax payers money, and had been somehow, as NORMANDIE, QUEEN MARY and QUEEN ELIZABETH, and others, may given the economist John Maynard Keynes (1883-1946), after his model of deficit spending and the artificially created demand in times of recession, pride, as he could not have imagined any better ... 
by Earl Cruise

Nieuw Amsterdam, detail of a travelposter from 1938, pure Art Deco - own collection

The world was, when NIEUW AMSTERDAM was on the drawing board, still in the grip of the Great Depression, which started with the imploding of the stock bubble in New York on October 29th 1929, known as the Black Tuesday. This stock crash was the result of the irrational illusion, that money can create revenue on its own ...

Nieuw Amsterdam, copy of a postcard, based on a painting - Source: ssmaritime.com

To this day, 80 years since her launching, 1937, and 44 years since her scrapping, 1973, NIEUW AMSTERDAM is still regarded as one of the most beautiful ships to have sailed the seas. With her design of a low slung, stunning silhouette, she was a well balanced ship. Her elegant, nearly yacht like lines, highlighted by her graceful hull, as well as her two perfectly proportioned funnels and two tall masts!

Constructed in Rotterdam for the HOLLAND AMERIKA LIJN (HAL), NIEUW AMSTERDAM was the second vessel of four HOLLAND AMERIKA LIJN ships to bear that name, this vessel is considered by many to have been HOLLAND AMERIKA LIJN´s finest ship. 

Launching of NIEUW AMSTERDAM - own collection

Originally she was intended to be named PRINSENDAM, however during construction, HOLLAND AMERIKA LIJN decided to rename their new flagship the NIEUW AMSTERDAM, in honor of the Dutch settlement of New Amsterdam, on the island of Manhattan, modern day New York.

Map of Nieuw Amsterdam, on Manhattan Island, 1660, Castello Plan - Source: Wikipedia

Nieuw Amsterdam was renamed New York on September 8, 1664, in honor of the then Duke of York (later James II of England), in whose name the English had captured it. After the Second Anglo-Dutch War of 1665–1667, once again a war, for being the trading monopolist. England and the United Provinces of the Netherlands agreed in the Treaty of Breda (1667) to the status quo: the English kept the island of Manhattan, the Dutch giving up their claim to the town and the rest of the colony, while in return the English formally abandoned the island of Run in the East Indies to the Dutch, confirming their control of the valuable Spice Islands. Now a part of the Indonesian province of Maluku.

This Ships Of State creation, NIEUW AMSTERDAM, emerged in the spring of 1938, as a light-colored and very spacious ship throughout, and although she had spacious public rooms, the colour scheme used, gave her an even larger feel. Modern in every way, her owners proclaimed her "the ship of tomorrow". She followed the Art Deco trend of the day in both interior decorations and exterior design. The interiors were distinguished by fluorescent lighting, aluminum motifs, and gentle pastel colours throughout the ship, that created an understated elegance that would make the liner a favorite among seasoned transatlantic passengers.

Above and bwlow photo and designer rendering of the dining room First Class of Nieuw Amsterdam - copies, each own collection

One of the ship’s centerpieces was the first class restaurant, having a Moroccan leather ceiling which was adorned by numerous Murano glass light fixtures, and columns covered in gold leaf. Tinted mirrors, ivory walls and satinwood furniture all contributed to create the luxurious atmosphere. The restaurant had no portholes or windows facing the open sea, making it depend solely on artificial illumination, a feature it shared with the first class restaurant on board the NORMANDIE. This might sound a bit odd, but it was just the same as in the first class restaurant on board the fabulous NORMANDIE of 1935, who had the first aircondition therefore on board. There also were two swimming pools onboard, one outdoor and the other indoor on E-deck. It featured expensive Delft tiling which was an impressive sight.

NIEUW AMSTERDAM was not designed to gain the BLUE RIBAND. She crossed the pond in a rather modest speed of 20,5 kts. 

