NUMBER 18
$5.00
REPRINT EDITION
BUILDING THE ADIRONDACK GUIDEBOAT
ANOTHER BOLGER TRIUMPH — MOCCASIN
NEW ENGLAND'S LOWELLS, AND THEIR DORIES
THE DAME IN ENDLESS SUMMER
editors page
This issue is a real milestone. Our third anniversary number. How well I
remember the voices who cried that we'd never make one year in publication,
much less three. And here we are. According to some sources, if you can keep a
new venture going for three years, the rest is easy. Perhaps it's so, but not, I
suspect, if your interest lies in constantly producing something better. After all,
when we work toward consistently better issues, it becomes akin to beginning
again with each one.
But I always knew we'd make it. After all, with a readership as impassioned
and committed as this one, how could we go wrong? Of course, I must admit
that at times I've come close to botching it in spite of the odds, but I guess its will
to live was sufficiently strong.
It seems appropriate that we offer a brief retrospective on these three years,
for the benefit of all of us whose humble origins have been forgotten. For those
relatively new readers who may not know, the first issues were born from a
cabin in the woods (honest!) which had the benefit of neither electricity nor telephone. Susie and I would celebrate the day's mail with as many as ten new
subscribers or inquiries. Balancing the beginning of the new venture with the
completing of the cabin (which we naively thought would become the office), we
worked to spread the word that this new magazine existed. But word seemed to
spread very slowly. In retrospect, given our complete lack of experience, it's a
wonder it ever got off the ground. When we finally got the second issue together,
we spent a weekend typing labels and sorting the envelopes full of magazines by
zip code. And, admittedly, we wondered how we'd handle it all when we hit
10,000 readers, which we knew we would.
When our second son was born, Susie could no longer easily handle the
subscriptions, which were really beginning to pile in, so we hired a friend to help
out. With that, the task of organizing editorial material became so great that I
could no longer paste up the issues, and we hired someone to do that. Meanwhile, the business was really beginning to move, but not so intensely that we
were ever very sure of our financial position, and we had what, in retrospect,
were some very close calls.
The summer and fall of '75 were times of change, both personally and in the
magazine itself. We had been in operation for a year, and we needed to settle
down to making it a much more informative publication. By that time, we had discovered computer services for subscription lists, and we'd had our share of
problems with that; but we also had 8,000 subscribers and we couldn't handle
the list work ourselves with any efficiency. So we clambered our way through
the second year with an overworked group of four people who really put their
hearts in it. And in spite of the persistent computer problems, and my continuing bouts with mismanagement, we built a fine base for an expansive third year.
And expansive it was. By Christmas of '76, the staff had doubled. Advertising had (luckily) begun to come in with some degree of regularity, and it
began to look as if our efforts were going to be worthwhile after all. We had
decided to try and buy a small house in South Brooksville, and had begun to fix it
up to be the kind of pleasant, creative space we need. But it wasn't to be.
In March, the fire destroyed any hope of making that building useful, and we
were on the streets again, looking like Dust Bowl victims with trucks and cars
full of smoky manuscripts and charred desk lamps. As I write this, four months
have passed since the fire, and we're still in temporary quarters, trying to find
the spot where we can work most effectively toward our refined objectives. In
the midst of it all, we're still having problems (if you can believe it) with our
computer service (third one), and trying desperately to straighten out the
various combinations of messes involved. That any group of people with a
computer could have gotten so much information jumbled is beyond our comprehension here, and if your subscription service has been fraught with problems
and complications, please let us know, and bear with us. Rest assured that all
we want to do is deliver our product on schedule, in good condition, and without
a hitch. Unfortunately, not all computer services take these commitments
seriously, and our only comfort lies in the fact that some of the most prestigious
and expensive special interest publications have been having the same kinds of
problems. Cynthia and Lucia are working a fast and furious pace, clearing away
the complications on the computer file, and we expect soon to have it all
straightened out. If your service has been poor, we beg forgiveness and just a
bit more patience, and we're grateful for that which you've so far expressed.
So, our fourth year begins. Today there are 12 devoted souls working here,
in addition to the few similarly devoted folk in the field. It's a long way from the
cabin, but I feel certain our growth will continue to nourish a more creative
magazine; more useful, entertaining and inspirational to all of us.
2 18/WOODENBOAT
Editor & Publisher
Jonathan Wilson
Managing Editor
Jacqueline Michaud
Associate Editor
Daniel MacNaughton
Librarian
Barbara Woycke
Art
Stephen Ward, Director
Mary Jo Davies, Assistant
George Spindler, Consultant
Circulation
Lucia del Sol Knight, Manager
Cynthia Curtis, Subscriptions
Marcy Smith, Assistant
Advertising
John Hanson, Manager
Dick West, Northeast Sales
Dick Lerner, European Sales
Mary Jo Davies, Classified
Field Promotion Manager
Tim Snider
Products Research Associate
Dennis Solomon
Contributing Editors
L.E. Nicholson
Bill Payne
Randall Peffer
Milanne Rehor
Special Thanks to Debbie Miltner
and Barbara Curtis
European Advertising Sales
Dick Lerner
29 Markway Close
Emsworth, Hants PO 107 NX
ENGLAND
Telephone: 02-434-4479
Northeastern Advertising Sales
Dick West
P.O. Box 163
Westport, CT 06880
Telephone: 203-226-3208
CONTRIBUTIONS: Address all editorial communications to: Editor, WOODENBOAT, P.O.
Box 78, Brooklin Maine 04616. We are happy to
consider contributions in the form of manuscripts, drawings and photographs. Manuscripts
must be typewritten double-spaced with margins
and cover only one side of each page. All material must be identified with sender's name and
address, and if provided with a suitably sized,
sufficiently stamped, self-addressed envelope,
will be returned if unsuited to our requirements.
Every reasonable care is taken with contributions, but we are not responsible for damage or
loss.
contents
MOCCASIN — Whose Time Has Come/ by Stanley Woodward
20
A fortunate combination of tradition and fresh thinking are the basis
for a new tradition.
The magic of MOCCASIN shines in her simple
yet stunning rig. Another Bolger design, another
Bolger triumph. Page 20.
The ANNE M, a Monterey Clipper fishing boat,
built in 1924, and still going strong today in San
Francisco. Page 28.
Hankins Heritage/Kevin Sheehan
Carrying on the legacy of the Sea Bright Skiff.
26
The Monterey Clipper /Jim Douthit
28
The beautiful little offspring Of the San Francisco felucca.
ENDLESS SUMMER /Tony Latimer
The DAME still keeps fast company.
32
Skill Of Hand/Bud Mclntosh
The planking process (Part I)
38
RELIANCE, A Pinky Schooner /Linda Krotenko
In the spirit of GLAD TIDINGS.
46
Cradles For Storage and Shipping/ Dan MacNaughton
Some important considerations in their building.
51
Building The Adirondack Guideboat/ Howard Ford
Before there were roads, she quietly explored the wilderness.
55
The Once In 3-Year Refit /Lin & Larry Pardey
65
A logical maintenance plan designed for SERAFFYN, with your boat
in mind.
Aubrey Marshall checks the bevel on the transom
of a dory under construction at the Strawbery
Banke boatshop. Page 71.
As Old As The Dory /Bob Atkinson
The Lowell boatshop as seen through the eyes of Aubrey Marshall.
71
Basic Plywood Scarphing / H. H. Payson
It's easier than you think.
77
A Lucky Break /Clifton Andrews
Splicing a keel.
82
Designs: FRANCES/C.W. Paine Yacht Design, Inc.
8' Pram /Gougeon Brothers
HERCULES/Glen-L Marine Designs
26' Eastport Pinky /Brewer Wallstrom & Assoc., Inc.
84
86
88
89
Editor's Page 2, Below Decks 4, Letters 6, Tidings 11, Fo'c's'le 18,
Cordage 19, Boatbuilders' Forum 78, Tool Critic 98, New Products 90,
Reader Search 92, Ask The Pros 94, Book Reviews 100, Books 103,
Brokerage 107, Classified 111, Index to advertisers 116, Looking
Ahead — Issue 19 116.
On the cover —The Adirondack guideboat, as
much at home in the 20th century as she was
when the rivers were our roads. (Photo by
Rosine and Peter Lemon)
WOODENBOAT is published bi-monthly in
January, March, May, July, September and
November at Brooklin, Maine by WOODENBOAT Publications, Inc. Editorial/Advertising
offices and Subscription offices are at P.O. Box 78,
Brooklin, Maine 04616. (207) 359-4651. Subscription rate is $12.00 for one year (6 issues) in
the U.S. and its possessions. Canadian subscription rate is $13.00 per year. Surface rate overseas
is $16.00 per year; airmail service available at
varied rates. Second class postage paid at
Brooksville, Maine 04617 and additional mailing
offices.
Copyright © 1977 by WOODENBOAT Publications, Inc. All rights reserved. No part of this
publication may be reprinted without written
permission from the publisher.
18/WOODENBOAT 3
below decks
BUD MCINTOSH, for the benefit of new
LINDA KROTENKO is a native Califor-
subscribers, is one of our most important contributors — important because he
consistently is able to offer readers concise means for achieving worthy results in
construction. Bud has been designing
and building boats for over 45 years, and
the ease with which he executes the
phases of boat construction is only
matched by his articulate explanations of
the processes he frequently shares with
nian who learned to sail on Sabots at the
age of twelve. She's been around boats
ever since and shares in the maintenance
and rigging upkeep on RELIANCE. She
says she does not write professionally,
although in her capacity as a computer
programer with Hughes Aircraft, she has
had technical papers and reports published. She studied at the University of
Oregon where she received her B.A. in
English Literature and Chemistry. She
lives with her husband, Oleg, in El
Segundo, and is having a wonderful
summer enjoying their beautiful pinky
schooner.
readers of WOODENBOAT.
STANLEY WOODWARD lives and sails
in Mallorca, Spain with his family and
MOCCASIN. In addition to owning this
innovative Phil Bolger design, he found a
George Lawley 53' wooden 'Sport
Fisherman', built in 1934, abandoned in
the mud flats of Essex, England some ten
years ago. Since then this lovely vessel
has made voyages across the North Sea,
through Holland, Germany and France
and up the Rhine, plus a trip across the
Terra Mountains and down the Soane and
Rhone Rivers. She has not been modernized and remains a period piece with
Persian carpets and leaded glass panes.
As we went to press, Stanley was off sailing MOCCASIN, and so we were unable
to contact him for more information about
his latest impressions of her performance. But he suggested that if we have
any doubts about her, "why not come
over and sail her." Don't do that to us!
4 18/WOODENBOAT
CLIFTON ANDREWS, after many years
in the manufacturing business, in which
he wrote a number of technical articles
and instruction manuals, "left the rat
race" to be a correspondent and advertising representative for a daily newspaper
in Plymouth County, Massachusetts, the
Brockton Daily Enterprise. Because the
position he holds is of the nature of an
independent contractor, he's been able to
do a number of illustrated pieces for some
of the larger papers around Boston, on
local events that require good photos and
a knowledge of the history of the area.
He has been "wooden boat oriented"
(Ah, that magic phrase!) for many years
and hopes to contribute more articles in
the future.
HOWARD FORD bought a second hand
Old Town Canoe in the Adirondacks for
$50, and there began his love for converting, restoring, refinishing and just plain
enjoying wooden boats. The Adirondack
guideboat in this issue is the first boat he
has ever built, which should be a perfect
testimony to "the fact that [if] a rank
amateur can do this, [it] should encourage other amateurs from the ranks to do
the same." Howard makes his living as a
Senior Trust Officer in estate planning,
and lives on Skaneateles Lake in New
York. His other interests are classical
piano, gardening and reading. He said
he will probably build another guideboat,
and would like to try a lapstrake winestem stern (less tippy than the guideboat,) but first wants to try making a
guitar.
TONY LATIMER started sailing as a
child in Australia. In Canada, he raced
dragons and solings, quit graphic design
to devote full-time to the sailing, maintenance and construction of boats, and in
1974 sailed his 27' sloop STRIDER from
the Virgin Islands in the Caribbean to
Newport in hopes of seeing the 'Aussies'
take the America's Cup. He is presently
engaged in the building of a 48' twincentreboard version of a Tancook Whaler
at his home in beautiful British Columbia,
where he finds wooden boat activities
very much alive.
KEVIN SHEEHAN is an auto test engineer for Consumer Union, which publishes Consumer Reports magazine.
Boating, he say, is just a hobby. "I hold
he's met in different waters, though
usually his interest has been in how to
operate them. Jim was very good to allow
us to hold onto his lovely piece on the San
Francisco Monterey Clippers for so long.
We thank him for his patience.
no boating expertise, have had limited
experience and have no credentials for
writing the article, except that I admire .
Mr. Hankins and his honest boats."
HAROLD PAYSON has been into wooden
What better credentials could a person
have than an admiration for craftsmanship, and a sincere desire to tell others
about it? Thank you, Kevin.
BOB ATKINSON received an MS in
American Folk Culture from NY State
University and has done historical
research for the Hudson River Sloop
Restoration and Strawbery Banke. He
has also made extended voyages on the
schooner AMERICA and the Hudson
River Sloop CLEARWATER. With articles published in Audubon, The New
York Folklore Quarterly, and On The
Sound, among others, Bob has also
edited a book, Songs of the Open Road,
and currently is writing another to be
called, Good Fortunes.
DAN MACNAUGHTON, our Associate
Editor, was introduced to readers in
WB#15. Among his most enjoyable pastimes are: cooking complex gourmet
meals over a candle; helping to write all
of those wild and witty sub-heads for the
contents page; thinking about all the
boats he's going to saturate in WEST
epoxy; rolling over and playing dead
when someone says "deadline"; and
trying to untie Matthew Walker knots.
boats, sometimes to his regret, since
childhood. His first building effort was
destroyed by his father in an attempt to
cure him of this malady, however, he persisted and his total output is approaching
the 200 mark, with no end in sight. Currently he is engaged in building and promoting the sale of Marine Architect, Phil
Bolger's "Instant Boat" series of designs.
Payson says these craft allow him to say
"Yes, you can build a boat, and a good
one, too" to anyone who says he can't.
His one-man shop is located at Pleasant
Beach in South Thomaston, Maine.
LIN AND LARRY PARDEY are those
mighty fine folk that everyone at
WOODENBOAT envies. We heard from
JIM DOUTHIT, 53, is a reporter for the
Oakland Tribune in Oakland, California.
For some time he has been studying the
Monterey Clippers and what little he can
find of the fishermen, themselves, with
the hope that he may produce a book that
will tell their story in words and photographs. His primary interest is in smaller
sea-going vessels of various sorts that
them about a month ago, and then they
were in Greece. They will be heading
soon (and cautiously) toward the Black
Sea aboard SERAFFYN, and they tell us
that another piece on "how to make your
own bronze fittings" will be coming this
way soon. Thank you Lin and Larry for
continuing to spread the word about
WOODENBOAT.
18/WOODENBOAT 5
letters
Dear Jon:
From memory, L. Francis Herreshoff
said in The Common Sense of Yacht
Design that "ship timbers should be seasoned in a tidal salt water pond so placed
that they are alternatively wet and dry".
This is the way it is still done at Man O
War Cay in the Bahamas. And, I would
suppose that the pond should not be
muddy. (See "letters" WB #17).
George B. Publow
Picton, ONTARIO
Dear Mr. Wilson:
I am writing this letter concerning my
article on the "Brunswick Lion" (WB #15).
I have been given credit for the photography, whereas all the pictures pub-
lished were taken by Harold Holland. In
light of the excellent cooperation I had
received from Harold, I hope perhaps a
mention could be made of the correction
in the next issue. I thank you for the
opportunity to contribute to WOODENBOAT, and I look forward to the next
ing epoxy saturation of multi-skin hulls as
"a salesman's dream" was great. It
reminded me of a thing Francis Herreshoff wrote years ago [The Common
Sense of Yacht Design] which I think
would be fun to print. "...So it came to
pass that various alchemists took the
stand and as of old being motivated by
some urge of exhibitionism, haranged the
people, saying, "Look ye at me now, for
verily I am a performer of miracles, for I
have taken the wood whose nature it was
to be hard and so altered it that it no
longer has resistance. Yea, and not content with that miracle, I furthermore have
taken those woods which were soft and
light and so bathed them with my chemicals that they have become quite hard
and adament. Now if those in back will
boat does not have character but is rugged and functional looking. Today's
boats have too much beam requiring
larger engines, while the Seaplane Tender has a very good length / beam ratio as
in this case 37' 6" and a beam of 8' 6".
You mentioned in a previous issue you
would like to see more articles on power
boats; so would I, especially on length/
beam and raised decks. The Seaplane
Tender is almost ideal if decent plans
were available and the wheelhouse a little
further aft. It would fill my needs as a
good rugged, fast, cruising and diving
boat.
wait their turn and not crowd up I will sell
ye great quantities of these chemicals so
that you too can perform these miracles."
George Buehler
Bainbridge Island, WA
chance.
Dear Jon:
Gerald Ingersoll
Saint John, NEW BRUNSWICK
Dear Gerald:
We're sorry for missing this. The
credit was buried in correspondence from
you and was missed at paste-up of that
issue. Our apologies to you and Mr.
Holland who indeed contributed very
good photographs to the article.
—JW
Dear Jon:
Bill Garden's letter (WB #14) describ-
The R.A.F. Seaplane tenders were designed and developed principally by the
British Power Boat Co. A few were built
early on by Thornycroft at Hamptonwich.
These craft owed much to the work of
Fred Cooper, a distinguished fast boat
designer. Lawrence's part in the development of the technical side was minimal
and perhaps questionable.
John Leather
Isle of Wight
6 18/WOODENBOAT
Dear Sir:
I have just finished reading "An
Exceptional Man" (WB#14) with regard
to the British Seaplane Tenders. The
Richard D. Mahoney
Natick, MA
Dear Jon:
Re your comment that no one manufactures burnishers — see Woodcraft
Catalogue. Better, use the back of a well
polished gouge — it works perfectly and
is money saved. Scrapers are not too
good on soft woods, but produce a fine
finish on hardwood. May WOODENBOAT thrive!