NIEUW AMSTERDAM entering the port of New York after her maiden voyage - own collection, courtsey Andrew Britton, ss NIEUW AMSTERDAM

NIEUW AMSTERDAM was the second ship in the world after NORMANDIE to boast a theater, a feature the larger and faster QUEEN MARY did not initially have. The deeply cushioned seats commanded an unobstructed view of the stage, and the egg-shaped contour of the auditorium took advantage of the latest in scientific sound-proofing materials and amplifying equipment to ensure perfect acoustics for concerts, dramatic performances and pre-release motion pictures. Found at the front end of the Theatre was a striking mural in red, black and gold by Rejer Stolk. 

A favorite rendezvous of many NIEUW AMSTERDAM passengers was the handsome First Class Smoking Room with its rich Circassian walnut paneling and deep, luxurious armchairs and settees. Flanked by two enclosed sun verandas extending to the sides of the ship, the Smoking Room had its own modern bar stocked with a connoisseur choice of fine liquors. 

First class staterooms on NIEUW AMSTERDAM were unusually attractive, ranging in size and occupancy, from cozy single person cabins to elaborate cabins-de-luxe. The handsome and modern decorative scheme made the cabins comfortable spots for daytime and evening relaxation. All First Class cabins on Nieuw Amsterdam had a private bathroom, a unique feature which no previous liner could boast. Even NORMANDIE did offer some first class cabins without, and held public bathrooms for these "low fare", US$ 295.00, first class quarters. 

Construction on NIEUW AMSTERDAM was carried out at the N.V. Rotterdamsche Droogdok Maatschappij. Christened by Her Majesty Queen Wilhelmina in April 1937, the NIEUW AMSTERDAM was, at 36,982 tons, the largest liner ever constructed in the Netherlands up to that time. Proudly, she was dubbed the Dutch "Ship of Peace" since there were no provisions for possible war use incorporated in her design.

And even in 1938, despite all war smoke, nobody wanted to believe that a new war would break out ...

NIEUW AMSTERDAM also had the duality of being the Netherlands' "Ship of State", and as a result, numerous well respected Dutch artists vied for the honor of creating some part of the ship.

List of designers for Nieuw Amsterdam - Source: book SS NIEUW AMNSTERDAM by Andrew Britton

Passengers must have found it difficult to believe they were at sea when in the air-conditioned First Class Theater or Restaurant. The deeply cushioned seats of the theatre commanded an unobstructed view of the stage, and the egg-shaped contour of the auditorium took advantage of the latest in scientific sound-proofing materials and amplifying equipment to ensure perfect acoustics for concerts, dramatic performances and pre-release motion pictures. Found at the front end of the Theatre was a striking mural in red, black and gold by Reyer Stolk. The NIEUW AMSTERDAM was the second ship in the world after the NORMANDIE to boast a theater, a feature the larger and faster QUEEN MARY did not have.

A favorite rendezvous for many the NIEUW AMSTERDAM passengers was the handsome First Class Smoking Room with its rich Circassian walnut paneling and deep, luxurious armchairs and settees. Flanked by two enclosed sun verandas extending to the sides of the ship, the Smoking Room had its own modern bar stocked with a connoisseur choice of fine liquors.

On April 23rd, 1938, the new NIEUW AMSTERDAM set out on her sea trials, which were to take place on the North Sea. Testing her speed and maneuvering capability, the new vessel turned out to be all that she was supposed to be. Upon her return from the sea trials, the NIEUW AMSTERDAM was handed over to HOLLAND AMERIKA LIJN ownership and officially was registered in the Dutch merchant fleet.

Following some pages of the broshure for Nieuw Amsterdam

all above copies, courtsey GARE MARITIME

The sleek new liner's maiden voyage was set for May 10, 1938, and upon her arrival in New York she immediately won adulation and acclaim.

In her original configuration, NIEUW AMSTERDAM carried 1,220 passengers in three classes, with 566 in First; 455 in Tourist and 209 in Third.  She was created with cruising as well as crossing in mind, and so her upper two classes were designed to be as compatible as possible for one-class voyages.

Bar on board NIEUW AMSTERDAM - courtsey Andrew Britton

NIEUW AMSTERDAM Main Staircase on Promenade Deck, pure Art Deco - courtsey Andrew Britton

NIEUW AMSTERDAM First Class Main Hall - own collection

First class cabins were paneled in wood, while similarly sized rooms in Tourist were finished with a composite surfaces, referred to as "Muralart" in press releases. Bathrooms in both classes were of the same size and, again, differed only in finish.  All of her First class cabins came with private facilities, as did more than half of those in Tourist; unique to NIEUW AMSTERDAM was that a number of Third class cabins on B Deck, meant to be interchangeable with those in Tourist, also had private shower and toilet facilities. Though NIEUW AMSTERDAM had nothing aboard to match the Grande Luxe suites of the Normandie, she could boast of uniformly large First class and Tourist class cabins. Her Third class cabins were austere but comfortable, and in addition to the two and four berth configurations there were also a handful of Third class ‘singles,' another NIEUW AMSTERDAM firsts. The ship set new standards in accomodation and ship lay out, as her designers implemented in NIEUW AMSTERDAM a dual purpose use - Transatltantic liner service and cruises.

Art Deco art travelposter of NIEUW AMSTERDAM - copy, own collection

HOLLAND AMERIKA LIJN was justifiably proud of its new flagship and during her single year of pre-war Transatlantic service at least four lavishly illustrated brochures were issued. One of the Holland-America Line’s brochure of the time commented; the new Holland-America Line flagship, "NIEUW AMSTERDAM represents more than the emphasis on historical association that her name implies. She is a modern spiritual counterpart of her city-godparent a vibrant youthful expression from the old country to the youth of the new; bringing the common heritage of each into the vivid spotlight of the present. The breadth of vision and the novel treatment of traditional problems of marine architecture complement, in an amazing manner, the vigor, bold enterprise, and confidence that are the dominating characteristics of twentieth century Manhattan.  Sixteen architects, judiciously chosen from the younger generation, were entrusted with this task. Working independently with their own staffs of artists, they solved their own problems in their own way. The result is comparable to the finished performance of a massed choir with all its component parts in proper relation to the whole."
Although NIEUW AMSTERDAM was neither as large nor fast as many of her contemporaries, she was to be a popular liner for the Dutch and was showered with superlatives. Her sleek outline and two slim funnels provided a striking profile and NIEUW AMSTERDAM soon garnered a loyal following amid stiff competition from great liners such as CUNARD's grand QUEEN MARY and the superb NORMANDIE of the COMPAGNIE GÉNÉRALE TRANSATLANTIQUE. Despite the fierce competition, the NIEUW AMSTERDAM proved to be one of the few money-making vessels of the day.

This remarkable flagship from the Netherlands was not to enjoy the praise lavished on her for long. After only seventeen voyages, the NIEUW AMSTERDAM was laid up at Hoboken, New Jersey in 1939 after the German invasion of Poland. She would be idle for only a year, however, and was requisitioned by the British Ministry of Transport after the Netherlands did surrender to Hitler’s armies. She would spend the remainder of the war years as a troop transport, despite the fact she had been constructed without the consideration of ever being used in a military capacity. During the course of the conflict she would transport over 350,000 troops and steam some 530,452 nautical miles (982,397 km) before being returned to the HOLLAND AMERIKA LIJN in 1946.

"WELCOME ABORD!" Broshure

above copies, courtsey GARE MARITIME

For better reading

The "NIEUW AMSTERDAM", the largest ship ever built in the Netherlands, will be famous for its architecture, decoration and exceptionally high standard of comfort. Modern profile, pleasing proportions and careful design all reflect the traditions of a great seafaring people. Compared with other ocean giants the "NIEUW AMSTERDAM" may not be the largest or the fastest, but in general comfort and quality of decoration, expressive of a national effort to reproduce in colour and design the harmony of modern life, she is unsurpassed.

The accommodation is divided into three class, Cabin, Tourist and Third, and it is difficult to detect the boundaries of each class by the quality of the decoration or the furniture; rather is the difference between the three classes governed by the position of the cabins and social rooms.

The air-conditioning is the most complete of any ship afloat. In four major public rooms viz, the Cabin Class Dining Saloon and Theatre, the Tourist Class Dining Saloon and the Third Class Dining Saloon the air is mechanically, purified, dried, cooled and circulated.