Dante D'Alessandro
Tofino, BRITISH COLUMBIA
Dear Folks:
I would like to correct Mr. Wilson on
the matter of the availability of burnishers (WB #15, "Tool Critic") to sharpen
scrapers. They can be gotten through the stocking into a small clean can what varPeck Clamp and Tool Company, 1170
Broadway, New York, NY 10001. Mr.
Peck also incidentally carries a wonderful
nish you will use for a few hours. Wipe
the groove in the original can thoroughly
to remove all the varnish and close
line of chisels from Germany. However,
immediately. Any varnish exposed to air
one does not need a burnisher to sharpen
for several hours will have started to
a scraper. It can be done very nicely with
the back side of a gouge chisel and the
process is described best in Charles Hayward's book Practical Woodwork. I can't
see how anyone doing fine finish work
can live without one. It's often a long
ways between a plane and sandpaper and
'cure' and should be discarded. You will
have no bubbles if you tap the excess off
your brush on the side of the can as the
brush is lifted out with its full load of varnish. In Maine, if you waited until
70-80 deg. temperatures to varnish it
might not get done by cruising time,
a scraper comes in just right here.
especially if you are in a shed. If the day
Dear Jon:
Ahoi Mench
Portland, OR
I enjoyed reading "With Feeling: Varnishing, Music and Love" by Rae Sutcliffe (WB#16). We agree on most
things; we differ on several points. When
I remove the last coat of remover I use
old turkish towling which, rubbed briskly
ove the surface, will lift out all traces of
varnish from the pores without a chance
This method (is) not often seen. When the
CAROLINE was built at Bath, Maine in
'31 this method was used and we found it
is excellent. CAROLINE was 279', teak
decks of course, and (was) my home for 8
years; cruising world wide where a tight
deck is a must.
Victor Johnson
Master Mariner
Homestead, FL
is dry and sunny, I think it is safe to work
in 55-60 deg. but it must be early in the
day. Don't hurry successive coats. The
last coat of varnish is not ready to be
re-varnished unless it sands off in a fine
white dust when sanded lightly. An
exception is when you are using a varnish
which can be re-coated without sanding
within a short space of time.
Hilda Marvin
Manset, ME
of a scratch, especially in areas where
lengthwise and end grains butt. I then
use a fine grit silicon paper. I believe 80
to 100 is much too harsh and will only
result in wearing down excess wood
before you get the scratches out that are
caused by such heavy paper. Should
there be stains, bleach them with oxalic
Shipmate:
acid. I believe you should never return
decks the oakum or cotton has found its
way through both planks. Before filling
the seams with pitch or whatever, pour
"used" varnish to the original can at the
end of a day. Strain through a nylon
Stockholm tar over the oakum in the
seams and you will have a life-time job.
In WB#16, p. 54,1 have made a bit of
a note on how the oakum or cotton will do
the best job for a so called stop-water, call
it what you may. Each plank will have a
groove in it (as on sketch) and by it the
caulking material will make for a stop-
water and not as so often seen from below
Dear Mr. Wilson:
Recent issues of WOODENBOAT
have discussed caulking mallets and the
woods most appropriate for mallet heads.
Perhaps the results of my research would
be of interest to your readers.
Three different woods are marketed
as Partridge wood: Andira inermis (Part-
18/WOODENBOAT 7
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8 18/WOODENBOAT
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ridge wood, Pheasant wood, Macaya)
which occurs throughout the West Indies,
Mexico, Central and northern South
America; Vouacapoua americana (Acapu,
Brownheart, Partridge wood) which
occurs in Brazil and the Guianas; Caesalpiniagranadillo, C. melanocarpa and
C. sclerocarpa (Brown ebony, Coffee
wood, Partridge wood, Macaya) which
occurs in Mexico, Central and South
America. These are only trade names
under which the woods might be sold in
the US. The common names for the
woods are numerous and vary with the
the country of origin. There are, for
example, over thirty names applied to
Andira throughout its geographic range.
The Partridge wood used for caulking
mallets is probably Andira. It is very
heavy (approximately 75 Ibs. per cu. ft.),
suitable for turned work and takes a
smooth polish. The only US dealer I've
been able to locate is Youngblood Lumber
Co. in Minneapolis. They have handled
Andira in the past although the deliveries
are somewhat erratic. Acapu is somewhat lighter (63 Ibs. per cu. ft.) than
Andira and is not notable as a wood for
turning. Chester B. Stem Co. of New
Albany, Indiana has a supply of 2" rough
stock which is probably Acapu. It is
rather seriously checked and although
adequate for tool handles, etc. it may not
be satisfactory for a mallet. Acapu has
been used in ship building but since it
apparently does not turn well, it is my
guess that it is not the Partridge wood of
mallet heads. Brown ebony will be very
difficult to obtain, but it is heavy (68-81
Ibs. per cu. ft.) and finishes smoothly. It
is closely related to Pernambuco wood,
which is used for the finest violin bows
because of its resilience and resonance.
It might, therefore, exhibit the liveliness
necessary for a good caulking mallet.
I've not been able to discover a source for
live oak or black mesquite. It seems only
reasonable that live oak is still available
somewhere. Perhaps your southern
readers can locate a dealer or undertake
some lumbering for the mallet-market.
California live oak has been recorded as
being a brittle wood and so may be a
species unsuitable for mallets.
Finding the wood is only the first step
in creating a mallet. It takes some time to
make and harden the rings and cut the
slots, but you still have to retain a sense
of humor because it is not difficult to go to
all the trouble and still turn out a
wood and some firring strips and fiberglass insulation I bought in a stereo shop.
It's the same material they use for lining
the inside of a speaker enclosure. I hope
my smiling reply will cause you to find
some slender thread of satisfaction. You
see, I merely tell them I'm just having a
wonderful time being with my boat.
Ron Brandon
Tokyo, JAPAN
Dear Jon Wilson:
After reading your editorial on page 3,
(WB#17), line 2 of paragraph 4, I decided
to say something. Joe Trumbly is quite a
craftsman, but far from infamous. Realizing you wanted to say something super
you have blown it. Maybe a re-write may
get you out of some hot water.
D.D. Franklin
Gig Harbor, WA
Dear Mr. Franklin:
Indeed I did blow it. I guess I should
have said extraordinary. In any case, Joe
is an eminent and illustrious fellow. —JW
"clunker".
James F. Clark
Chestnut Hill, MA
Dear Jon:
Your work is being appreciated and
acted upon. It is often the case when my
"plastic bubble boat" friends (who I
deeply love nonetheless), throw barbs by
referring to the long hours I spend
searching for the ever-elusive leak or the
time I doubled the ice-keeping time of my
ice-box with an armload of 6 m/m ply-
Dear Mr. Wilson:
I would like to endorse the brief article
written by Mr. Jim Woodward, 'A Word
About Surveys' (WB#17), "Nuts & Bolts
Solutions" (page 22). His helpful advice
to the prospective boat buyer is indeed
straight-forward and accurate.
R. Day Cartwright
Marine Surveyor
Boothbay, ME
18/WOODENBOAT 9
10 18/WOODENBOAT
tidings
tion on where to find boats, engines,
parts, etc. is also provided. Fully illustrated, many of the photos have never
been published before. A valuable
reference piece for all collectors, The
Real Runabouts, by Bob Speltz, can be
More Staying Power
The Baltimore Clipper, PRIDE OF
BALTIMORE, has undergone some rigging modifications recently which promise to provide better performance for
the elegant vessel with no compromise
to her traditional appearance.
Readers may recall that in Thomas
Gillmer's article (WB#14) he mentioned
the specification of dacron standing rigging. The choice was made because it
was felt that the proper diameter dacron
rope, when treated with pine tar, would
have both the strength and appearance
of the hemp rope on the original clippers. Unfortunately, no rope manufacturers could supply the rope to size, and
under pressure of the celebrational
launch deadline, the rope was laid up at
the building site, without benefit of the
facilities of a proper rope walk.
Although initially this cable-laid
rope looked fine, the task of staying
9,327 square feet of sail was beyond its
capabilities. During the course of the
early trials, even without her full compliment of canvas, the shrouds were
said to have stretched as much as 6'
and looked as though they had been tortured and starved. Although there have
been seriously conflicting opinions, it
appears that the shrouds would have
been suitable had they been laid up in a
proper rope walk.
The rigging has been replaced with
a handsome substitute known as "marlin-clad wire", which is 5/8"diameter,
5 x 19 galvanized wire rope, served with
marlin in the cable-laid fashion to provide a full 1" finish diameter. There is
no question in the minds of any who are
involved that this modification will provide all the strength the proud vessel
requires to set all that canvas.
Bent Over
Here's an item we thought you'd find
interesting, sent to us by William
Garden a while back. The framing photo
here is of a 34' x 10' cutter with a canoe
stern, built by Bent Jespersen, the Sid-
ney, BC boatbuilder. The frames (oak)
have been bent outside the stringers
and ribbands, the middle or bilge three
being permanent and the others removed with the moulds prior to the
fitting of bulkheads. The floor timbers
have been fitted and the garboard
strakes are going on. Notice that the
harpin at deck level lands atop the
moulds and is notched for the frames
prior to bending; this harpin horns
(aligns) the moulds and frames and is
layed out on the loft floor by expanding
the sheer into the half breadths for
true length. Moulds are braced to the
shop overhead, deck beams have been
fitted forward.
obtained from WOODENBOAT Books,
P.O. Box 268, Brooksville, Maine
04617. The cost is $16. 95, postpaid.
Something For Everyone
Note the simulated sheer strake batten on the port side. Planking or hull
girths are taken between this batten and
garboard or perhaps the second broad
strake when the rabbet shape has been
planked out, and with a Boston scale
(planking scale) the plank widths are
ascertained. The stern post is Australian gum and backbone members are
yel low cedar.
The Real
Runabouts
We recently learned that a book on the
history of the inboard runabout will be
in print soon. Authored by Bob Speltz,
an occasional contributor to WOODENBOAT, the hard cover, 112 page book
will cover the history of the inboard
runabout from about 1900 up through
its peak, about 1952. Many large
builders like Chris, Gar Wood, and
Hacker, to name a few, are treated , as
are custom, regional, European and
Canadian speedboat building firms.
Nearly half of the book deals with
antique boating in 1977; and informa-
Since the Mariners Museum's (Newport
News, VA.) beginning in 1930, over 100
small craft have been acquired from all
over the world. The collection includes
a Dutch tjotter, a Venetian gondola, a
15-ton Portuguese sardine boat, a turnof-the-century fantail gasoline launch,
the Nathaniel G. Herreshoff fin keel
yacht, DILEMMA, in addition to a number of coastal rescue craft. The entire
collection was moved into a large, new
building in the fall of 1974, and the
monumental task of setting up the new
display was begun.
Currently, a display collection is
undergoing extensive research and the
writing of permanent labels has been
started. A select few boats have been
restored at local yards (under the
museum's close supervision), and a few
boats are being restored in-house. Extensive restoration of the entire collection is not planned but rather preservation and stabilization to prevent further
Massachusetts Humane Society Surf Boat
NANTASKET in the new Small Craft
building, shortly after restoration. (Photo
courtesy of The Mariners Museum of
Newport News, VA.)
Ein Lament Undt Stuff On Der Uppen Der Price
Voodboat Ben Maken On Der Subscription Yet
Der price goin uppen vas maken book float?
Der reason could be Jackie's buyin new boat.
Or Dave's gettin ridden das oldt crock he tills,
Das kinder more komen und also more bills.
Undt der ashtrays in Jon's Rolls be fullen too long,
A new car ist not gettin by singin a song.
Undt ein schilling in Brooksville der barbers not gettin,
From der staff of der Voodboat undt her hairdresser yettin.
Mein checkbook ist howlin mit pain I ben thinkin,
From prices vas ist maken it sinkin.
Maybe buyers of Voodboat ist sometimes ben sayin,
If you maken more issues den ve don't mind der payin.
Capt. Howard Cagle
East Rockaway, NY
18/WOODENBOAT 11
come from various points of the unpredictable Puget Sound waters, in boats
ranging from pram sized craft to
schooners and ketches. Most notable
was Bob Coe, who brought his 17'
Whitehall 75 miles from Waldron Island.
The Society should be commended for
putting together this splendid little
festival.
The collection of over 100 small craft, including yachts, canoes, dorys, and dugouts,
reflects the international scope of The Mariners Museum, Newport News, VA. (Photo
courtesy of Mariners Museum.)
deterioration. Because the museum is
unable to locate certain items commercially, they must be hand-made. Thus
they are designing and making masts
and spars, locust blocks, a helmsman's
grating, belaying pins, and, out of
necessity, some husky dollies for
moving heavy objects. The museum
has located sources for tarred hemp,
marline, and manila, Stockholm tar,
small round thimbles, and iron sheaves,
and they are now looking for a foundry
able and willing to cast bronze blocks,
cleats, and turnbuckles to their specifications.
Most in-house work is being done
while keeping the building open to the
public, and during extremes in
temperature, since the building is not
heated or air-conditioned. Progress
photos are taken during all phases of
work to record each step, so detailed
project reports can be written for historical purposes. The museum is also
taking off lines and construction plans,
and will eventually publish a catalog of
the entire collection. The Small Craft
display should be finished by the
summer of 1979, and the museum will
continue to keep the exhibition open to
Folkboat Plans
For some time now we have had the
address for the Danish Yachting Association from whom plans for the Nordic
Folkboat can be obtained. To our knowledge, there are no English translations
of the plans and class rules, but we're
working on it. Contact the Danish
Yachting Association, Svanemoellehaven, Strandvaenget, DK 2100,
Copenhagen O, DENMARK, A complete set costs $40.00.
Because we have also received
requests for a source for plans of Colin
Archer's designs, we'll pass that on too.
For information, send your letters of
inquiry to Norsk Sjofartmuseum,
Bygdoynesveien, Oslo 2, NORWAY.
Tropical Favor
The folks at Tropical Yacht Brokerage
Inc. have extended a generous offer to
WOODENBOAT's readers. For those of
you who plan to be cruising down their
way soon, they would be happy to hold
mail or packages until you arrive,
which should save a great deal of lost
mail or misplaced packages. That's
really very nice of them, and we're sure
that anyone who wants to take advantage of their offer would want to drop a
note to thank them personally. Their
the public as much as possible as the
address is: 306 S. Beach Street,
work progresses.
Daytona Beach, Florida 32014.
By The Shores
of Lake Union
Home Sweet
Floating Home
The Traditional Wooden Boat Society
held the first wooden boat show over the
July 4th weekend on Lake Union in
Seattle, with over a thousand people
and boats from all over Washington and
British Columbia attending in delightful
and varied array. Spirits weren't
dampened by the occasional shower
and participants competed in lively
rowing and sailing events. Some had
12 18/WOODENBOAT
There is finally a book on houseboats
which actually does justice to the subject. An inter-office war is being fought
for the possession of our first copy of
Houseboat, Reflections of North America's Floating Homes by Ben Dennis
and Betsy Case. Published recently by
Smuggler's Cove of Seattle, it deals
with the history, architecture and lifestyles of houseboats from New Orleans
to San Francisco to Seattle and Vancouver. This splendidly warm and
colorful treatment offers a concise text
and numerous photos that will fire the
imagination. By the time you see this, it
will be available from WOODENBOAT
Books, (see Book Pages) for $9.95
paperback and $14.95, hardbound.
Skill's The Thing
On June 24 we attended the first
National Maritime Preservation Conference sponsored by the National Trust
for Historic Preservation in conjunction
with the Baltimore Maritime Heritage
Festival. The objectives of the conference, held in Baltimore, MD., were to
provide a national overview of maritime
preservation needs; exchange ideas;
focus on funding realities and provide
information on the National Trust programs. The group of 400 attendees
were enthusiastic representatives for
individual or group preservation projects and came from 20 states to explore
means for organizing and funding related programs. While the bulk of the
conference focused on the restoration
and uses of larger vessels, a strong
note was struck by Lance Lee of the
Apprenticeshop at Bath, Maine, who
appealed for an increased awareness of
the need to keep alive skills which are
the basis for our maritime heritage.
The conference was a success in that
it brought together those who are interested in saving an important part of our
past, namely, large ships. Yet, we wish
to join with the voices of Lance Lee, and
others who have expessed their concern, in affirming the need to focus our
preservation efforts on all craft, large
and small, as well as promote the transfer of the skills which brought those
craft into being. It is our hope that as
renewable as are the trees which
become wooden boats, so too will be the
skills which are vital to shape them.
Boats, For One
That's what else is built on Long Island
besides houses. The trawler shown
here measures 22' overall with a 9'
beam and a draft of 2'. Designed by
Earl Sammis of Centerport, NY, a local
bayman who has constructed many
boats over the past several years, the
trawler was built of western red cedar
over native red oak framing using galvanized fastenings. She is powered by a
4 cyl, Perkins 50 HP diesel, turning a
1 1/8" bronze shaft with a 14" x 8" wheel.
Here She Is...
commenting on the hundreds of requests for building plans, the long waiting lists for vocational and
avocational boat building classes, the interest in
existing training programs being shown by both
governmental and private institutions, and formal
and informal programs recently initiated by institutions and communities that are attempting to meet
these training demands. Conferees further reviewed the growing interest in sail training using
both large and small craft to teach responsibility
and pride in maintenance. Conferees also assessed
efforts at publicizing heritage small craft through a
new national magazine with thousands of subscribers, through a major publication effort aimed at
the millions of recreational boaters, and through
the intense interest in adaptive use of traditional
small boats evidenced by various antique and
classic boat festivals, and
Whereas, the conferees noted that despite this
NO GO VIII, featured in WB#17,
("From Rags to Riches" by Matthew
Walker). As that issue went to press,
the rigging had not been completed, but
we wanted you to see this extraordinary
cold-molded racer under sail. Here she
is on San Francisco Bay. Thanks to
Matthew for making this photo available to us.
Worda For Worda
In a recent issue of a publication devoted exclusively to wooden boats (and
which shall remain nameless), we read
a caption accompanying a photo of a
Venetian Gondola. It impressed us so
much that we thought we would
reprint it here for those who missed it:
"The gondola used by Gino Macropodia for weddings. Different from his
everyday 'working' gondola, this craft
has an incised ferro, finely sculpted
fibuone and a trasto a spigolo as well as
carved chairs. As a final touch their is
a gilded and carved forcola." (Cough)
Ahem, yes. Moving right along ...
Be It Resolved...