The completeness of the ventilation in the staterooms and the luxury of bathroom equipment are examples of careful provision for present day needs. In all classes both the temperature and current of the air can be regulated by the passenger. Every room in the Cabin Class has a private bath or shower-bath and toilet, and a large number of cabins in the Tourist Class are also fitted with shower-bath and toilet. There are two spacious sports decks in the Cabin Class, two sports decks in the Tourist Class (one situated between the funnels on the highest deck of the vessel) and a sports deck on the Lower Promenade Deck for Third Class.

Passengers of all three classes find their deck chairs on extensive glass enclosed promenade decks. The Cabin Class Promenade has chairs and tables of the Paris boulevard type at either end and the non-slip rubber flooring is a great aid to easy and quiet walking.

Cabin Class passengers have their own Delft tiled swimming pool, squash court, gymnasium, Turkish bath and permanent theatre seating 3 5o. Modern sound picture apparatus installed in fire-proof compartments is a feature of the Tourist and Third Class, for whose enjoyment there is also a separate swimming pool on 'C' Deck.

The "NIEUW AMSTERDAM" is attractive because it represents the work of many architects, painters, sculptors, glass-workers and other fine craftsmen who have collaborated with understanding. To all those interested in things beautiful, whether ornamental or utilitarian, the "NIEUW AMSTERDAM" has fresh inspiration to offer; and discriminating travellers will find in this vessel a culture linked with their own.

FIRST CLASS

First Class Dining Room: The Dining Room on A Deck is an exquisitely delicate setting of ivory walls, pale gold ceiling, gold leaf columns, tinted mirrors, satinwood furniture, two toned blue carpet and handmade frosty Murano glass lighting fixtures. Three is not a single element, not even in such decorative details as the painted and burnt glass murals, to distract you from relishing every morsel of the tempting cuisine prepared by Spotless Fleet chefs. There are no windows or portholes to remind you of a restless sea. The modern air conditioning system keeps the temperature of the room comfortably fresh at all times, regardless of the weather out-of-doors.

FIRST CLASS DINING ROOM: In the Dining Room, a very satisfactory sense of balance has been achieved by the architect, Jac. F. Semey, between the blue, gold and ivory color scheme, and the lighting and mural decorations. Ornamented gold shaded Murano glass conceals the ceiling lights, and wall lights have shades also of Murano glass in scallop shell shapes to match. The glass, which was blown specially in Venice, was designed by Willem de Moor.

THE GRAND HALL: The Grand Hall is an excellent interpretation of the ship’s predominating theme. Hendrik T. Wijdeveld conceived it as a subdued setting for the play of life that is continuously enacted here. The room is a symphony in gray that provides a perfect foil to the habiliments of post-prandial activities, with emphasis on the distaff side. The decorators have correctly interpreted the architect’s theme and there is not one jarring note to disturb it. John Raedecker made the cast aluminum ceiling, which tells the story of life in beautifully molded half-reliefs. Using male and female figures, supplemented by bird motifs, the composition ascends and descends the scale of human existence, from childhood to old age. At night the room is comfortable and inviting; by day the light pours in through huge windows two decks high, framed in stainless steel and engraved with heroic sized figures by Charles Eyck. Then the room takes on the soft, smoky, harmonious hues of its predominating color. Extending almost the full width of the hall, above the steel and glass entrance doors at either end, are huge panels delicately executed by Gerard V.A. Roling. They further emphasize the room’s temporal theme. At the forward end, nude figures on galloping horses progress together in obvious harmony, while, opposite, the companion picture expresses, through the confused position of the horses and the aggressive attitudes of the figures, the retarding influences of discord and strife.

LIBRARY and CARD ROOM: Abaft the Grand Hall are the Library and Card Room, which flank the connecting glass paneled corridor leading to the Smoking and Ritz-Carlton rooms. Decorated in black and silver, with a note of maroon here and there, Wijdeveld, the architect, has included in each a painting by Joan Collette. In the Library, the theme is the ties of commerce which bind The United States and The Netherlands. In the Card Room, the artist has used the appurtenances of parlor games for his models. 