The following is a resolution prepared
by a committee appointed at the Third
Annual Museum Craft Conference,
May 14-15,1977, at the Chesapeake
Bay Maritime Museum.
Whereas, the conferees of the Third Annual
Museum Small Craft Conference, meeting at the
Chesapeake Bay Maritime Museum in St.
Michael's, Maryland, on May 14-15,1977,
reviewed the current state of programs for the pre-
servation of historic small craft and the skills for
small craft construction and use related thereto,
with particular reference to the events of the past
Bicentennial year and the commendable initial
steps taken by the National Trust for Historic Preservation's new Maritime Preservation Program,
and
Whereas, the conferees expressed the desire
that such programs be further developed, strengthened and initiated, and that these be made an
integral part of our national maritime preservation
effort, and
Whereas, the conferees evaluated carefully the
state of public interest in traditional small craft,
interest in participatory perpetuation of our maritime heritage not unlike similar popular interest in
our architectural heritage, relatively little institu-
tional and governmental support has been available
for preservation of small craft and associated skills,
and
Whereas, the conferees concluded that small
craft provide an economic, efficient and highly costeffective means of public participation in our
maritime heritage;
Now, therefore, be it and it hereby is
Resolved by the conferees of the Third Annual
Museum Small Craft Conference that the resolution
of the Second Annual Museum Small Craft Conference pertain ing to collection, documentation, and
maintenance of historic small craft types be reaffirmed; and it is further
Resolved that museums and agencies possessing small craft collections recognize their strategic
positions in maritime preservation through promoting the preservation of small craft and skills in their
use and construct ion by letting the public see and
experience small craft in use, by encouraging the
reproduction of boats in their collection for use, by
publicizing resources available for reproduction of
traditional small craft, and by broadening public
interest in small craft preservation by encouraging
their adaptive use through exhibits, publications,
and demonstration; and it is further
Resolved that the National Trust for Historic
Preservation be congratulated on its small craft
preservation stand, and that it be urged to continue
this policy by giving favorable consideration to programs aimed at perpetuating historic small craft
and their related skills, and that they continue to
support the participation of historic small craft on
an equal basis with large vessels in any allocations
of public funds for maritime preservation, funding
preservation by participation rather than tonnage;
and it is further
Resolved that particular support be given for
programs aimed at perpetuating skills and information necessary for the construction and conservation of traditional small craft, especially nonvocational programs available to the public at large;
and it is further
Resolved that consideration be given to
reopening the Historic American Merchant Marine
Survey, with its initial step the creation of a union
catalog of heritage small craft plans available to the
public at maritime museums and other repositories;
and it is further
Resolved that a copy of this resolution be forwarded to the National Trust for Historic Preservation, the Council of American Maritime Museums,
and the International Congress of Maritime
Museums, with the request that these organizations make the objectives of this resolution their
concern in the development of their own policies
and programs, and this resolution be publicized at
the First National Maritime Preservation Conference, June 24, 1977, in Baltimore, Maryland.
Some Things New Some
Things Old in Rhode Island
The official opening of the Herreshoff
Museum in Bristol, Rhode Island, was
scheduled for Sunday, August 14. The
Museum presently owns several small
Herreshoff launches and sailboats, as
well as the 60' launch THANIA. The
Museum recently acquired the 42' Herreshoff sloop BAMBINO, an early Universal Rule Boat built in 1905. BAMBINO was severely damaged in a storm
several years ago, and was professionally rebuilt over a three-year period
before being donated to the Museum by
her former owner. The Museum will be
open Wednesday afternoons through
November, and is located on Burnside
Street in Bristol.
The new offices of Halsey Herreshoff, yacht designer, are located on the
remodeled upper floors of the same
building. Here the hull of a 30' daysailer, designed by the late Sidney Herreshoff, is being built by Eric Goetz
Custom Sailboats, using the WEST
system. Mr. Herreshoff will finish the
boat off for his own use. Ultimately, he
plans to build another boat of the same
model, and will therefore own one of the
world's smallest one-design fleets.
The Narragansett Bay Herreshoff
S-Class is considerably larger, presently
numbering about 20 boats. Competition
among the venerable 27 1/2' keelboats is
as fierce as in any modern one-design
class, and a large number of the boats
regularly report to the starting line.
The class holds pre-season and postseason races, as well as the full summer
racing schedule. A party schedule
almost as strenuous as the racing schedule further enhances the season, and
tests the endurance of the crews, if not
the boats.
It's not too early to begin thinking
about the 1978 Small Craft Workshop
at Mystic Seaport. The event, held the
first weekend in June, is always greatly
oversubscribed, and is therefore not
really advertised. A letter to the Office
of the Curator, Mystic Seaport, Mystic,
Connecticut, will get you on the mailing
list. Applications are sent out in the late
spring, and reservations are accepted
on a first-come, first-served basis, with
a limit of 400 participants.
The well-traveled schooner SARAH
(ex-ACTIVE) is scheduled to depart
Newport in September for an openended cruise to the Pacific. Vince
Roberts, his wife, and new daughter,
plan to be at the Panama Canal about
Christmas, after a cruise to Florida and
the Bahamas. Last winter and summer
were spent readying the beautifully
maintained SARAH for her intended
voyage. Prior to owning the SARAH,
they owned and operated the 64' L.
18/WOODENBOAT 13
Francis Herreshoff schooner MISTRAL,
now owned by the Naval Academy.
For the dedicated boat-watcher, few
things can approach the sheer pleasure
of a summer in Newport, and an America's Cup summer is absolutely unbeatable. For those who think that the
a Cann-designed, Harwich Bawley on
March 8th. Strip planked of clear fir,
she carries the traditional Bawley rig of
gaff mains'I, tops'I, stay'sl and jib,
and Thomas may add a flying jib. Six
years in the building, MAGGIE MAY
differs from the Bawleys only in that she
waters of the world are populated only
carries a main boom. She's 30' overall,
weighs 8 tons, draws 3' 9", and is
by boats of fiberglass and aluminum,
Newport is an eye-opener. Despite
inherent prejudice, this writer can state
without equivocation that the most stunning boats in the harbor were wood. In
addition to the wooden 12-meters
FRANCE, FRANCE II, COLUMBIA,
and GRETEL II, a sampler of beautiful
wooden boats — almost all over 60'
long — would include the 72' yawl
COTTON BLOSSOM, the ketch TICONDEROGA, the schooners YANKEE (ex
LORD JIM), BELISARIUS, the sloop
GOOD HOPE, the magnificent 90' yawl
GITANA IV, and many others. The
number of beautifully maintained
smaller wooden yachts defies the imagination. After a summer in Newport, it
is obvious that wood is alive, and wood
is beautiful.
— Nick Nicholson
Co-oping in Florida
A number of people in Miami are talk-
ing about starting a co-op for buying
boat materials and supplies. The idea is
to keep lists of items needed by members, with bulk buying to be done about
every six months. It's a great idea, and
could save a good bit of money on
paints, varnish and other maintenance
supplies. Individual items for fitting out
(sails, anchors, hardware, etc.) might
demand too much advance planning.
Suggestions about the idea of forming
co-ops would be welcomed. If any of you
powered by a Norwegian Sabb diesel,
10 horse-power.
As the new owner of a Magellan 35
(#14), I'd be delighted to hear from
other Magellan owners. Her name is
ALNILAM and she's spent much time in
Europe, and has three trans-Atlantic
crossings to her credit, the last one a
solo.
The owner of a locally published,
widely distributed boating newspaper
insists upon anonymity, but proudly
states that he's bought a wooden powerboat. He feels he can't publicize the
fact since most of his readers and advertisers are glass boat folks, but he said,
"It just feels like a real boat."
Here are a few more places for
scrounging which I promised I would
provide in this column: Stonage Antiques, 3236 NW South River Drive,
Miami. They specialize in nautical
antiques, clocks, bells, hatch covers,
binnacles, scrimshaw, etc. This is nota
scrounger's delight, so be prepared to
pay top dollar. A pair of giant galvanized oarlocks for 19' sweeps? They've
got them from old lifeboats. Two others
are Knapp Aviation, 7732 NW 76th
Avenue, Miami, and R.W.S Engineering, 10535SW 185Terrace, Miami. The
former has aircraft plywood, Monel
pop-rivets with screw-in or self-closing
rivet seats; and the latter is a good
source for having unusual machine work
done, such as high performance rudder
blades, etc.
champion. In case you're not familiar
with the class, the Australian 18's are
practically an institution in Australia,
and carry virtually no restrictions other
than that their length be 18'. These
exciting little 'Aussies' have been sailing for the better part of a century, and
still carry as much as 3,000 sq. ft. of
sail. (One 18 footer is reported to have
carried as much as 5,000sq. ft.). Many
people out here are interested in seeing
the Australian 18's compete in the U.S.
and Canada, and it looks as though
they'll have their chance this month in
San Francisco Bay.
Could anyone think of a finer name
for a rowing and sailing event, whose
atmosphere was festive, participants
enthusiastic, and the craft represented
exceptionally varied, than The Funky
Boat Race? It was held over the July 4th
weekend at Sausalito, and it truly was
an event to be remembered. There
were at least 40 boats entered, among
them dories, whaleing boats, garvies,
and many others, competing in several
different divisions, from sculling, to
rowing and sailing competitions. Kid
Africa (Spike's son) was there with his
Swampscott sailing dory, as was Billy
Martinelli, a well-known Sausalito boatbuilder, with his dory entered in the
rowing race. The largest boat there was
the St.Pierre Dory, WALDO POINT. It
was an exhilarating, festive and happy
time for everyone who attended, and
this writer is going to do his best to see
that his boat is entered in next summer's Funky Boat Race.
It's official, on July 1, the organizational body which manages the historic
ships moored at San Francisco Hyde
Street Pier transferred from State to
National Park Service. According to
Harry Dring, in charge of restoration
and development at the park, the
have done something like this, or have
Information, news, questions,
change will bring in people experienced
ideas on how it might be successful,
please let me know (c/o WOODENBOAT).
TOM TRUE, the 51 year old Nassau
Pirate sloop, owned by Charlie Clines,
has been cleaning up in the BBYRA
(Biscayne Bay Yacht Racing Association). Racing independently, Charlie's
18-footer has been carrying 600 square
comments, all would be most helpful
in facilitating programs which can
actively involve the public.
Many will be disappointed to learn
of the closing of the Dean T. Stephens
School of Wooden Boat Building, a program which concentrated in the many
arts of boat building. The school was
founded in September, 1976, under the
auspices of the Mendocino Art Center,
and in good part, was financed and
directed by Dean Stephens. While
interest was high the program, run
exclusively by Dean, could not be
handled entirely by one person alone.
Stephens just finished work on a 25' 6"
gaff-rigged Atkin designed Gary
Thomas sloop. This, and another 25'
fishing vessel which was completed and
launched this past spring, are for sale,
and further information on the boats can
be had from the man himself, Dean
Stephens, 31100 North Highway 1, Fort
feet of canvas to take a first and two
thirds so far this season. TOM TRUE
won the Columbus Day Regatta three
years ago. It's hard to believe how
much sail Charlie can hang up, and he
keeps tinkering with ways to increase
his sail area even more. He's been
heard to mutter something about a
'Bezan', the poled-out, jib-like affair
that some inland Dutch fishing boats
hoist aft of their mains.
Dr. Lowell Thomas, a marine biology professor at the University of
Miami's School of Marine and Atmospheric Sciences, launched his replica of
14 18/WOODENBOAT
from readers in the southern region.
Write to WOODENBOAT and they'll
forward your letter to me. Let me know
what's happening in your part of the
region.
— Mimi Rehor
Aussies and Other
Funky Boats
Out West
As we go to press we hear that a tentative date of September 1 has been set
for a race between TRINITY, the fine
Australian 18 built by Mieam Shah,
and the TRAVELODGE International.
The boats are meeting in a match race
at San Francisco Bay, and the event
should prove a fantastic spectacle, with
Drew Gram skippering the American
TRAVELODGE, a well-known former
Bragg, California 95437.
Bill Payne
Competition Update
The future of wooden boats lies not only in our abilities to
create beautiful craft from renewable resource materials, but in
their ability to respond to the needs of tomorrow's society. The
pressures of energy, space and time demand that we explore
new and alternative solutions, and boats — particularly those
built in wood — offer some of the most intriguing possibilities
available.
Our relationships with land and water are changing as profoundly as lifestyles today, and our coastal regions are sensing
the need for alternatives to the energy consuming, crowded
cities seeming to sprawl everywhere. As places to live, they
seem to inspire greater separateness, rather than closeness
among people. Yet, we wonder, where can we go? And part of
the solution is the exploration of new forms of living, which
bring enough of the old and familiar to the threshold of the new
and unknown.
What it means for those of us who are passionately involved
with the elements of wind and water, is the exploration of selfsufficient, floating living spaces which nurture comfort, closeness to nature, and closeness to one another. The potential for
waterborne communities, flexibility and freedom; the potential
for a future worth moving toward.
Le navire d'exploration "Conque d'Ullona"
Jean Tur
WOODENBOAT's design competition is about to begin,
and although the complete guidelines have not yet been
defined, we offer the following updated information for those
who are interested.
Basically, we will have entries in three general categories of
craft which express most perfectly the sentiments of the backto-the-water-in-wooden-boats movement. While the conceptual emphasis will be upon sailing/rowing craft, there will also
be a powercraft category for those entries equipped to operate
under engines which are not wholly dependent upon diminishing fuel sources.
Although the prizes have not yet been determined absolutely, they will provide something of an impetus in themselves. In addition, we plan to publish a book of the best
entries, complete with designers' names and addresses, so that
Category 1: minimum cruiser for one
Developed for single-handed, comfortable cruising along
coasts, inland lakes and rivers. In the spirit of Rushton's
decked sailing canoes, these little craft should inspire the individual who wants complete independence with confidence that
he or she may travel in quiet safety and comfort. It should be
small and light enough to be dragged or portaged if necessary,
yet with enough room provided to sleep aboard, and to store
and prepare food. Stowage space should be provided for warm
and waterproof clothing, and the craft must be able, when
loaded, to provide a safe and stable environment with little
liklihood of constant capsizing or swamping. By whatever
means necessary, it should also have positive floatation. Propulsion should be by oar/paddle and sail.
Category 2: liveaboard/cruising boat for one family
Brought forth in response to the need to build comfortable
cruising boats with inspired accommodations and the elements
of self-sufficiency, this boat should provide for the needs of a
family on a year-round basis and in a variety of climates. This
means that a completely new kind of cruising yacht may
emerge, which is at once very well-suited to extended living,
and quite capable of efficient work under sail. The boat should
provide the necessary space and equipment for an enclosed
living system: energy production, food production, storage and
cooking. In the case of children, the boat will want to have the
kind of space which allows them to move a little more freely,
and play a little more energetically than on conventional cruising boats. Further, the boat should be simply and economically
constructed, so as to be within the reach of amateur builders,
and to be easily maintained anywhere in the world. Hauling
and/or careening should in no way be problematical, and it
should go without saying that seakeeping ability, as well as
aesthetics, are important factors.
Category 3: waterborne community vessels
While the boats in category 2 would work well as cells in a
waterborne community, the whole concept of the latter nourishes ideas of new kinds of craft developed expressely for
community work and survival. We would be interested in
seeing community vessels (large and small) whose function it is
to be afloat in one place (but with the ability to move) as focal
points for community endeavors. There might be large vessels,
such as converted ocean tugs or ferries, as well as smaller
working tenders which serve purposes of fishing, scavenging,
ferrying people, water and supplies.
We envision communities like this emerging in bays and
harbors where their presence is neither offensive nor damaging
to their environment, being complete communities in themselves, with all the elements of enclosed systems prevailing.
Upon the central, larger craft might be shops for wood and
metalworking as well as forging and casting, intensive gardens, saunas and communal baths.
These are concepts for the more visionary among us. Their
emergence will require that we let our imaginations fly; that we
allow ourselves to dream freely of what might be.
plans sales will be a natural outgrowth for the designers of the
finest examples. We will, however, reserve the right to award
one or more prizes to the most extraordinary or innovative
ideas, whether or not the designs qualify for other prizes. In
general we'll be expecting designs for the most unique craft to
leave the drawing boards, and invite all who have ideas to start
thinking about them, and polishing their drafting skills. We'll
be expecting complete sets of finished drawings for evaluation,
and rules and deadlines will appear in the next issue of
WOODENBOAT.
18/WOODENBOAT 15
16 18/WOODENBOAT
As the wooden boat community
grows with enthusiasm and vigor,
so does WOODENBOAT Magazine. As we complete our third
year, we look ahead to timely and
useful material in our efforts to
satisfy the needs of WOODENBOAT readers. Here we present a
glimpse of some material which
will grace the pages of future
issues. If wooden boats are
what you love, don't miss a
single issue.
Building Small Craft
St. Lawrence Rowing Skiffs
The Grand Banks Dory
MONTAUK II — Indian Class
Sloop
Catamarans
Restoring A Classic Boat With
Epoxy
Profiles
The Life And Times Of Colin
Archer
Getting To Know Pete Culler —
Master Builder
Winter Reflections
A Mexican Jungle Dugout
Keel Boats Of The Western
Rivers
Miscellaneous and More
Marine Insurance
Obtaining Your Own Lumber
How-to and Home Projects
Repairing Plank Seams
Rebuilding A Rudder
Homemade Lofting Tools
Taking Lines Off Traditional
Small Boats
Making A New Hatch
Boat Builders and Yards
Alien Farrel — Innovative
Northwest Builder
The Stone Boat Yard — California's Oldest Yard
Design Features
RAIN BIRD — Wm. Garden
Designed Schooner
Tumlarens — Composite Scandanavian-Style Sloops
New Jersey Sneakboxes
The Waterwag Dinghy
Current Trends
Cold Molded Polynesian
18/WOODENBOAT 17
fo'c's'le
At first sight the lifestyle of the Kasanofs
probably gives one the impression that
we have undertaken a headlong flight
into the nineteenth century. There is a
large bronze hand-pump in the galley,
the sort of prop one sees these days only
in old John Ford movies. Cruising, we
light the kerosene lanterns at night. In
fact, I have had the creepy sensation of
looking into the window of an antique
shoppe and realizing that I am not looking
for antiques but utensils, the way real
people look at the windows of Caldor's or
J.C. Penny.
Despite those appearance, though,
we aboard CONTENT are true children of
the industrial revolution. The outer shell
may be teak and bronze but the core —
polyproplene and gel coat. This disturbing thought occurred to me recently as I
raised my Terylene main with my Dacron
halyards prior to hauling in my Nylon
anchor rode. What we have done is not
fled to the nineteenth century but licked
off its icing, nibbled its goodies while
passing up its squalor and drudgery.
For instance, that picturesque quaint
old red lead, oakum and cotton in my
deck seams is traditional as hell but it
leaks like a Department of State secret
memo. The solution: Technology —
petrochemical engineering — long-chain
polymers — in a word — black sticky
stuff. Old Nat Herreshoff, the Wizard of
Bristol, would probably not approve — he
of cedar shavings, the adze and hempen
rigging — but this black sticky stuff
keeps the rain out of my navel when
applied to the deck seams (not my navel,
you twit, the black sticky stuff). Because
I must re-do the entire deck, I have had to
find a means for keeping dry underneath
those areas not yet done. Technology
comes to my rescue again, this time in the
form of an enormous plastic sheet that I
spread over the area of the deck lying aft
of the mast and a smaller forward of the
mast. As we lie abed of a rainy night, we
listen to the patter of drops striking the
plastic cocoon overhead and say a prayer
to the gods of twentieth century techno-
18 18/WOODENBOAT
logy, thanking them for our dryness.
Real nineteenth-century-ophiles would be
shivering in damp Dickensian misery.
Even some of the sacred arts of the
sailor we have allowed either to atrophy
or to undergo a "sea change" that would
have horrified old Captain Stormalong of
the last century, all because of the impact
of modern technology. For instance,
instead of relying on my own weather lore
to enable me to incorrectly predict the following day's weather, I have gradually
allowed myself to be lulled into allowing
the National Oceanographic and Aeronautical Administration weather broadcast to incorrectly predict the following
day's weather. "Let's see what 'Noah'
says," I say when I come home in the
evening, without a glance at the sky or a
sniff at the wind. Sometimes I remember
to tap my barometer but I've forgotten
why. I think it's like kicking the front tire
of a car; it used to mean something.
After hearing the "Noah" broadcast,
then I might stick my head out the hatch
and say, "Yep, mackerel sky to
nor'east," whatever the hell that means.
Anyone who has ever watched in disbelief as two figure-eights on a cleat
snake their way off as the strain comes
on, say, a slippery smooth dacron jib
sheet, knows how modern technology has
eroded the aforementioned sacred arts.
Old Stormalong used to say ' no hitches
on running rigging' but dacron and nylon
have changed that. Most of my cleats are
wood and grip even new-fangled plastic
line well, but I blush to admit I do hitch
the final turn, especially on the few
bronze cleats I have. I've never had a
sheet jam, hitched to a cleat, but I sure
have had them snake through when not
hitched.
Even such a basic matter as coastal
pilotage has been affected by the age.
How does one enter New York harbor?
Ambrose light? No indeed, one gets a
bearing off the "twin Trades" towers,
those monolithic monuments to architectural tastelessness. In my own waters of
western Long Island Sound, lighthouses,
lighted buoys and the like are fine when
you're getting quite close in, but for general compass courses when you're still far
off shore, the best navigational aids are
not navigational aids at all in the traditional sense, but monuments to modern
technology. Once, at night, we were able
to get a good line of position on smoke
from a very tall factory stack near home.
At other times, we've sighted a certain
huge office building, owned, appropriately enough, by a multinational
corporation, long before being able to
spot the quaint old lighthouse just outside
our quaint old breakwater. I remember
that time well because on that cruise we
had run out of ship's biscuit and plum
duff. Thank god we had plenty of
Hostess Twinkies!
— David Kasanof
cordage
History has it that a British Admiral
brought the art of macrame from Arabia
in the 17th century. The queen and her
ladies took it up as a pastime and made
table cloths, bedspreads, and decorated
furniture with all manner of coverings.
From the court, the art filtered down
to the Royal Navy, the Royal Prisons, and
the Royal Mental Hospitals where the
dingalings really made some crazy
designs to keep them busy and to keep
them from losing their minds. Fact is
they got all tied up in this new fad. So
which I learned as a country boy on one of
America's largests schooners,
The reef knot is great therapy and it
pays well. I do a bottle, starting from the
K.V. KRUSE, a five mast tops'l schooner
top and finishing at the bottom. The ends
disappear. For the seaman I put a fourlegged bale on the bottle so he may
shackle it to an eyebolt in an overhead
much so that some of the poor devils had
the technology of cordage making has
changed. From manila, hemp, jute, Irish
to be cut out of their creations.
Mr Webster has it as such: "A
coarse, usually fringed, lace made by
tying threads into knots for geometric
designs, used especially for decorating
furniture."
In the Turkish language, you may
blow your nose in a "magramah handkerchief," or in Arabia you may peak under a
"migramah embroidered veil." In the
latter case you may lose your head or be
hanged by your thumbs for 72 days over
an ant hill. Those Arabian Knights are
real sensitive about their dolls' privacy.
Since the discovery of oil, the Arabian
ladies have snuck out the back door of the
where I spent four years with Capt. Billy
Mayne and Capt. Silverleaf (first mate).
They would show you something twice
and if you didn't tumble you'd get
beam. He may pour but he can't drop or
knocked from here to there, so you
spill it. Of course I always empty the
bottle first before I sell it.
I have not seen a knot book that has
learned rapidly. I never completely laid
the art aside and the past six years I've
been astern on my orders for bottles,
belts, wall hangings, and Captain's visiting jugs. We have changed material as
linen and cotton to nylon. Seven years
ago I bowed my head and went to nylon
net twine. You can't break it and it
washes well. When I'm performing in
public, I tell the yokels that the material
may appear as a modern synthetic but it
is actually the spun umbilical cords of
Royal Dancing Maidens from the head
waters of the Nile, rafted down the Nile
in the land. Last year, I was tying reefs
out on the gang plank of the Rusty
Pelican restaurant in Alameda, California. Bright sunny day and all at once it
got dark. I looked around and I was
this country as the price of Arabian oil —
the price of all cordage has tripled in the
ever seen. One said, "I want a belt";
Number Two said, "I want a belt, too"; I
said, "What size?" They both answered,
"62." I said, "You guys must have good
last 7 years. One reason you see so many
Due to the interest that the British
Navy had in macrame, it was passed on to
President of the Pacific Ocean
bracketed by two of the largest men I've
cooks at home." One answered, "We're
both of them." They were cooks on a van
ship. I heard later from a shipmate of
our Navy and whalers and prisons and
theirs that they also moved the vans
laughing academies. The macrame knot
has been functional and decorative as
around when the machinery failed. I got
tired making those belts but hung on for
that $1.50 per inch.
Years ago I made a belt and brass
buckle for Sterling Hayden. The buckle
was so big it would reach half way around
Capt. Kidd. Hayden wore it in front one
well as a time killer on long voyages or
long stretchs. Many minds have been
saved and many beautiful creations adorn
ships, homes, and institutions.
We old-timers just recently learned
the name of "Macrame." I heard it years
ago and thought it was a rare Middle
Eastern disease. Down through the years
it has been known mainly as "SquareKnotting", "Diamond Knots", and
"MacNamara's Lace." However,
"Square Knot" is a misnomer. The knot
round point on the end. Sounds silly
doesn't it — but I told you guys that this
art is practiced in Silly Bins, didn't I?
— Spike Africa
on a raft of crowbars of gold and comes to
me at a great cost in human lives and
treasure. Corny — but it sells my products without the aid of Madison Ave.
and TV.
I have belted some of the biggest guys
tents to entertain the foreign engineers
with belly dancing and posing for RollsRoyce ads. The only lace one sees now is
on the camel's bridles and saddles. In
the event that macrame did originate in
Arabia, it has caused as much havoc in
slip-on shoes is that there is no twine left
for shoe laces.
my bottle bottom in it and my belts have a
week and then wore it a week in the back
to keep from getting stoop shouldered.
I was engaged by the Smithsonian
Institution to appear at the Spokane
World's Fair for two weeks. The outstanding event of that caper was when I
taught a nun to tie off a belt. She was an
used to make macrame is a reef knot with
a core of two or more twines in the
excellently adept student but turned
down my offer to teach her the Bridal
middle. A square knot is the knot in a US
or British seaman's neckerchief. This
knot and neckerchiefs are in honor and
memory of Lord Nelson and the battle of
Trafalgar. Is that clear out East there and
in Great Britain? I will grant that for
many years the square knot has maligned
the reef knot but that is only sour grapes
on account of the Revolutionary War. I
make part of my living with reef knots
Knot.
For the past six years, I have worked
part time in California decorating restaurants for Rusty Pelican — Ancient
Mariner Corp. I am the Ancient Mariner
sans the Albatross. I put jute mates
around the pilings and a Turk's Head
above and below with manila, also jute
wall hangings and Cock's combing in
manila on the handrails.
He'II allow his superiors
on board to be tolerably
good navigators etc.!
But alas! They want the
main point; for shewme,
the gentleman cries,
the man that can knot or splice.
Ned Ward
The Wooden World
Knotting ought to be reckoned,
in the scale of insignificance
next to mere idleness.
Dr. Samuel Johnson's
Dictionary
18/WOODENBOAT 19
MOCCASIN-
whose time
has
come
By Stanley
Woodward
some time, so that eventually the effect of
the heeling was greatly reduced.
It all started when a large vacant shed
for the construction was difficult to find
but a small garage was available and
measured. I decided to build the largest
mizzen clew to the tip of the bowsprit.
Francisco Capllonch and Pepe Hernandes, two young and energetic Mallorquin wood fish boat builders and I agreeably spent one year putting MOCCASIN
together in that shed, knee deep in wood
As crew I have two small children, ages
possible boat that would fit the space and
shavings, enjoying the scent of yellow
five and three, plus two very big dogs.
add the bowsprit, rudder and centerboard
after completion. The critical design
dimension was a length which stopped at
pine, spruce, mahogany and iroko. Fortunately, I happened to have Everdur
bronze in all the necessary sizes so we
A flower? A serpent? Or an Indian
slipper?
I commissioned Philip Bolger of Gloucester, Massachusetts to design a boat
for day sailing which also might serve
occasionally for modest family cruises.
Unfortunately, my wife dislikes sailing
because she is subject to a form of vertigo
would sail fairly upright was desirable.
Indeed for a long while our project was
36' 9" on deck, leaving only 3" to spare
before reaching the walls; 9' 10" was
built her strong, to last, and finished her
with 1" carvel planking in the traditional
selected for the beam and a hull draft of
viewed with mistrust, and it was not until
only 2' was chosen, relying largely on a
big centerboard for windward work in
manner.
Philip Bolger seemed delighted with
my specifications. I wanted an easily
handled vessel whose speed would not be
when any boat heels, so a hull form which
the vessel was afloat in shallow water
where my wife could wade out to stand
next to her before climbing on board that
deep water. With a modest lead keel of
one and one quarter tons as well as the
handicapped by any rating rule. In parti-
confidence returned. I then proceeded
with caution and sailed that boat with
restraint only on her three lowers for
shallow draft there was little choice for
other than a sail plan of low aspect ratio,
which we made 50' long at the base from
cular, I insisted that the boat should be so
20 18/WOODENBOAT
well balanced sailing on the wind, or run-
ning, that no awkward self steering
apparatus attached to the stern should be
bugeye and log canoes of that era. We
necessary. I also wanted the boat to have
sufficient sail area to eliminate the need
for an auxiliary engine. Phil eventually
convinced me, however, that if no provision were made to install an engine on
MOCCASIN it might be difficult to find a
buyer in the event I ever considered
building a larger boat for my growing
family. So a slow turning 8 HP Stuart
Turner, two stroke twin cylinder, 33 cubic
inch marine gasoline engine was secured,
fitted with a Luke feathering propeller.
The simplicity of this little engine, which
has only three moving parts, was irresistable. On trials it pushed the boat at 6.7
knots over a measured mile, and is
entirely free of vibration. I might also
add that the 20 gallon fuel tank which was
filled to measure the dip stick at launching was still half full eight months later.
The engine has proven no inconvenience,
although extensively sailed during the
first season.
During the initial stages of planning
for the design, I had mentioned the possible use of certain Chesapeake craft.
Our thoughts turned to the pungy, the
discussed Commodore Monroe's Presto
concept and Philip Bolger's own successful designs for the smaller Black Gauntlet, Black Skimmer, his recent Dovekie
and others. At any rate, encouraged by a
sound historical basis for unstayed masts
and sprit booms, which were very popular
during the 19th century in big work boats
and Virginian Pilot Schooners, we
decided to proceed with logic and art
without becoming influenced by the contemporary scene. So when Phil forwarded MOCCASIN'S surprising sail
plan, it did appear rational to me. It was
devastatingly contradictory to current
concept. The rig was certainly less
costly, and quite simple. There were
neither shrouds nor stays nor any wire
rigging; no need for turnbuckles and
winches. However, there was no way of
telling how MOCCASIN'S speed and
windward ability would compare if pitted
in competition against the highly developed modern ocean racer and one ton
match boats, because there had been no
modern yachts around when this simpler
rig was popular. Many good ideas sprang
from a time when money meant more
than it seems to now. Obviously everything could be mended when worn out
without recourse to a yard or marina.
Phil was in favour of the cat yawl rig,
after several successful boats built to his
design, and tried to persuade me that the
absence of flogging headsails might be a
real plus factor on my short handed boat.
But I wanted something in front of the
mast to play with, so the yawl was
designed with a small, 117 square foot,
self tending balanced jib. I subsequently
added a three quarter short hoist genoa
and a mizzen staysail, but that small jib
proved so effective in balancing the boat
on the wind or reaching that the tiller can
be left entirely free, unattended for hours
on passage. Short tacking is a matter of
just shoving the tiller over, with no need
to adjust any sheets. Most of the driving
force is in the big mailsail. Its luff
remains perfectly straight on the mast
With her unusually shallow (2') draft, and hard
bilges, MOCCASIN is conspicuously easy to
haul, store or beach. The solid liferails and the
pulpit near the mast give a tremendous feeling
of security.
18/WOODENBOAT 21
and the spirit boom can be adjusted
instantly to change to any desired draft in
the sail. Another advantage is that the
sprit does not allow the leach of the sail to
twist as it does on a conventional boom.
Sheeting force with the sprit boom is also
greatly reduced. Reefing the loose footed
sail is surprisingly easy and the sail is
fitted with lazy jacks which hold the sail
from falling in the water or messing up
the deck. When lowered it furls itself.
It was Phil who had the bright thought
to add a sprit topsail over the Bermudian
mainsail, an idea probably borrowed from
the racing log canoe. I suspect he got
cold feet sometime during the course of
the boat's gestation, because it had not
been seen for several generations and
there was no one left around who could
remember if it worked. Nevertheless we
made the sticks according to plan and
Manchester made the sail. To everyone's
surprise, the first time the topsail was
hoisted, it functioned without a hitch and
pulled like a mule.
Both masts are contilevered. The
main mast, which at times has to support
1170 square feet of sail without the benefit of any shrouds or stays, is constructed
hollow of thick walled spruce. I did add
some graphite fiber, supplied by
Gougeon Brothers, set with W.E.S.T.
System (TM) epoxy to the corners of the
mast, and this must stiffen the stick
considerably because the running backstays are entirely unnecessary and have
been discarded. Another 200 square feet
of sail area is made available on the
mizzen mast so that five sails, the total
measuring a little over 1350 square feet,
can be set at one time on a reach or even
close reaching in light airs. The three
lowers, however, normally used when
Left — Despite her radical appearance,
MOCCASIN is the picture of simplicity. There
is no cabin trunk to complicate and obstruct the
deck, and not a shroud or a winch on the
whole boat.
Right — Though MOCCASIN's potential for
speed is not readily apparent to the modern
eye. she trounced a fleet of 3/4 ton and one ton
boats over a fourteen-mile triangular course —
by over 14 minutes.
22 18/WOODENBOAT
short handed, measure only 659 square
feet and are all self tending. MOCCASIN
goes very well under these three. The
boat can sail in circles without touching a
line and it takes no time at all, and no
shouting or rushing about, to retrieve an
object that has fallen overboard. The
only sail that is not practical for a single
hander, and requires company to set and
to remove gracefully, is that topsail. But
once up it needs no further attention, is
self tending when tacking or jibing, and
seems to be equally as effective on a close
reach as it is in a following wind. An
extra hand is required to move it from the
deck to the head of the mast as it is necessarily rigged with all three spars set, and
is hoisted or lowered on the windward
side of the main. Once in position it is as
quiet as a lamb and balances beautifully.
The mizzen is a simple standing lug
sail fitted with full length battens which
eliminate flogging and flutter. This sail is
never taken down, even when at anchor
or moored, as it keeps the boat steadily
pointed to windward. All summer long it
remained standing when the boat was at
her mooring. MOCCASIN proved ideal
for day sailing. It takes less than a
minute to cast off the mooring and get
underway.
Her displacement is about 5 tons,
although she measures 8 tons net, 9 tons
gross and 14 TM Thames tons. She is so
easy to handle for one person that she can
be considered a small boat and this may
be largely due to her simplicity, her surprising lack of windage and her extreme
shallow draft. She is big on deck space,
lavishly roomy in cockpit area, has
generous hatches and is very steady
underfoot. Designed and built to be
beached, she can even sail to windward in
water a little over 2' deep when the board
is raised, and if the tide runs out she
remains upright. MOCCASIN is also
fitted with a two point cable sling so that
she can be hoisted on the deck of a
steamer without removal of her masts, in
the event a very long windward passage
might be considered a bore. No cradle is
needed for the passage as deck cargo
where one can choose to live comfortably
inside her. Marinas always find room for
her at their shallow end if this doubtful
pleasure is required. But the best certainly are the infinite variety of quiet
secluded anchorages open to her where
no one will intrude, except possibly an
occasional goose hunter wading by.
As a beach boat with small children
MOCCASIN is ideal. They can swim or
stand with security and are free to go and
come from the beach on their own. For
cruising, the ample freeboard provided
by the raised deck profile has made a
charming and spacious interior possible.