LIBRARY and CARD ROOM: Abaft the Grand Hall are the Library and Card Room, which flank the connecting glass paneled corridor leading to the Smoking and Ritz-Carlton rooms. Decorated in black and silver, with a note of maroon here and there, Wijdeveld, the architect, has included in each a painting by Joan Collette. In the Library, the theme is the ties of commerce which bind The United States and The Netherlands. In the Card Room, the artist has used the appurtenances of parlor games for his models.

RITZ-CARLTON ROOM: The Ritz-Carlton room is located on the Upper Promenade deck, immediately above the Smoking Room and is reached by an impressive ebony and bronze Y-shaped stairway. On either side of the stairs where they divide port from starboard, is a large decorated coriander pillar, by Piet Starreveld, fifteen feet in height, rising from the deck below. Dolphins, in bas-relief, encircle them near the top, which tapers off into a leaping wave. White seagulls, with vertical outstretched wings, seem to mock the cascading water. The Ritz-Carlton is remarkable for the manner in which its architect, Wijdeveld, has designed it to derive every advantage from its elevated situation. Ten huge windows, and glass enclosed verandah, furnish magnificent sweeps of sea and sky. Light and air virtually pour into its white, gold and brown interior. Above the oval dance floor is a painted wood ceiling by Gidding and Wijdeveld. In delicate hues, in his own inimitable style, the collaborators have worked out a theme of union of melody and rhythm. Commencing at the orchestra dias, zig-zag lines shoot out to the right, representing the male element of rhythm. At the same time, melody, interpreted in the smoother, rounder contours of the female, meanders off to the left. At the far end of the ceiling, the lines merge into human form, and they meet. French doors divide the main Ritz-Carlton room from a semi-circular verandah, which looks down from a light elevation upon the upper promenade and sports decks. Trellises on either side from part of the division of the rooms. They are of aluminum painted in various colors, the work of Willem Nijs, who has incorporated small dancing figures in national costume in their designs. ( In Its chaste décor of oyster white, matte gold and plum, the Ritz-Carlton café is appropriately light and cheerful to suit the mood of the evening festivities. Far aft on the Upper Promenade Deck, with an intimate cocktail bar, a large oval dance floor and a broad verandah that faces a sweeping romantic deck open to the sky, this gay room encourages jolly cruise passenger to make merry to their hearts content, long into the night, without fear of disturbing their fellow voyagers. Here is where you will meet people who know their way about the world, who enjoy cosmopolitan society’s sophistication as much on a cruise ship as they do in New York, London, Paris or on the Riviera.

THE PLAYROOM: A playroom, where the real children may also have a good time, is on the same deck. Designed by Fritz Spanjaard, it is decorated with leaded glass windows and a humorous frieze, by Ruscha Wijdeveld. An electric train, a juvenile stage with seats for an audience, and a length of protected promenade deck are features calculated to intrigue small-fry. Small children are no longer a problem while traveling. You need only glance at the playroom on the Nieuw Amsterdam to understand why adoring parents love to bring their youngsters with them on a cruise. Here you see a child’s dream come true. Everything to make kiddies hearts leap with joy and keep them happy and amused for days. Giddy animals to wheel, fluffy pets to fondle, hobby horses to ride, dolls to mother and houses to keep them in, trains to manipulate, puzzles to solve, games to play, horns to toot, blocks to build with and wagons to load and pull. Parents and child psychologists planned, designed, decorated and equipped this children’s heaven. Special stewardess nurses have been chosen to take care of children because they either are mothers who have raised children of their own or they just naturally love little tots and have a grand time playing with them.

SMOKING ROOM: Outstanding features of the Smoking Room, which Frits A. Eschauzier designed, are the ingenious manner in which the light and airy raised side verandahs relieve the dark panel work of the room proper. These “sun wings” are a gallant concession to feminine infiltration into what once as an inviolable male stronghold. (1938) The solid, masculine comfort of an exclusive club best characterizes the Smoking Room on the Promenade Deck. Back of the paneled walnut center wall is surprisingly modern small bar, with two adjoining alcoves where parties can gather and increase as more shipboard companions wander in for a cocktail, whiskey and sour, or a glass of smooth Dutch beer The main room is tremendous, sixty feet wide and fifty two feet deep, and spreads even wider into two sunny verandahs overlooking the sea. Can you imagine any more soothing retreat for thinking things over, making plans, discussing shore excursions or cementing friendships? You will spend many happy hours here in this friendly room. Walls are paneled from floor to ceiling in dark walnut, divided into large squares by thin strips of brass. The window drapes are olive green. The carpet is tan. The fireplace is of cast iron. Circular tables may be raised and lowered at will, and square tops fitted if desired. The walnut club chairs are upholstered in leather, and the settees in terra-cotta.

Smoking Bar

THE THEATRE: The theatre was designed by Cornelis J. Engelen in cooperation with Mrs. Elisabeth de Boer. It is built in the shape of half an eggshell; following the contours of the vessel, and of the visual and aural points of focus. The color scheme is of old rose, cerise, dull gold and copper.

Vestibule and A Deck Foyer: One of the most striking examples is that of the four bronze statuettes on a huge oxidized copper panel, located in the well of the Main Deck Vestibule. The work of Jan Eloy and Leo Brom, it represents the seasons frolicking in the night sky surrounded by stars, planets and flying insects. In a well balanced and harmonious composition all four poses vividly convey the suggestion of suspended action. The hair is most satisfactorily rendered by separate strips of metal, and other details of the descending figures clearly establish their individual identities. Spring, with flowers in her hair, holds a garland, Summer a cornucopia; Autumn a platter filled with her traditional seasonal offerings and Winter’s flying tresses, draperies and flinching attitude spell wind. At the foot of the panel is a luxurious hand knotted carpet, patterned with the signs of the Zodiac, and designed by Mrs. Hildegard Brom-Fischer. The intention of the Vestibule’s architect, Jan P.L. Hendriks, to suggest friendliness and welcome seems to be successful. On dark wood columns on either side of the Purser’s and Chief Steward’s business quarters the official functions of these worthies have been amusingly caricatured by Leen Bolle. The oak paneling here is tinted dull gold.

Cabins and Suites

This special suite design has got me hooked with its all dominating round mirror ...

The same suite as above, another angle - courtsey Andrew Britton

CABINS DE LUXE: The cabins De Luxe, located on the Lower Promenade Deck, were #49; Groningen; 51: Friesland; 59: Drenthe; 61: Overijssel; 71: Geldeland and 73; Utrecht (Port) and #50: Holland; 52:Zeeland; 60 Noordbrabant; 62: Limburg; 72: Antillen and 74: Suriname (Starboard) Twelve cabins De Luxe are located on the Lower Promenade Deck, amidships. Each comprises sitting room, bedroom, bathroom and wardrobe-dressing room, and each suite has been decorated in an entirely original manner by eight different interior decorators. The color schemes include Chinese red and cream, bois-de-rose and buff, peach velvet and bleached oak, crimson and silver, and turquoise and silver. They have large mirrors, some circular, some arched and some rectangular, most of them full length. Each sitting room has its own radio and clock, and the four large windows have a series of decorated shutters and screens. Some have leather walls in quilted finish, and the wood is mostly blonde and used in many ingenious ways. Each bedroom is partitioned off with its own sliding curtain, shutting off that part of the apartment completely. The effective use of vivid colors with pastel shades show modern Dutch interior decorating at its best.

above copies, courtsey GARE MARITIME

Floating Art Gallery 

First Class Dining Room. Artwork: The room is dominated by the work of Joep Nicolas. Arcadian scenes adorn the huge burned glass panels just within the entrance, and eight smaller ones with fishing, hunting, agriculture and kindred themes are placed around the sides. This “vermurial” work is the invention of the artist. It has the quality of a careful charcoal sketch, yet it is entirely permanent, the glass being extremely durable. The various effects are secured by a secret annealing process, after the designs have been traced with metal oxides. Five years of experimentation preceded the production of these works, which are probably the first examples to be seen in America, and certainly the first ever to be used in the decoration of a ship. On the walls on both sides of the room, and decorated by the same artist, is a series of twenty rose mirrors. The designs~ silhouettes painted on the reverse side of the glass~ are very free in execution and composition.