Full standing headroom is limited to the
companion hatch where foul weather gear
can be donned, but the saloon and fore-
cabin are spacious and comfortable.
MOCCASIN is the first boat I have owned
without standing headroom everywhere
below. It was, therefore, surprising to
me that the lack of headroom has actually
made the saloon appear more attractive.
Proportions are certainly better and since
no attempt was made to crowd the
interior I have not lived with a better
arrangement.
Prismatic deck lights are installed
through the deck which do not allow
water in but a great deal of bright natural
daylight. The small dead eyes on the hull
sides are adequate to inspect the scene
around the boat in complete privacy and
18/WOODENBOAT 23
24 18/WOODENBOAT
are at eye level when comfortably lounging about in the saloon. The galley area,
fitted with a Heritage stove, is separate to
port and a large chart table to starboard.
Ample book shelves line the forward
bulkhead where a Chelsea Chiming clock
and a copper charcoal stove for winter is
fitted. The only door in the boat separates the forward cabin, fitted with two
full size pipe berths. There are also two
large settee berths in the saloon.
All the construction details of wood
(including the builders' marks on the
frames, which I insisted on leaving visible
in the interior) lend interest to the visual
effect as well as giving a pleasant touch
and aroma. The total absence of wire
halliards striking a metal mast or the
howling of the wind through the shrouds
is certainly comforting, especially when
hove to in a gale making a square drift
under her silent, fully battened, mizzen
sail. Under these conditions the shallow
draft has proven an asset and the little
boat drifts quietly like a bird at rest.
When the boat is being driven hard under
double reefed main, the mainsail is far
enough forward that no jibs are necessary
and the long main sprit boom, which
moves forward of the mast when this sail
is reefed, does not trip in a sea.
Our home faces a pleasant bay. Ten
miles across to the other side are some
seldom frequented beaches. During the
summer a solar wind takes up station
around eleven each morning so, at noon,
after work, we either swim out to the
mooring, or I cast off, hoist the mainsail
and ground the bow on the shore, where
standing knee deep in the water I can
help the dogs get on board first, followed
by the children, who are already learning
to climb on board by themselves. My
pretty wife, who turned out to be a good
sport after all, carries the perishables for
lunch. (There is a large ice box on board
but we prefer fresh food.) It usually takes
about an hour and a quarter on a close
reach to cross, sometimes a little longer.
We catch a fish or two on the way and
anchor for a hot lunch in less than 3' of
water. After more swimming, shelling
and running about on the beaches, the
breeze by mid-afternoon usually freshens
to fifteen or eighteen knots and we return
with the children and the dogs asleep in
the shade below while we get browner
lying about in the large cockpit. Generally we have a beam reach or broad reach
for the return and sometimes we make
the ten miles in one hour. All the while
MOCCASIN sailing herself, requiring no
one at the tiller which is left to take care
of itself.
During last summer MOCCASIN'S
absence led to a certain amount of speculation at the yacht club and, it was not 'til
summer was over that I had time to
satisfy their curiosity and mine.
A triangular course of 14 miles was
posted in the adjacent bay and it was
decided that a proper race would settle
some questions. Many bets were taken
between those who speculated the unsup-
ported masts might fall down or break off
and opinion was divided as to whether a
boat without a keel would hold up to
windward against the modern fin keelers.
We started the race at eleven with over a
dozen boats. Half of these were the standard modern three quarter ton and one
ton keel racing type fitted out with
winches and a very pretty assortment of
star cut and extra spinnakers, large
genoas and large crews. Winds were
variable but it got up to force three. 25%
of the race was to windward, 25% running and 50% reaching. Results were
rather unexpected with MOCCASIN
crossing the finish line fourteen minutes
thirty-five seconds ahead in the lead of
the fleet. The interesting thing was,
however, that MOCCASIN not only went
faster on a reach but she also went faster
and closer on the wind and kept increasing her distance running even though she
had no spinnaker. A girl on board
remarked afterward that it was the first
race she had ever been in where she
hadn't gotten hurt and that she had had
very little to do. Everyone seemed terribly upset and puzzled.
We are still uncertain whether
MOCCASIN really is a dandy flower, a sly
serpent or a silent Indian slipper. In any
case I couldn't help guilding the lily a
little and added a carved sea horse
covered in gold leaf for her outboard
rudder cheeks so that other yachts sailing
in company with her might keep a bright
memory.
18/WOODENBOAT 25
cabins and tin pots exhausts. Someday, I
hoped to own a real inboard that made
hankins
heritage
Boatbuilding
Report
By Kevin Sheehan
How did I come to choose a pre-1900
wooden fishing/work-boat design to
cruise with my family in? It starts, I
guess, with my childhood summers rowing a pea green skiff, ferrying ice, kerosene, food, my folks and their gear back
and forth between Loonwater Island and
the shore of Lake Sebago in southern
Maine. I used to watch the inboard
fishing launches with their jaunty cuddy
Combining the famous sea-keeping ability of
the Sea Bright Skiff, with the practical Scandi-
navian-sytle layout, this little Hankins double
cabin cruiser exudes confidence and craftsmanship.
26 18/WOODENBOAT
those delicious gurgling noises and
spouted water out its tailpipe every now
and then.
By the time I scraped together the
means to fulfill my dream, the age of
plastic was upon us. I searched the
shows and showrooms in vain for a boat
that smelled right. Then I saw an ad for
Hankins Sea Bright Skiffs. It was almost
identical to an ad I 'd seen as a youth 20
years ago. I phoned Charlie and paid him
a visit. The smell was right, and the
warm, soft tones of cedar and oak assured
me that I'd come to the right place. I was
delighted to learn that our custom-built
WILLOW would cost substantially less
than a mass-produced synthetic cruiser of
equal size. In all, she took four months
to complete and cost $20,000.
The Hankins firm is one of the few
remaining that builds the Sea Bright
Skiff, a design that dates back to the early
1800's. The boat used to be launched and
retrieved from the open ocean beaches
along the Jersey coast. The round-bilge
lapstrake cedar hulls have a hollow "box"
keel whose section resembles that of a
narrow Banks dory. They have a flat
bottom, usually with some rocker,
planked fore and aft with heavy yellow
pine or spruce, slip-tongued to remain
watertight against the rigors of drying out
on the beach between launchings. Their
strong flat bottoms admirably withstood
the pounding, dragging and rolling on
wooden sandwheels and helped give the
boats the stability and bearing to remain
upright while on land. Their flexible topsides softened and helped spread the
shock loads of the breaking combers.
Lively and buoyant at sea, the Sea Bright
Skiff proved to be so successful that the
design has been little changed for over
100 years.
Charles Edwin Hankins lives on an
island in Barnegat Bay from March to
October now. It used to be year-round,
but commuting by iceboat to his boat
shop in Lavallette (NJ) during the winter
got to be too much of a hassle.
He completed his first rowboat as an
apprentice to his father at age 12. Now
50, Charlie moves about his two-story
shop with an amazing agility, and a
motion whose efficiency bespeaks his 38
years of boatbuilding experience. When
asked by a customer about the sailing
qualities of a 19-foot centerboard skiff
displayed outside the shop, he replied:
"I'm not a sailor, but a man I built one for
down the Bay told me it sails real good."
As he finished he drew up his lower lip
into a slight pout and quietly waited for
the man's response. The Hankins reputation remains.
Charlie loves marine engines almost
as much as the boats he builds. And he is
disgusted at the now almost universal use
of converted automobile engines. He
went to last year's New York Boat Show
hoping to find a gas engine suitable for
long-life marine service. "I just don't
know what to offer a customer anymore,"
he told me, "except these Ford
diesels — and they aren't really marine
engines, either." In WILLOW'S early
planning stages I made the mistake of
favoring an engine disliked by you-know
who. "If you want to put that engine in
your boat, you buy it and install it. I
won't touch it. Now that one over there I
know is good. We had one pack up in a
24-footer. Bearings rolled, you know.
Only one of that make that I've seen quit.
I called the distributor and told them
what happened. They asked how soon I
could get it to them. We had that engine
out, rebuilt, and back in before the week
was out. Now that's service." I gave in,
and I'm glad I did.
Staunchly practical, Charlie mused
about the diesel-electric plant used to
supply power on the Island, "I believe in
engine alarms. We have an auto horn in
the house that's hooked up to the oil pressure and coolant temperature sensors.
You can't ignore that." I got the message
and immediately specified an alarm
system for WILLOW'S diesel.
Humility is rare in a man with all of
Charlie's other virtues. When WILLOW
returned from her initial test run in early
March, a lubber at the dock asked Charlie, "What kind of boat is she?" He
replied politely, "A double cabin
cruiser." The man, obviously miffed,
said, "No, no — I mean, who made the
boat?" Charlie shuffled uncomfortably,
paused, then looked up, "I did."
Because of my lack of familiarity with
a powerboat of WILLOW'S size and the
uncertainty of early spring weather, we
kept the boat at the marina where she
was launched for several weeks before
striking out for Connecticut. March
weekends found us busy loading gear
aboard and practicing helmsmanship in
Barnegat Bay. It soon became evident by
Charlie's frequent visits that he still felt
responsible for WILLOW'S well-being,
though he'd transferred her ownership to
us weeks before. On one visit his wife,
Anne, told us that Charlie checked the
boat two or three times a day! What a
heartwarming contrast in today's marketplace.
Charlie is as creative as he is practical. Faced with how to make do with the
poorer quality wood available today, he
told me: "Can't get clear cedar anymore.
We tried wood plugging the knotholes,
but the plugs worked loose. Then we hit
on this mixture of ground glass powder
and polyester resin — sort of like auto
body putty, but stronger. We pin the
larger glass and resin plugs with little
bronze screws, just to be sure.
How would you prevent ice from forming around your boat moored at an island
while you were at work on the mainland?
You could keep the electric plant running
while you were away to power an electric
bubbler or circulating system, but that
would waste fuel and risk self-destruction
of the unattended diesel generator should
something go wrong. No, if you were
Charlie, you'd belt up an old air compressor to an agricultural windmill and pipe
the thing up to a bubbler to eliminate
operating expenses and the risk of a
costly engine failure.
In keeping with the heritage of her
builder, WILLOW is laid out in the practical Scandinavian configuration that has
recently found favor in this country. She
has a raised center cockpit separating the
fore and aft cabins, offering privacy for us
and our two children. The vee bunk filler
panel doubles as a dining table when
raised, and the whole affair may be
moved to the cockpit for picnics. The
head and the pot-belly stove are to port,
while the L-shaped galley and hanging
locker flank the starboard side of the forward cabin. WILLOW is finished off with
plain bronze hardware, paint, and oiled
wood; our only concession to elegance is
her varnished transom. Kerosene lamps
augment the few electrical fixtures. No
carpets hide her knotty cedar cabin
floors. Copper sheet over asbestos board
lines the walls adjacent to the kerosene
galley stove and wood stove and reflects
the warm glow of the natural wood tones
elsewhere in the cabin.
Our early days aboard WILLOW saw a
mixture of frustrations, due mostly to the
captain's mistakes in piloting, inept
handling of ground tackle and too much
wrench twiddling, and those priceless
moments of beauty that happen when you
least expect them. Our anchor dragged
one night while we were visiting ashore.
The next day we found WILLOW healed
hard to starboard, high and dry on a
sandy bed of reeds in a quiet cove. My
son climbed in to fetch the second anchor
to kedge us off when the tide came in.
The sight of WILLOW lying helplessly
there was both very aggravating and very
beautiful. The scene was remiscent of
one of those familiar oil paintings depicting an abandoned fishing boat in the
weeds. With her anchor rodes tensioned
she slithered off late that evening and
bobbed about in the harbor as if nothing
had happened.
WILLOW'S six-cylinder Ford diesel
pushes us along at about 11 knots while
sipping less than 4 gallons of fuel an
hour. Destinations arrive slowly but the
miles pass under her keel with resolute
regularity, no matter what the sea. Holding a course in a chop is not easy,
however, as her corky motion can be
tiring. Although we prefer calm seas, it's
nice to know that WILLOW will get us
home safely should the going get rough.
18/WOODENBOAT 27
Throughout history the Italians have been
famed for their artistic masterpieces:
of a value high enough to support himself
and his family.
music, paintings, sculpture and magnificent cathedrals. To many along the
The beauty of these little masterpieces was that they were superb in
enough to the stern to bend and touch the
swelling seas and blinded for all but a few
yards around by the ever-present fog off
the Golden Gate, the Monterey Clipper
fisherman felt secure. He knew that his
Gate to the open seas for a variety of
boat was something special. Envious
visitors from the north and the south had
made it clear to the San Francisco fisherman that the Monterey Clippers could not
be matched along the entire coast.
bottom fish in deeper water. Writers
visiting San Francisco from other cities
admired the speed and agility of these
"lateen boats" in the hands of skilled
fishermen. But at the turn of the century,
waterfronts of the West Coast, the
meeting the commercial needs of the
Monterey Clipper fishing boat is the
finest Italian masterpiece of all, a cunning combination of skills and materials
at hand which not only served its purpose
but attracted the eye with its beauty. For
half a century it exactly fitted the needs of
fishermen from Italy and elsewhere who
harvested the bounteous Bay and Ocean
which meet at San Francisco's Golden
Gate. Today the Monterey has almost
fisherman while being extraordinarily
beautiful. Seldom longer than thirty feet,
these tiny ocean craft were recognizeable
by the characteristic clipper bow and the
sensuous and smoothly curved canoe
stern. In the generous flare of the bow
nestled a tiny cuddy cabin, almost invisible above the foredeck.
In early Montereys the deckhouse
was small, with sides barely protecting
the engine, and a roof so low only the
shortest fisherman could stand beneath.
The most important opening in the
decked-over boat was the well at the
stern, where the fisherman stood to work
the long lines which captured the quick
flashing salmon from the depths below.
He worked waist-deep in this tiny opening, nudged a short stub of tiller to steer
while leathery hands were busy with bait
or line.
vanished from the San Francisco fleets.
Prime wood necessary for construction of
the Monterey Clipper is no longer
cheaply plentiful, and the salmon and
crabs, once so abundant around San
Francisco's Fisherman's Wharf, are now
too distant to support a day-boat fleet.
That was the function of the Monterey
Clipper...a safe and reliable small boat
from which a single man could fish on the
open sea, returning each day with a catch
Although his was a lonely place, close
Opposite: The Monterey Clipper fishing boat
ANNE M lies at its mooring at San Francisco's
Fisherman's Wharf. The 30-footer was built by
Beviaqua at the Genoa Boat Works at Fisherman's Wharf about 1924.
Below: The San Vincenzo, moored at San Francisco's Fisherman's Wharf, is an authentic
restoration of the sytle as it was in large numbers in the 1920's; it is used today for sport
fishing. Beyond it is the 50-year old LUCKY
LADY, a product of the Genoa Boat Works,
ready to go out fishing for salmon.
Although the boats were born, bred
(and are dying) on San Francisco Bay,
even North Beach fishermen, who could
neither read nor write, knew something
of their antecedents. The beginnings of
their lines could be traced back to the
feluccas of Egypt's Nile River, vessels
which spread through most of the Mediterranean . (See WB #13 and #14).
Decked over, the lateen-rigged feluccas
were early used by fishermen from Sicily
and other parts of Italy. They were built
on Monterey and San Francisco Bay by
some of the earliest Italian immigrants
who were attracted to the area by its
abundant fish.
"Red sails in the sunset", were the
words of a popular song in the early days
of radio. They referred to the fishing
boats of the Bay of Naples, but they
might as accurately have been sung about
San Francisco Bay at the turn of the century. The double-ended feluccas, decked
over except for the stern-well, and the
well amidships from which the oarsman
worked, introduced the lateen sail rig to
San Francisco Bay.
Feluccas were straight-bowed, double
enders which were used to harvest crab,
shrimp, salmon and other fish in the Bay,
sometimes venturing out through Golden
18/WOODENBOAT 29
the writers began to mention an innovation on the Bay. Primitive gasoline
engines were being installed in the boats.
Some called them "perfume boats"
because of the fumes of gasoline and oil.
At first, they were noted for their distressing tendencies to explode quite frequently. But Bay area machine shops
soon furnished dependable gasoline
marine engines to power the breed of
fishing boat that was then developing.
Lines of the older double-ender
changed to fit the new power. A small
house was built to shelter the engine.
(Early versions of the house did only that,
being built so low that the fishermen
could not squeeze under.) Soon the clipper bow, so admired on the big sailing
ships that had frequented the Bay, began
appearing on the newly powered little
vessels. The development remained
because they were much drier than the
straight stems. Although a proper cabin
with a roof to protect the fisherman soon
came into use most of them were not
enclosed fully in order to avoid capturing
explosive gasoline fumes.
Joe Beviacqua is employed as a shipwright maintaining the vessels that are
on floating display at Maritime State
Historic Park, adjacent to San Francisco's
Fisherman's Wharf.
"My father came here before about
1902 and began building boats while they
were still lateen boats," Joe recalls. "His
father built boats in Genoa before that."
Beviacqua's father's Genoa Boat Shop
sign is still visible on a wall of the original
building at Fisherman's Wharf, although
no boats are built there now.
the decking and planking was all 7/8" Port
Orford cedar from Washington State.
They'd last a century, which is more than
you could say for the fishermen!"
Beviacqua's Genoa Boat Shop was
only one of a half dozen builders of
Monterey boats, most of which featured
clipper bows. All were built in nearly the
same fashion, carefully fitting planks
with such precision that no caulking was
needed. A few of these in use today have
no caulking below the waterline.
"When engines came along, my
father put them in and was one of the
developers of the Monterey," Beviacqua
proclaims.
"Nobody used any tape rules to
measure," he said, "They were all done
by eye. We never had any plans."
"They ranged in size from about 25'
to about 30' or a bit more, because the
keel timbers came in lengths from 22 1/2'
Probably the most popular engines
used in Montereys were the big singlecylinder Hicks power plants, producing
about six horsepower at a maximum of
400 RPM on a gallon of gasoline an hour.
So durable were these simple engines
that a few are still in use today, even after
roughly half a century. One can still
occasionally hear the once-familiar sound
of "potatoe..potatoe..potatoe" whispering over the Bay as an antique Hicks
to 26'. The keels were made of spotted
engine pushes an old Monterey through
gum from Australia, very hard and
durable."
the swells.
"The frames were all bent oak, and
Nearly all Montereys have been modified over the years, their Frisco Standard,
Imperial, Golden Gate or Hicks gas
engines replaced by muttering diesels
inside expanded deck houses, fully
enclosed against the weather. The
houses are now large enough for the lone
fisherman to stand comfortably, and even
sometimes to carry a guest. The cabins
today are large enough to accomodate a
small butane stove, an electronic fish
finder, automatic pilot, one or more
radios, a spartan bunk, and a modest
supply of food. Radar, the equipment
that costs more today than the original
total cost of the boats, is not so common.
While, technically capable of spending many days at sea, the tiny Montereys
are not large enough to carry refrigerators to keep their catch fresh, nor to carry
the necessary fuel, so they work by day.
Requiring costly electronic gear, increasingly dear fuel and other skyrocketing
cost, the Monterey Clipper fisherman is
being forced by economics to abandon the
little boats. Larger craft, with greater
range and capable of supporting larger
crews while fishing steadily for a week or
more at sea are replacing the little
wooden beauty of the Bay.
Once again economics has doomed a
masterpiece for the working man, but the
future may tell of a great resurgence.
The forerunner of the Monterey Clipper survives in two examples, one shown here, on
Tomales Bay near San Francisco. Called shalloni by the Italian fishermen who remember
them, they were decked double-enders with a
mid-ship hatch for rowers or rower and the stern
fishing well. As the present Monterey Clipper
developed, a gasoline engine went into the middle of the boat and the stern smoothed into a
canoe stern. Eventually a pretty clipper bow
was found to provide a drier boat and the
majority from about 1910 to the 1940s were clippers. The shalloni carried a lateen sail, and
was built about 1900 probably at Sausalito.
Shalloni is the phonetic spelling and is probably
a Sicilian variation of "chaloupe", known in
English as "shallop".
18/WOODENBOAT 31
Endless
Summer
By Tony Latimer
My affair with DAME PATTIE started
before she was even launched. Being
Australian, I was all for any boat that
might beat the Yanks in the '67
America's Cup, especially one from
Down Under!
I like the name. Not that I knew anything more about Dame Pattie except that
she was the wife of Bob Menzies, our
Prime Minister, but it had a good ring to
it. You can imagine the speculation in the
pubs in Australia: Warwick Hood had
come up with a boat, and bets were being
laid...
The next time I thought about the boat
was in Canada later that year. My mate
Kirby and I were hitch-hiking around,
crewing on Dragons, enjoying the fact
that we were supporting this decadent
habit by selling underground newspapers.
Through no fault of our own, we ended up
conning in second in the Duke of
Edinburgh Trophy race in Ottawa. His
Royal Highness was on hand to pass out
the ashtrays, and in the ensuing small
32 18/WOODENBOAT
reliable sources...
Then in September came the bitter
realization that there was still a great deal
of water between challenger and defender. Although INTREPID took the series
in four races, there were definitely a
couple of times in light weather when
DAME PATTIE had looked very good.
As they said back home, "Damn Pity"!
I drifted around for a while, ending up
in Vancouver where I dropped in on a
friend by the name of Dufour. We heard
that George O'Brien of Royal Vancouver
Yacht Club had gone to Australia to buy
the old 12. She had apparently been sitting at anchor there for a couple of years,
looking rather sad and forgotten. Maybe
there had been too much money lost on
her. George's immediate intentions were
to refurbish the boat and convert her Into
an ocean racer to take on all comers in the
Canadian Swiftsure Race. He also had a
long term eye on a Canadian 12-meter
challenge. Although we had some reservations about Durability to handle it,
talk we discussed DAME PATTIE's
Dufour and I decided to try to get on
chances in the coming series. He mentioned that he had sailed on her in Sydney
and that "she went like a steam train".
By that time I was ready to lay my money
down. After all, I did have it from very
board. At first sight, she was very
impressive — so long, sleek and slender.
I had pored over pictures of her of course,
but seeing a 12 in the flesh is a different
matter.
A classic situation soon developed.
ENDLESS SUMMER, as George had
renamed her, was equal favorite with Lol
Killam's new Grey-Beard, a 70' fibreglass ketch that had just been launched in
Vancouver and was shaking down. ENDLESS SUMMER was just off the freighter
and needed all sorts of work to put her
back together and modify her for ocean
racing. Dave Miller, a local sailmaker,
was sailing-master, the crew was hustling, and George was cooking and paying
the bills. It became one of those rare
team experiences where we were by no
means the hottest 12-meter crew ever, but
we felt like it, and our desire was great!
On a blustery B.C. spring morning we
headed out to the starting line. Everyone
was very anxious to see just how fast this
Lady could go. With this question in
mind, and a fair ration of pre-race
"psyching", we sought out every boat our
size. Coming up astern we passed to leeward, out-pointed and out-footed each
one in turn and left all in our wake.
At the gun we headed for the middle
of the line, and clean air. Cracking along
at a brisk pace, we got a great start. We
listened to the start on a radio broadcast
and heard the commentator complaining
bitterly that his power boat could not
keep up with ENDLESS SUMMER.
For the whole first leg of the race
things went smoothly. We rounded the
mark at the Swiftsure Light at 9:20 pm,
three hours earlier than ever before. An
all-time record seemed within our grasp,
but subsequent flukey winds and a falling
tide robbed us of that. Our archrival,
GREYBEARD finished in second place,
one hour and ten minutes behind us. The
DAME had won her maiden ocean race.
While in Australia recently, I called in
to see Warwick Hood, with whom I had
been corresponding. We had a very pleasant talk about the boat, and I asked him
how he thought she measured up against
the Americans. He said that INTREPID
was definitely the superior vessel, but
that he had seen the results of the tank
tests, and that DAME PATTIE was
superior in winds of 10-11 knots. In
answer to questions about her construction, Mr. Hood gave the following details:
DAME PATTIE was built by W.H.
Barnett of McMahon's Point, New South
Wales. Her scantlings, governed by the
12-meter rule of the time, were in fact an
exercise by Warwick Hood in keeping the
centre of gravity down. She has some
rather unusual structural dimensions; for
example, her shelf (or sheer clamp in
American usuage) is 1 3/4" x 13". This
seems to be a result of reconciling Hood's
efforts with the end areas as given in the
rule. Likewise her decks, rather than
being of thin, relatively heavy material,
are triple-laminated yellow cedar approximately 1 3/4" thick, again resulting in an
overall lowering of the centre of gravity of
the deck.
Deck beams, shelves, and stringers
are all of spruce. In accordance with the
rule she has six web frames fabricated
out of galvanized steel, and fastened to
the planking with galvanized bolts. Her
main frames are laminated of Queensland
maple, a strong and very beautiful wood.
Intermediate frames are steambent
Danish Ash, to which the Douglas fir
planking is fastened with silicon bronze
screws. Bulkheads are of Australian
birch plywood. Her general finish is of a
very high standard, all interior surfaces
above the waterline being varnished.
Back in Canada, I contacted George
O'Brien. He told me ENDLESS
SUMMER was in California being used
as a trial horse for ENTERPRISE, the
new Olin Stevens 12. When he asked if I
would like to go down to San Diego for the
weekend trials, how could I refuse? We
left the following Friday, and during the
18/WOODENBOAT 33
flight, we recorded the following
interview...
views of Ted Hood and Bill Ficker that if
she'd had better sails and a more experienced helmsman, she could have taken
LA TIMER: When and why did you first
take an interest in DAME PATTIE?
the cup. Bill Ficker said he didn't like to
get anywhere near her in INTREPID
because of her incredible acceleration.
She had 8 genoas all identical, with the
most roach you can put in a heads'I.
While the American boys were working
all night every night on flattening sails
and variations, Jock Sturrock went with
an obviously bad sail two days running.
O'BRIEN: Well, first let me say I believe
that a wooden sailing yacht is the only
inanimate object with which a man can
have an animate love affair. So basically
I'm a wooden boat lover. I've known
Warwick Hood, her designer, for many
years, as I've had to be in Australia
December and January on business. I
was down there when DAME PATTIE
Preceding Page — The 12-meter, one of the
most powerful windward-sailing machines ever
built. Here is ENDLESS SUMMER winning
the 1970 Swiftsure Race in British Columbia,
Canada.
Below — endless grace, endless beauty...
34 18/WOODENBOAT
was being designed so I was a sort of exofficio Australian supporter, hoping that
she would be the boat that wrestled the
cup away from the United States.
LA TIMER: What circumstances led to
your ultimate ownership?
O'BRIEN: Everytime I was in Sydney I'd
have lunch or dinner with Warwick, and
we'd talk about my love. I would go
down to Billy Barnett's boatyard and
wrestle a dinghy down a rock slide and
just paddle round and round her —
sometimes with my hands — and just
look at her lines and at the water glistening on her topsides...at this point she
didn't have a stick in her, but I just fell
deeper and deeper in love. I did this
about 3 years running until finally I
couldn't stand it any longer. I just had to
have her.
LA TIMER: This was after she'd been an
unsuccessful campaigner and was back in
Australia just sitting at anchor?
O'BRIEN: That's correct, but I share the
All this was compounded by the fact that
there was a great deal of friction between
the Sydney and Melbourne members of
the syndicate. As always seems to be the
case, the closer they got to the wire, the
tighter they pulled the purse strings.
Warwick had an evolution that could have
been adapted for $30,000 and that could
have increased her performance something like 15% in winds up to 18-20 knots.
This was refused by the Syndicate which
by that time were in for $1,800,000
Australian.
LA TIMER: Do you have any vignettes to
relate about Bill Barnett's yard?
O'BRIEN: Well, there's a lovely old man
in Acapulco named Leobardo Garcia, who
makes among the finest Guitars in the
world. Walking into Billy Barnett's yard
reminds me of walking into that guitar
shop. That yard with its surf rescue boats
and racing sculls is capable of making
Stradavarius quality yachts. You may
have heard from Warwick that the
Lloyd's surveyor was an Old Scot from
the Clyde. When they wanted to lighten
up on a few things to be competitive with
the Americans, the surveyor wouldn't
have any of it. Warwick said, "C'mon
now, we're going to the States to have a
go at beating the Yanks", and the old boy
said, "I don't care if you're going to
Heaven to have a go with Jesus Christ,
I'm not going to bend the rules!"
Another interesting fact about her
construction is that the Australian syndicate obtained permission from the
N.Y.Y.C. to buy the edge grain Douglas
Fir from Stone Bros. Logging whose
operation is only 20 miles from my home
in Maple Bay, Vancouver Island. In 1966,
that lumber sold for $3,000 per thousand
board feet. It was the finest lumber available for a yacht.
LA TIMER: Could you give us a little
background on the preparation for ocean
racing that went on after her arrival from
Australia?
O'BRIEN: When we off-loaded her from
the freighter she went over the side with
her cradle attached of course. When we
got her to the yard we were faced with the
staggering problem of which 93' spar to
select, and all the various bits and pieces
of rod rigging...In effect, how to put this
magic machine back together, not ever
having taken it apart or having any training. Miraculously, with Alan Sturgess
and a couple of others we were able to do
it. Very presumptuously on my part I
ordered a crane for the following day to
lift the mast. By the time the crane got
there we had all the rigging hung on the
mast, all the halyards and messengers in,
the crane picked the stick up...I put in a
lucky gold piece at the mast step...She
slid right down, and we were basically in
business. We were sailing within 48
hours of her arriving in Vancouver.
There had been 3 containers full of miscellaneous gear that had to be sorted out.
There were at least 3 of everything, and
in some cases, 10! We emptied these
containers, and the contents filled a
130' x 40' flat scow. So we really did a
lot of head scratching to see what went
where.
Above —Though handicapped by the extra
weight of her engine and accomodations, ENDLESS SUMMER still nipped the heels of the
newer ENTERPRISE at San Diego, California,
this past January.
LA TIMER: What kind of changes did you
have to make to bring the boat up to
ocean racing standards?
O'BRIEN: Basically fill in the cockpits
for self draining purposes. That meant
sealing them all off and raising the soles
and putting in through-hull fittings. I had
to put in a galley, sleeping accomodation
for 12, 6 of which are fixed berths, the
other being pipe berths; and of course,
stanchions, pulpits, lifelines, horseshoe
rings, man-overboard equipment. I had
to electrically re-plumb the mast for
running lights.
LA TIMER: What about motive power?
O'BRIEN: The first year I had a special
custom made outboard with a 9' shaft,
which we affixed to the traveller with
clamps, and demonstrated that we could
propel the yacht at the formula multiplied
by hull speed; in fact we got up to 9 1/2
knots with the outboard. The following
year I put in an 83 hp Perkins diesel.
LA TIMER: When we sailed that race I
was very interested to see how you han-
18/WOODENBOAT 35
dled your position as owner, in that you
didn't take over the skipper's duties or
refuse to delegate authority. Do you have
a philosophy on that?
O'BRIEN: Well, I've had a lot of ocean
racing experience, campaigning my 80'
Ketch MIR in the Transpac and other
races. I believe that the secret of success
in keeping a yacht moving fast at all times
is crew compatibility. I also believe in
keeping the best people in the best positions. I think in the race you refer to, I
was the best cook on board.
the shots, while Olin Stevens looked on
with stoic serenity.
ENDLESS SUMMER'S ten years in
the water, and the added weight of her
engine and accommodation had obviously
taken their toll on her ability to accelerate. Nonetheless, we finished the day
with a very respectable tally of 2 wins, 2
ties and 4 losses, all but one of which
were close.
Sailing to the mark was another
matter. ENTERPRISE out-pointed us
...At this point we landed in San
Diego and headed straight for the marina
where she was lying. Sporting a new coat
of paint, with her name amidships on her
sheer strake, she looked different, but in
great shape for racing.
On the first day of racing, the winds
were light to moderate, seas cairn, and
we revelled in the warm California sun.
A very pleasant atmosphere prevailed on
board, with a 15-member pickup crew
from Canada, Australia, New Zealand,
and the United States.
Keeping in radio contact with the
Committee Boat/Tender and ENTERPRISE, we arranged to do a series of four
starts. On the fourth start we would go to
a mark about a mile and a half to windward, and then back downwind for a
repeat series. With Dave Miller in his
usual place at the helm, we tacked and
jibed in the exciting, tail-chasing duel
that only match racing produces. Aboard
very significantly. During the day there
were some rather ribald comments on the
very strange sounds emanating from the
aluminium 12, especially when slacking
off wire sheets under pressure.
The next day, with similar conditions
prevailing, we had the boat going a lot
better with rigging and sail adjustments.
We managed to get the most out of the
original old main, but put on a different
jenny for the first few starts, including
one excellent start when we creamed
them. This was a real charge in light of
the fact that we only had eight crew
instead of the optimum number of eleven.
Bill Payne of WOODENBOAT and I were
on the grinders and needless to say, we
both got a good workout that day.
And so, the story goes on: a fine boat
still moving in very fast company. As I sit
here aboard the flight back to Vancouver,
I wonder when I'll see her again. I dream
of how I would rig her for ocean racing...
nice, comfortable, open layout below...
maybe teak decks...a little cuddy like
ENTERPRISE, Lowell North was calling
ESCAPADE...
36 18/WOODENBOAT
The Boatbuilder's Lament
It was a cold and stormy night
Along the coast beside the sea,
And overhead, the roof did leak,
It leaked right down on me.
He turned to raid a chest of drawers,
With tears upon his face;
A copy of the WOODENBOAT
Was soon before me placed.
"I will admit, there is a place
For poetry and wit;
I'll even join in needling
These plastic boats a bit."
I sat inside the Builder's shack,
A den of filth and gloom,
With just one wind-blown candle to
Illuminate the room
"But hear me out, and tell these kids
"But, Mattie mine, I do believe this
The romance barely lingers
Younger generation
Displays the need for something more than For we who breathe through sawdust
Schoolbook education."
Lungs and flex epoxy fingers."
We shared a litte "medicine",
The Boatbuilder and I,
And it was there, that very night,
I saw the old man cry.
"Now, this here lovely magazine
Is what our country needs;
The sweet aroma of a rose
Amid the crop of weeds.
"When all is said and done, my lad,
You'll scarcely earn your oats
By chopping trees and sawing knees
To make your little boats."
"Oh, Mattie boy," he said to me,
"I guess I'm awfully glum.
Perhaps I shouldn't trifle with
This Demerararum."
But think of all the muddled minds
Who often wield the pen;
Against their sentimental stuff
My trade I must defend."
"So let us hoist a glass and toast
This craft that's quite demanding;
When building boats, what isn't work
Is generally just sanding."
What say you Matthew, is there hope?
Will common sense prevail?
These essays, poems, and scuttlebutt
Can't help me drive a nail!"
By Matthew Walker
Skill of Hand
The Planking Process, Part One
by Bud Mclntosh
Illustrated by S.F. Manning
So there she is, set up, timbered out,
rabbet faired, ready for planking. This is
the biggest single job, and probably the
most difficult for the beginner — not
because there's anything very complicated about it, but because much of it
depends on judgement, eye, and the
unconscious skill of hand that you gradually acquire without knowing it. The old
pro loves to fit planks because he can do it
without thinking, and it's his great talent,
with a sort of timeless rhythm to it, which
clothes and defines a thing of beauty.
What we're talking about here is, of
course, real planking in the ancient classical manner: fair-seamed, tapered, fitted and through-fastened to the timbers,
smoothed fair and caulked. Learn this,
and you are welcome to try edge-nailed
strips, battened seams, cold-molded
laminates, or chicken-wire-and-fiberglass. (I hope you will sometime try a
lapstrake job, because that is beautiful
indeed.) But for now let's get on with the
problems of smooth planking, which
keeps the water out, and the people in,
better than anything else I know of, and
delineates (at least for you, the builder)
the most beautiful shape that man has
managed to create.
So, first, you need to know what shape
the individual planks will be, before you
38 18/WOODENBOAT
worry about how to mark, cut, bevel,
hang, and fasten them off. This boat we
are dealing with is in some ways the most
difficult and complicated shape one is
likely to encounter, with wine-glass sections throughout, great area below the
tuck, extreme variations in girth, long
counter, and plank ends mitred to the
cylindrical-section transom, but that is all
to the good. I'm sure that if I can explain
it, you can understand it, and you may as
well know the worst at the beginning. It's
like swinging two bats when you come up
to the plate.
by eye, the lower edge of the proposed
sheer strake, cut a plank to that shape,
fasten it in place, and repeat the whole
process over and over till you get there:
in this case, the flat of the bilge, where I
hope you're planning to put in the shutter. This method is slow, laborious, and
lends to irregularities, but it works.