To the right and left of the entrance to the Ritz-Carlton, two large fresco panels by Han Hulsbergen symbolize the coming and passing of day with excellently drawn classical figures. These paintings interpret the susceptibility of the room to change in light conditions. Behind the music platform is a heavy, curved ebony-and-gold partition in back of which is a small black and white semi-circular cocktail bar, into which debbies may dodge from their mothers- if their mothers aren’t there first.

Ritz-Carlton Room Wall Decoration: A striking wall decoration here, by Wijdeveld, shows a large red hawk making havoc in a flock of silver and golden birds. Feathers, in silhouette, fly in all directions.

In front of the theatre, forward, there is a striking panel, 25 feet long, by Reyer Stolk. It is executed in solid masses of gold, black, red and maroon, and its theme the spread of the theatre’s influence over the world by ships. Greek and Dutch East Indian actors, symbolizing the ancient Occident and the modern Orient are shown holding the theatrical masks common to both. They are surrounded by the golden sails and black hulls of ships of all types and ages. The Nieuw Amsterdam occupies the upper center of the composition. The background, in wavy bands of the predominating colors, suggests the sea. All of the masses are outlined in the style of cloisonné, and the medium is lacquer.

Library Mural

Card Room Mural

Playroom Stained Glass Panel

above copies courtsey GARE MARITIME

NIEUW AMSTERDAM passing the Panama Canal, copy of a painting - courtsey Stephen Card

Having made 17 ½ Trans-Atlantic voyages she was shortly laid up in New York’s Hoboken Pier in September 1939 due to the commencement of World War II. However, she did manage to undertake several cruises out of New York to Bermuda, Kingston and Havana. After the Nazi invasion of the Netherlands in 1940, the exiled Dutch Government placed NIEUW AMSTERDAM at the disposal of the British Ministry of Transport and was dry-docked in Brooklyn and again in Halifax.

NIEUW AMSTERDAM during her wartime, "peace cruises" in the Caribbean - own collection

NIEUW AMSTERDAM 8,000 troops cramed on board - courtsey Andrew Britton, ss NIEUW AMSTERDAM

NIEUW AMSTERDAM sailing as a trooper for the Allies against the Axis powers - copy from my book courtsey J&C McCutcheon Collection

Only upon researching in Singapore were her luxurious interiors removed, much of it being shipped to Australia and later transferred to San Francisco. As a full time troop ship, operated under the management of Cunard Line, she was able to accommodate up to 8,000 troops.During the next six years she carried over 378,631 troops, sailing some 530,452 miles, being the equivalent of 21 times around the world. In July 1941, she was used to transport the Greek Royal Family into Wartime exile in Durban.In May 1944, while Nieuw Amsterdam was berthed in Hoboken, HRH Princess Juliana, daughter of HRH Queen Wilhelmina, boarded the ship for a tour and a buffet lunch with ships officers and crew, which was an inspiring moment for the ships crew. 

Luckily this magnificent liner came through War unscathed. 
The “Darling of the Dutch” having had her funnels repainted in their HOLLAND AMERIKA LIJN colours, the otherwise drab military grey ship sailed into her homeport of Rotterdam on April 10, 1946. The city responded by the thousands with the harbour filled with spectator craft dressed with flags and sounding their horns, whist the shoreline was filled with thousands upon thousands of enthusiastic spectators. It was a remarkable day for more that one reason, it was the exact day of her eighth anniversary of her launching. Many in the Netherlands claimed this day, as being a symbolic day of their true liberation.

NIEUW AMSTERDAM greeted like the `Home coming Queen´she was for the Dutch - Source: RDM Archief

A massive operation began removing her wartime fittings, taking around 12 weeks she was then fully refitted, including rewiring and replacing many fittings including all the brass onboard. Some fourteen months later the refit had been completed and she had regained her original beauty. Now at 36,667 GRT, she recommenced her Trans-Atlantic service on October 29, 1947, with a complement of 552 first class, 426 cabin class, 209 tourist class.

NIEUW AMSTERDAM in her post war refit, sailing homeward bound out of New York - Source: RDM Archief

In 1957, HOLLAND AMERIKA LIJN decided to update the companies’ livery giving their ships a more modern look. NIEUW AMSTERDAM received a upgrade, which included her being fully air-conditioned. Externally she had her hull painted grey giving her cooler more modern look.