I prefer a somewhat more precise
system, which is based on the following
assumptions: Ideally, all seams are to be
fair curves from bow to stern; all planks
are to taper exactly the same amounts
approximately along Diagonal 2, (and if
from the widest point in the middle to
their narrowest points forward and aft.
Thus, if we have 16 planks, all exactly the
same width, on #4 station, we should
have 16 planks exactly the same width at
we're lucky,) also along what has been
#2, and at #6, and anywhere else in the
referred to elsewhere as the tuck ribband
length of the boat. This is a simple
enough proposition. Find the length, find
the girths at each section, divide these
varying girths equally into the same
number of parts, and you've got it — the
shape of the Ideal Plank, which, repeated
the proper number of times, will cover
the area beautifully. What we want,
then, is to get this information into precise, convenient and graphic form, so
that the man getting out planking can
determine in a moment the exact width of
Well then. If you will allow yourself to
to view the hull of our 39' sloop in two
distinct parts, separated for our purposes
(WB #11), you will dimly discern that I
have distinct approaches in mind for
these areas. The areas, one above and the
other below this ribband are for our purposes completely independent of each
other. Kindly ignore the lower one, and
bear with me as I attempt to line out the
planks that will clothe the area between
this special ribband and the sheer.
The simplest way to do this (and
entirely satisfactory if you have skill and
time enough) is to line out with a batten,
any plank at any place in its length, at or
between stations (e.g. proposed butts).
And the way we do it is thus:
Measure the distances between stations along a sort of Great Circle course
from stem to transom — say along the
ribband which lies between diagonals #4
and #5 on the body plan of the lines
drawing. These directions will increase
as you go away from the middle of the
boat. Write them down thus:
Stem to #046"
#0 to #1 50"
#2 to #3
#1 to #2
#3 to #4
#4 to #5
#5 to #6
48"
49 1/2"
48 1/2" #6 to #7 50"
49 1/2" #7 to tran. 53"
48"
Now find a clean board about 6" wide
and 6' long, and joint one edge straight.
Starting a few inches from one end, lay
off these distances, consecutively, to a
scale of 1 1/2" = 1' (1/8" = 1"), and label
each mark clearly (and of course correctly.) So you will end with a mark
labeled Transom exactly 4' 7 1/4" from
your starting point labeled Stem.
Leave this board now and find a limber lath, about 1/8" thick, 3/4" wide, and
8' long. This is a marking stick to get the
girths. Bend it inside the ribbands, with
its lower end resting on the top edge of
the special tuck ribband, close alongside
#4 mold, and snug against the insides of
the ribbands. Mark the lath exactly at the
height of the sheer mark on the mold.
Get the other six station girths in the
same way, being very careful to measure
exactly from the top of that critical ribband to the sheer mark. Don't get the
labels mixed. You will have to do a bit of
guessing on #0, because the magic line
has entered the rabbet before reaching
the station mark; and the girths at the
points called Stem and Transom cannot
be measured at all.
Now measure these girths, subtract
from each the thickness of the deck (1" in
this example), and write down the results
in inches and quarters. (For purposes of
illustration, we're using only the girth at
station #4, which is the greatest, measuring 75 2/4".)
It is now time to decide how many
planks (and of course the maximum width
of each one) are to be used to cover this
space. A workable rule of thumb on
widths goes like this: maximum width of
a plank should not be less than four nor
more than five times the thickness of that
plank. If we apply this rule here (based
on 15/16" thickness of stock), we want
not less than 4" width at station #4, where
cross lines, from the straight edge of the
board, the width of plank obtained in the
process of dividing each corresponding
girth by 17. Now we have a series of
marks, arching from #0 upward to greatest height at #4 and back down to the
mark on the ordinate labeled #7. Drive a
small nail firmly at each of these points.
Find a flawless pine or spruce batten
about 1/2" square and 5' long. Bend it
around inside, and touching, the vertical
nails, and hold it against them with three
or four nails driven snug against the
inside face of your batten. The result
should be a fair convex curve, requiring
no local forcing of the batten to make it
touch all the marks. If any great discrepancies show up (a point more than 1/4"
away from the line the batten wants to
follow), you'd better check your arithmetic. Pull down the ends of the batten
beyond the #0 and #7 ordinates until it
exerts no pressure at these two points,
and accept its decision as to the correct
widths at the end ordinates — Stem and
Transom. When you are satisfied that
the curve is correct and fair, mark a sharp
line on the board the full length of the
outside of the batten. Pull the nails and
there she is — the true shape of the plank
that, repeated 17 times between sheer
and tuck, should fill the space water
tight.
With this diminish board you can now
determine the correct width of any plank
at any point between the ordinates. Suppose a plank butt is to come in a bay
whose center is 18" forward of #3 station.
In the longitudinal scale used on the
diminish board, 1/8" on your rule equals
1" on the full-sized hull; therefore, measure on the board 2 1/4" (18/8) from #3
the girth is greatest. A monumental
effort in 4th-grade arithmetic indicates
that seventeen planks, each 4 7/16" wide,
will come somewhere near filling this
gap. So we divide each of the six other
girths by 17, to get the width of each
plank at each station.
Now comes the moment of truth.
Go back to the board with the intervals marked on it in 1 1/2"-to-the-foot
scale. Draw a line square across the
board at each station, stem, and transom
mark. Now measure along each of these
18/WOODENBOAT 39
ordinate toward #2, and take at this point
the correct width (from edge of board to
the curved line) of the butt end of the
her — and under your belt, as it were —
you can experiment with edge-setting as
much as you want to; but get these
plank you are marking.
binders on first.) Very well, then: draw
this line, representing the top edge of the
sheer strake, keeping the legs of your
scribers at right angles to the line of the
batten. Now, very precisely, note (on the
spiling board) first, the extra distance to
be added to the plank to reach the rabbet
Let's mark and fit a few, before we
face the day of reckoning that awaits us
when we must go down below: down to
the garboard, and the stealers, and the
awesome bevels in the tuck; where your
knees give out, and you hang upsidedown
like a nuthatch on a fence, trying to think
of some way to clamp and edge-set a
plank that's too hot to handle anyway.
Arm yourself. Handful of five-penny
box nails, scribers, light hammer, cross-
cut saw, bevel gauge, half a dozen C
clamps, — and spiling staff, which is a
thin board, 4" to 8" wide and as long as
the longest piece of planking stock you
propose to use. If this spiling board has a
gentle S curve in its length it will do fine
for the forward planks on the topsides; aft
of amidships you'll need one with a
gentle concave curve all the length of its
line; second, the location of all stations
(molds) for the purpose of marking
widths to the lower edge; third, the location of the butt. I like to start the sheer
strake from the stem with the longest
plank available, for reasons which will be
apparent shortly.
So now we have on the spiling board
the exact curvature of the top edge of the
sheer strake, from stem rabbet to butt,
carefully marked in the middle of a bay
top edge. Before you're through you'll
some 20' aft of the stem; and we have
notations of the locations of all molds so
far covered. This, with the diminish
board, provides all the information we
have short, narrow (and very thin)
boards, which have been used, and
clamps, carry the spiling board tenderly
planed off, and used again until you get
to know them like old familiar faces. I
have one long crooked cedar board that's
been in use for 25 years, and is so thin
you can barely pick it up by the middle.)
Set up the staging planks on high
horses, oil drums, what have you — so
that the sheer line is waist-to-shoulder
high on you. Tack a long true batten to
stem and molds and transom so that its
lower edge delineates the exact line of the
sheer (as determined in the setting-up
process described in WB# 13, 14 and 15.)
Now get the spiling board into place:
forward end almost touching the rabbet,
and down two or three inches from the
sheer line; middle right up to the batten;
after end probably too low. Try to adjust
it (without springing it edgewise) so that
you can, with the dividers locked at one
setting, run the whole length of it with a
pencil line which will be equidistant at all
points from the edge of the batten. Before you draw the fateful line, however,
be sure the patient is comfortable —
twisted to lie snug against the frames,
relaxed all the way. (You want the sheer
strake to be cut to fit, not edge-bent to fit.
With three or four strakes all around
40 18/WOODENBOAT
need. Therefore we can now take off the
to the three horses where lies the raw
plank (1" x 10" x 21', probably mahogany), and mark the shape of the forward
half of the sheer strake, port side.
Set your dividers at about 1/4" greater
span than was used to mark the line on
the spiling board. Use this span as a
guide in placing the spiling board on the
stock, and then, with sharp leg of the
dividers on the line, swing short arcs with
the pencil end on the stock. Do this at 12"
to 18" intervals along the entire length of
the line you're transferring. Now mark
on the new plank all the other information
you've got on the spiling board: the exact
spot where the top edge of the plank will
hit the rabbet line at the stem; the location of each station where the plank will
cross it; and the location of the butt cut
(which will of course come midway in the
farthest-aft bay that the plank will reach.)
Now put the spiling board aside, and
drive a nail (five-penny box, one tap) at
the top of each of the short arcs you
marked. Bend a batten against these
nails, and you should be able to draw a
line along it exactly parallel to the one on
the spiling board, and representing the
top edge of the sheer strake. Now get
from the diminish board the exact widths
indicated at each of the stations marked
on the plank; lay off these widths, and the
width at the butt (obtained by scaling to
the right spot on the diminish board, and
measuring directly from it); tap in a nail
at each mark, lay the batten to them, and
draw a line which will be the bottom edge
of the sheer strake.
And now to cut this plank. The men of
old did it with a hand ripsaw, and no fuss
about it. Some moderns use a big bandsaw with a wide blade that won't wander.
Others use an electric-powered circular
handsaw, which you very likely possess — and a very good way it is, too, if
you can follow the line accurately, freehand, or will take the trouble to tack a
guide-batten at exactly the right distance
from the line to be sawed. I use this last
system if I'm dealing with a plank more
than 24' long. But for anything shorter
than that (and it can be very curved
indeed) I always use the old slow table
saw, with an 8" or 10" blade, and a wide
extension table stretching away beyond it
for 16' — and, of course, a roller 8' in
front of the saw, and a support 10'
beyond that. With a little practice, a
sharp saw properly set, and relaxed confidence, you can with this system make a
smooth, fair cut very quickly and with
great precision. Do not shrug this off
with the thought that you'll cut safely
outside the line anyway, and work it down
to size with your plane. Maybe you can
afford the time and the muscle, but you
must be highly skilled indeed to end up
with a curve as fair as the curve that saw
can cut for you — right to the edge of the
pencil line, needing only one pass with a
good plane from end to end of the plank.
So learn to saw to a line, and learn to set
and file that saw. And never, never
fasten a plank on a boat if it has humps
and hollows on its exposed edge. That
way madness lies...
Go ahead then, and cut. Dress off the
lower edge fair and true — and square.
With your bevel gauge, get the angle
between sheer batten and rabbet at the
stem, mark and cut the forward end of the
plank, and STOP right here, curb your
eagerness, and go mark out an exact
mirror duplicate of this post plank. But
do not cut out this twin plank until you've
tried the first one in place.
Now's the great moment. Pick up the
plank about at its balance point, lay it up
against the frames, and move it endwise
until the nearest station mark lines up
with the corresponding mold. Clamp it to
the nearest frame, with the top edge 3/4"
below the batten; go forward and swing
the end in to the stem. If it's within a 1/2"
of the rabbet, clamp it lightly to the forwardmost frame, then to the stem; go
back and lightly clamp the after end
(beyond the butt-mark, if it reaches) at
the right height under the sheer batten.
Tap the butt end with a heavy hammer,
gently, until the forward end fetches into
the rabbet. Beware that it has not slid up
the slope of the stem beyond its proper
height. (For deck thickness, remember?)
If it's a good fit in the rabbet, tight inside
all the way and showing a sixteenth-ofan-inch outgauge, clamp it tight. If the fit
is not good, swing the end out and plane
it as necessary. Swing back and clamp;
tap ahead again; proceed to put a clamp
on every frame, being very careful to
keep that top edge at its proper distance
below the sheer batten. When planking
from the sheer down, I always put the
clamps on the forward face of the frame,
under the plank, and inside out — that is,
with the threaded part inside the boat.
This arrangement keeps them out of the
way of the fastenings, which are always
staggered according to a fixed pattern:
the lower one toward the after edge of the
frame, the upper one forward. Do not try
to get away with any short cuts, such as
clamping to every other frame, because
the two laminations of the frame must be
snug together, and the face of the plank
must be tight to the frame, before a
screw-fastening can be put in properly.
All set, then?
Get out your 1/2" counterbore, with
tapered drill to fit 2" #14 screws and
proceed to fasten off, 3/4" up from the bottom edge, and 1" down from the top.
Counterbore about 5/16" deep, no more.
This act will do things for your morale,
and anyway you've got to get those
clamps free before you can do anything
else. (The principal difference between
professional and amateur boatbuilders, I
think, is not that one does a better job
than the other, or gets more for his pains,
but simply that the pro has finally
managed to acquire almost enough
clamps, and has been forced by bitter
necessity to learn more ways of making
them work.) You will have come up
against this truth while struggling to get
that forward end tightly in place without
hopelessly obscuring the target that your
drill must hit.
And why, you may ask, did we fasten
this plank with screws, when we're supposed to be using copper rivets? Simply
for this reason: when you come to bolt
through sheer strake and frame heads to
hold the sheer clamp in place, you'll find
that about half the bolts will go best
where you've already driven plank fastenings. Screws you can take out, to
make way.
Right now, before you forget it, mark
on this sheer strake with bright red chalk
the bays where the chainplates will go.
This is sacred ground, and no plank butts
can be allowed to happen hereabouts
until you're down at least eight strakes.
Ignore, now, the temptation of that
twin plank all marked to cut, and make
ready to fit the after part of the port sheer
strake. I hope that the plank you have
just fastened on extends at least 6"
beyond the butt cut (square with the top
edge, up from the lower edge with a
sharp handsaw,) which you are about to
make. This waste end is your secret
weapon. Mark it "out port" and save it.
Now clamp a spiling board from the butt
to and beyond the transom frame (I'm
assuming that you have stock long
enough to make the distance in one
piece), and repeat all the business you
went through on the forward plank:
scribe for the top edge; mark station locations and after end at transom; indicate
exact distance to butt from end of your
spiling board; transfer all this information to the piece from which the plank will
be cut; lay off the widths, for bottom edge
curve, from the diminish board and finally, lay that "out port" waste piece on
the marks just as it would have overlapped the new plank if it had not been sawn
off. This waste piece gives you the exact
width, and, more important, the exact
curvature of both edges, that the new
plank must have to match the first one.
You get also from it, theoretically at least,
the right line to saw for this matching
butt end. You will use this trick over and
over as you continue the planking, so
you'd best get it clear in your mind right
now. This is the most useful of all aids in
getting the butts fair; and if you think
that's an easy thing to do, or not very
important anyway, just you wait until
you've had to work a real humpy one
down with a rabbet plane, and then tried
to fit the next plank to the irregular curve
and the out-of-square edge that you
ended up with. If you're going to get
clear around her with a strake a day, from
now on you can't afford to have those
curves anything but fair and sweet from
end to end.
Having settled this, let's hang the
plank. Shave the butt end to fit tight,
clamp along and swing in to the transom
frame, get the top edge on the marks and
look at the butt. Chances are two to one
that the fit is not perfect. So run your
well-set crosscut up the joint, go aft and
tap it ahead. Repeat until the joint is
airtight; then mark at the transom frame
for the mitre cut. The inner line will
obviously lie along the outer edge of the
transom frame; the outer line is determined by laying a piece of 15/16" stock
against the transom frame, under your
plank end, and marking where the outside surfaces of each intersect. If this
isn't clear, to hell with it. Anyway, the
cut will be roughly at 90 deg. to a tangent
to the transom frame at the edge. And be
sure that the plank is really at the right
height on the transom (you can sight from
the plane of the cross-spalls, and
measure up to the height given in the offsets) before marking. Probably you'd
best take the whole plank off again before
you make this cut, because it's a very
awkward thing to do (what with your
hand trembling, and trying to see both
sides of the plank at once) and the plank
may need just the least bit of backing out
at its after end. "Backing out" means
hollowing (or, down in the wineglass sections, rounding off) the inner face of the
plank to lie snug for its entire width
against the curved frame. You can use a
short bit of 1/4" square lead bar, bent to
the right curve, as a guide in the hollowing process, or you can use the guessand-try method, which works fairly well
18/WOODENBOAT 41
squeeze the two together while you fasten
the second one in place. At this stage,
high on the topsides, both jobs are relatively easy to do; but the techniques are
basic, and you may as well learn the
whole business now as wait until things
get to be more complicated.
Beveling, then. What you're aiming
at is to have all the seams open the same
widths on the outside, and light-tight on
the inside. Ideally, with planking of this
thickness, the opening for caulking
should not be over 1/8" anywhere on the
boat, and preferably a bit less than that.
A joint that is tight both outside and in
can be caulked, and is forgivable but not
to be praised. A joint that is tight on the
outside and open inside is a terrible thing
in the sight of God and man, and can
never be forgiven. (Judged on these
grounds, and others, of course, very few
of us old pros can hope for much in the
Hereafter, but there's a very slick system
of caulking a seam endwise that sure
worked wonders on the last shutter I
fitted.) [Do not take this man seriously — Ed.] To proceed: the bottom
edge of the sheer strake was left exactly
square, as it came from the saw. I always
leave the open edge of every plank
square, and do all the beveling on the
edge of the plank which is to fit against it.
Therefore, since the frames are practically straight up here, you need only
plane a uniform outgauge of about 3/32"
the whole length, and the seam should be
after you've practiced a few years. And
O, my friend, if you value your sanity, do
not forget to mark out a twin to this plank
before you fasten it in place. I have seen
a man jump on his hat and knock off for
the day when he remembered this too
late. Have you corrected the bevel on the
transom frame where the plank lands?
All right, then: clamp it in place again,
and fasten off.
We've still got the butt block to fit.
I'm beginning to wonder if we'll ever get
a sheer strake clear around her.