NIEUW AMSTERDAM sailing in her new livery - courtsey coloured by Daryl LeBlanc

In 1961 NIEUW AMSTERDAM received major alterations to her accommodations, including more cabins with private facilities, and became a two class ship accommodating 574-first class and 538-tourist class, however many cabins were interchangeable. Tourist class was greatly improved, with new public rooms, a new shopping gallery and a cinemascope theatre being added. When completed she was registered at 36,982 GRT.
She became one of the most loved ships on the Atlantic, thus many dignitaries and movie stars sailed on her. It was the place to be seen. Her name regularly appeared in the “Who’s Who” columns of the New York papers.

In August 1967, she suffered mechanical difficulties, which sent a shiver throughout The Netherlands being fearful that the Darling of the Dutch was to come about her end and be sold for scrap. However, HAL found that she had a good many years in her, thus she was sent to the Wilton-Fijenoord Shipyards in Schiedam where a huge hole was cut in her starboard side in order to replace her boilers. 

The work was completed in December, and to the joy of the Dutch, NIEUW AMSTERDAM, returned to service.

NIEUW AMSTERDAM after her 1967 refittings - courtsey HOLLAND AMERIKA LINJN

Due to the Trans-Atlantic traffic rapidly declining, NIEUW AMSTERDAM operated Trans-Atlantic crossings during the summer months and operated cruises throughout the Caribbean, Mediterranean and other cruise destinations during the autumn and winter months. By the late sixties, NIEUW AMSTERDAM was the last HOLLAND AMERIKA LIJN Transatlantic liner crossing sailing Rotterdam to New York.
Late in 1971, she was operating with low loadings across the Atlantic, thus with her cruises having been a success it was decided she would become a fulltime cruise ship. However, with the ever rising costs, many of the Dutch service crew were replaced by Indonesian’s, saving HOLLAND AMERIKA LIJN millions. In order to make further savings due to the high taxes in the Netherlands, she was registered in Willemstad Curacao in 1972 for the newly created single ship owner NV NIEUW AMSTERDAM BV.

NIEUW AMSTERDAM and ROTTERDAM in the port of Rotterdam - own collection

She continued cruising around the Caribbean until 1973, five years after the new ROTTERDAM entered into service. With fuel and staffing costs skyrocketing, HOLLAND AMERIKA LIJN suffered a loss of some £12.5 million. In order to reduce costs, it was decided to sell NIEUW AMSTERDAM for scrap especially as she had excessive fuel costs.

There was a massive outcry in the Netherlands and it was suggested that she returned to Rotterdam for the use as a hotel and museum. However, this plan failed, unlike her newer fleetmate ROTTERDAM, which at the time of writing is being fully restored to her original condition and in successful use as a hotel, museum and convention center since early 2007.

In 1973, having plied the oceans for 36 years, NIEUW AMSTERDAM was sold to Taiwanese breakers. In January 1974, she departed Port Everglades, passed through the Panama Canal, called at Los Angeles for fuel, and commenced to sail across the Pacific at slow speed and much boiler troubles.

On February 25, NIEUW AMSTERDAM arrived at the Nan Fong Steel, breakers yard at Kaohsiung Taiwan. Work on breaking up commenced on March 16, 1974. Soon the “Darling of the Dutch” had gone, as demolition work was completed on October 5, 1974. But this time, there was no outcry in the Dutch society ... times had changed fast ...

NIEUW AMSTERDAM being scrapped in Taiwan - courtsey Reuben Goossens

All those who have sailed on her, and admired her from the shore, will never forget the beauty and elegance of NIEUW AMSTERDAM, a ship that that set new standards in maritime shipbuilding design and outfitting!

Liner profile rendering of NIEUW AMSTERDAM - courtsey Karl-Heinz Schwartke

NIEUW AMSTERDAM partial cutaway - courtsey diomedia

The style of bygone Sealife

History - ts / ss BREMEN and ts / ss EUROPA

 Starting rms MAURETANIA from cold 

ss NORMANDIE 1935-1942 I