Butt block. This should be a piece of
black locust (or white oak, black walnut,
or even dense mahogany) overlapping the
adjacent planks, above and below, by
about 3/8", and with ends about that much
short of touching the frames forward and
aft of the butt. The block should be little,
if any, thicker than the plank stock, and it
should be fitted exactly to the hollow and
twist of the inner surface of the planking.
Hold it in place with C clamps inside out
on the high corners; drill for three fastenings in each end, 1" back from the butt;
and two more in each plank, a third of the
way in from the edges and half-way from
butt to frame. Drill for 1 3/4" #14 screws,
counterbored 5/16" deep, for the end
fastenings, and for #8 copper rivets to
take the back ones. Ream those end
holes (through the planks only) with a 1/4"
drill, lest you start to split. And now take
the clamps off, soak the contact surfaces
and the ends of the block with strong
poison, re-clamp and fasten. By now
you'll know why butts cost money, and
42 18/WOODENBOAT
why the pros like to use long stock.
Now for "Out, Star., For'd," which
has been waiting all this while. Saw it
out, run your plane the length of the
lower edge (if the shaving breaks, find
out why) and go to the pile of planking
stock. Choose a piece 3 or 4' shorter than
the one you've just shaped, and proceed
to mark the fop edge of this second plank
from the bottom edge of your sheer
right. But before we go through the
business of edge-setting this plank into
place, let's consider the more complicated situations that will soon arise, and
how to handle them.
Look to the drawing, now, which
shows two cross sections: one from the
sheer plank down past the turn of the
bilge, and the other through the reversed
bend in the way of the tuck. This drawing
is not to scale, and merely illustrates the
strake. Lay off the widths to match the
general characteristics of the plank seams
sheer-strake widths, line out the bottom
edge with a batten and saw out. Dress off
the edges fair, mark a twin; then use the
lower edge of this second plank to mark
the top edge of yet a third one, which will
be short enough to butt perhaps two bays
forward of the forward chainplate.
Repeat the process to get the line of the
lower edge, saw out and mark the twin;
and you have five planks ready to bevel,
back out, hang and fasten, all on the
strength of the original spiling. This is
Proliferation. If you could only mark
those after planks the same way, life
would be beautiful. It is not entirely
ridiculous to hope, however, that after
you have finished these three strakes all
around (spiling for each of the after
ones — the second and third of which will
be in two lengths each) you can take
another long spiling from forward, and go
through the whole happy business all
over again.
But right now, with a plank ready to
go next to another plank, you are faced
with two important problems: First, how
to fit the seam; and second, how to
in these two areas. Working down from
the sheer, then, we see that #2 must be
beveled off on the outer edge, to about
87 deg. The third plank, landing where
the frame has begun to curve, needs no
bevel at all, either way, at this point. But
the fourth one needs cutting down on the
inside edge, in order to keep the seam
uniform with those above it. This need
for ingauge, reverse bevel, or whatever
you want to call it, increases progressively as we approach the hardest part of
the bilge curve, reaching a maximum of
16 deg. (106 deg. — 90 deg.) on the top
edge of #6 plank. The bevel starts the
other way on #7 — and by the time you've
got down on the flat, you'll be back to the
87 deg. outgauge that was necessary
on #2.
Now consider the other half of the
drawing — the section through the tuck.
We plank up from the garboard, leaving
the top edge of each plank square as we
fit it, making the planks narrower (and
out of slightly thicker stock, if we have it)
as we come into the quick turn. The cutback of the inner edge reaches a maxi-
mum of 23 deg. (90 deg. minus 67 deg.)
on the lower edge of #19, which of course
is fitted to the square top edge of #20.
(Remember that these planks are entirely
fictitious, and are not intended to bear
any except family resemblance to actual
planks.) Now, the painful part of all this
is that the bevel on any given plank must
be constantly changing, from bow to
stern, if the seams are to be constant,
uniform, and caulk-able. Therefore
you've got to learn to take bevels, and
develop a feel in your planing hand so
that you can roll the bevel from one spot
to the next without abrupt transitions.
You'll do a lot of cutting and trying to the
first few planks to fit. (I'm still doing a lot
of cutting and trying, after some 40 years
of it, but I'm beginning to catch on.) The
problem hasn't changed in 2,000 years,
which is one of the things that make boat
building a fascinating business.
Pay no attention to that business with
degrees, and make yourself a planker's
bevel. Take a bevel every two feet and
mark the angle on your bevel board.
If you are not using good crooked
round-edged boat boards, which provide
shapes to match your spilings, then you
must be using straight-edge stock —
medium widths from 6" to 12", say, with
8" and 10" boards making up most of the
batch — and you'll be shocked, if not
dismayed, at the curves you must fit to, if
cut to precise shape, will run to terrible
waste and too many butts; therefore, you
can be allowed some discreet cheating.
Bend them edgeways — but not too
much. Let the spiling batten do the
thinking for you. Use one about 4" wide
and not too shaggy, so that it will bend
edgeways evenly; force it up in the middle, tenderly, and clamp it in place. Set
your scribers to the widest necessary gap,
and mark the line; if you run off the edge
before you get to the ends, re-set scribers
to just under the end widths of the batten,
and mark these inner lines at the ends,
overlapping the original line. Mark on
the batten, exactly, the two settings
you've used, even thought the overlapping lines will show how much alteration
must be made when you shift from the
wide gap to the narrow. Now, when you
place the spiling batten on the stock to be
marked, spring its middle slightly down
thereby making the top-edge line (which
you are about to transfer, with your little
arcs at 18" intervals) yet more nearly
straight than it appears on the unsprung
batten. The batten has recorded and
allowed for the stresses that the plank
will undergo — and kept the bending
mostly within the middle third of its
length, so that the ends, which can't be
forced much anyway, are cut very nearly
true to the actual shape required.
And don't forget to mark (on the new
plank) where the butt comes on the one
above it. This is the doubtful part of the
curve, and should be laid out with care.
And after you get one of these sprung on,
put on the burrs and head up the rivets on
the lower edge, or it will try to make itself
look like a clapboard when you drive the
fastenings into the next one below. If you
don't want to take time for this riveting,
or can't find a victim to hold the dolly,
fasten the lower edge with screws. Quiet
your conscience with the thought that a
few days in the good salt water will relax
that plank as if it had grown there.
It would be cruel to interrupt at this
point, when everything is going well, and
suggest that you shift to the garboard. So
go ahead and plank her down to the flat of
the deadrise. And if you go one plank too
far, where it's starting to turn the other
way, you'll be sorry. Shutters are bad
enough, even with everything in your
favor.
One other thing. As you sit inside the
hull in the late afternoon, admiring the
graceful sweep of the planking, you will
suddenly note with horror that some of
those seams, light-tight (or nearly so)
when you fitted them, now look, against
the window, wide enough so you could
recognize friends passing by — even
though, when you examine them closely,
you can't get a thumbnail into the crack...
I remember Sam Crocker on this subject,
back in the '30's, when I'd been trying,
unsuccessfully, to keep him away from
the dark side of the boat. "I know these
seams are all right, and you know they're
all right, but please get a little cotton into
'em before the owner shows up, because
He Doesn't Know Anything." So we did.
(End of Part 1)
18/WOODENBOAT 43
Plans for Marigol
Complete Building Plans for
12' trailerable sailing dinghy,
available at last.
Issue 12 of WOODENBOAT carried an
article by Mr. Gifford Jackson of Auckland, New Zealand, describing the
qualities of a handsome, contemporary
12' 6" sailing skiff which he designed
for his home waters. So practically
exquisite was this little craft that many
readers inquired as to the availability of
building plans. After some consideration, Mr. Jackson agreed to work up a
very complete set of drawings with
accompanying comment aimed directly
at the skilled amateur. When we received the 35 incredible drawings
devoted to the elements and intricacies
of the boats stucture, we were awed by
the complex of details. An industrial
designer whose task it is to provide
clear and concise information on all
points of structure, Mr. Jackson has
produced drawings which are pure
works of art.
Guiding the construction of the boat
in a sensible, step by step fashion, the
44 18/WOODENBOAT
designer makes use of perspectives
rarely seen in small boat plans, providing the novice with important insight
into how the structure comes together in
sequence. While the novice would want
to make use of the available boatbuilding texts, the drawings will fill the voids
left by complex jargon and lack of illustration in these texts. And while we
speak here of the novice, we want to
assure readers that this skiff is wholly
unlike any of the stock plywood designs
normally developed for amateurs, and
will require patience, care and craftsmanship in its execution. Indeed, the
original was built with extreme care by
one of New Zealand's finest boatbuilders, and the model will provide a
constant and inspired challenge.
In the past two years, Mr. Jackson
has been evaluating the performance of
this unique craft, and has added to his
original text some important update
information on such things as buoyancy
tanks, her behavior in capsize conditions, and her basic handling characteristics under a wide range of circumstances. Altogether, he provides us
with a complete and contemporary view
of a simple but exquisite craft, one
which is destined to help shape the
future of our traditions.
The complete package on Marisol
contains 25 pages of textual material
discussing each of the drawings, and
outlining tools and materials in general,
14 full color photographs of some of the
details of the finished boat, and 35
sheets of drawings measuring 24" x 34"
each, indicating details and scale where
necessary. (Note: all measurements
are in millimetres.)
Price for the complete package of
material, mailed postpaid in the United
States and Canada is $85. Mr. Jackson
has very kindly offered to correspond
with anyone who wishes to discuss
aspects of the boat's design or construction with him, and of course we at
WOODENBOAT would be happy to be
of any assistance if necessary.
To place your order, please enclose a
check or money order for the full
amount ($85) payable to WOODENBOAT and we will process your order
immediately. Please allow 3-4 weeks
delivery. (Maine residents please add
5% [$4.25] sales tax to their order.)
Send to Marisol Plans, WoodenBoat
P.O. Box 78, Brooklin, Maine 04616.
Duo-Fast has some great ways
to deliver quality construction and reduced costs in the wooden boat building industry.
The Duo-Fast line of stapling
and nailing tools offers the finest quality
and service available. Stapling tools
drive a large variety of staples in heavy,
medium and light gauges, with a wide
choice of lengths, points
and coatings.
Nailing tools drive
smooth, ring and screwshank nails up to 3 1/4"... dia-
mond, blunt and needle points...most
with exclusive Duo-Fast coating. Brad
and finish nailers are also available for
touches of boating craftsmanship.
Duo-Fast staples and nails are a
smart alternative to expensive bronze
screws. These Duo-Fast fasteners
come in galvanized, aluminum, bronze
and wire to handle any wood assembly job.
C
ontact your DuoFast distributor. He has
the variety to save you
time and money.
On the last dock in the last marina In
Santa Barbara harbor, we found
RELIANCE. She embodied everything
my husband and I wanted in a boat, and it
wasn't until after we took possession of
her that we discovered how lucky we had
been. She was our first gaff-rigged
schooner, and now we wonder why this
particular rig has gone out of style, for
while it's true that clawing off a lee shore
in a hurricane could be a problem in
RELIANCE, I wouldn't want to do it in
a marconi sloop either, and off the
wind she's incomparable.
RELIANCE is a modified pinky
schooner, designed by Howard I. Chapelle in 1937. When Chapelle designed
her, however, her type was more than 200
years old. According to Mr. Chapelle in
American Fishing Schooners, "pink"
schooners were recorded in Massachusetts as early as 1727. But far from being
obscure antiques, they were still being
used to fish the Grand Banks as late as
the early 20th century. Mr. Chapelle
designed a pinky which contained typical
hull and rig characteristics, of the Eastport (Maine) pinky as described by old
customhouse records and discussed in his
American Sailing Craft, and half models,
to be used as his personal yacht, GLAD
TIDINGS. It is from these plans that
RELIANCE was built.
The most striking characteristic of
RELIANCE is her sturdy construction.
Built by Dean Stephens in Santa Barbara
for David Hamilton and launched in 1971,
she has 1 3/8" vertical grain fir planks over
double 2" x 3" sawn oak frames on 12"
centers, with 12,000 pounds of internal
lead ballast. Her dimensions are LOA
39' 6", LWL 32' 6" and a beam of 10' 6";
she displaces 32,000 Ibs. Her masts are
relatively short — foremast 37' and
mainmast, 42' tall; she carries 785
square feet of working sail and a total of
1,425 square feet with the genoa, gollywobbler, and main gaff topsail.
Her interior has two cabins and she
sleeps four comfortably. The forward one
has two settees with berths outboard and
a rosewood dropleaf table. Aft, and to
starboard of this is a galley. Her aft cabin
contains an enclosed head, double berth,
and navigator's table, as well as a large
clothes locker. Her interior is cedar and
tjarra wood from India.
One of her most important merits is
that the machinery aboard is simple,
reliable, and kept to a minimum. She has
an MD-2B Volvo 2 cylinder diesel engine
and carries 25 gallons of fuel, which also
feeds the heater. Cooking is done on a
Shipmate kerosene stove, and there are
three water tanks carrying a total of 75
gallons. There are no electric lights
aboard, and no wasteful water pressure
system. We have none of the more common threats of other boats: no electrical
fires, alcohol fires, or gasoline explosions, nor are we depressed when our
electricity goes on the fritz or the battery
goes dead.
But this nearly perfect boat causes
strange behavior in my husband. For
example, one day I came home from
work, and he was at the head of the main-
mast, "surveying" his domain. He
remained up there for two hours after the
sun went down. Another time I found
him crouching uncomfortably in the sail
locker with an expression of wonder on
his face. "Look at these frames. Just
look at these frames!" he kept repeating.
And once he paced from cabin to cabin,
pulling things out of lockers and putting
them back, carefully examining all the
spare parts for the stove, head and
engine. "Damn Hamilton. He thought of
everything. There's nothing to do on this
boat!" he muttered. The dour mood continued for a few days until one day I came
home to find him sitting happily in the
cockpit, drink in hand and surrounded by
wood shavings and tools. He was installing two more lockers in the cockpit for
easier access to life jackets. The project
kept him busy for several days, after
which he again lapsed into gloom.
RELIANCE is not the boat for a frustrated
cabinetmaker.
After we had owned the boat awhile,
though, we did find some things to do.
Dean Stephens may have built the perfect
hull and David Hamilton may have
thought of all the little things such as a
plastic bottle to catch the drippings from
the anchor chain, but the rigging is ours
to play with to our hearts' content. Our
first addition was lazyjacks on the main.
We also raised the fisherman peak halyard block to the head of the mainmast to
provide more usable sail area, added rigging for a main gaff topsail which is
hoisted on its own yard, added winches
(horrors!) for the genoa and gollywobbler, and rigged running backstays to
compensate for the forces caused by the
extra sail area. Mr. Chapelle passed
away before we could consult him on
these modifications, so many of them are
experimental.
Above —There are few sailboats faster than a
good schooner on a reach, in a breeze.
Below —At rest, RELIANCE has a certain
timeless beauty, and seems strangely unworried
by the prospect of storms and hard knocks ahead.
18/WOODENBOAT 47
48 18/WOODENBOAT
18/WOODENBOAT 49
As Oleg is a professional boat painter
and built a 40' Sea Wolf, we originally
thought that the maintenance on RE-
LIANCE would be relatively easy. In one
way it is, in that when we bought her, she
was in mint condition, and all we have
had to do is maintain her. However,
this maintenance includes keeping the
running lights, binnacle, and cowl vents
sparkling, keeping the fir decks bleached
and oiled, and constantly retying the
innumerable turk's heads, Matthew
Walker knots and whippings which
always need attention. As the official
bosun aboard RELIANCE, I have learned
to worm, parcel and serve, climb aloft on
the sail lacings and have added to my
repertoire of knots such obscure beauties
as tops'I halyard bends and stun'sail
boom hitches.
Under sail, RELIANCE has a mind of
her own; because of her long shallow keel
she resists changing course. But because
of the great number of sail combinations
she has, she can always be perfectly
balanced. We rarely have to steer her
when under sail, except when reefing or
coming about. She has a wind vane
aboard, but we never use it because she
steers herself without it. The drawback,
if you want to call it that, is that you cannot overpower her with the rudder. Nor
is she the boat for round-trie-buoys racing
or harbor cruising. She wants to be in the
ocean, going somewhere a number of
miles distant, and preferably not to
weather.
She is exceptionally good in heavy
winds, and despite her 26' main boom,
the two of us can reef her at sea, and have
done so a number of times. Her stern
allows her to almost ignore the actions of
following seas, and she is so stable that,
once in the cabin, one can almost forget
the conditions outside. Remarkably
enough, with all of this she is an exceptionally good performer in light winds as
well. When the winds are so light that
smaller boats are bobbing around in the
chop, spilling the wind from their sails,
RELIANCE'S weight gives her enough
momentum to keep moving, albeit somewhat placidly, from puff to puff. We have
been known to pass boats in less than five
knots of wind which would have to give us
two minutes a mile if we were racing.
RELIANCE'S racing record is not bad.
Besides having taken several trophies in
schooner races, she's won overall honors
in the Long Beach Ancient Mariners
Race, beating not only schooners, but
yawls, cutters, sloops and ketches
as well.
After one victory, one of the crew
made an entry in the log which read, "We
just had breakfast, ham and eggs, toast
and coffee, but RELIANCE brought home
the bacon." It's an exciting thought.
Racing in this country has its roots in the
schooners who raced home from the
Right —RELIANCE'S cabin looks like a good
place to live, on a cold rainy day in harbor, or a
long passage.
50 18/WOODENBOAT
Banks with their catch, when to be first
meant getting the highest prices for their
fish. To be "bringing home the bacon"
some 200 years later is quite a recommendation for this unique design.
Ed. Note: At the second annual Small
Craft Workshop in June, 1971, Howard
Chapelle remarked in an address that he
could never understand the popular passion for Colin Archer types when our very
own New England Pinkies were faster,
abler, and far more suited to extended
voyaging than those which were developed primarily for heavy weather rescue
work.
In the section on Pinkies in American
Sailing Craft, Mr. Chapelle has this to say
in 1936:
"The possibilities of the pinky type for
yacht use have not been fully investigated, but it seems evident that the pinky
yacht is practical in designs whose deck
lengths are between 30 and 60'. The hull
could be utilized with other rigs, such as
the sloop, cutter and ketch, but the yawl
rig would be impractical.
"The design shown is capable of
development, and can be modified within
reasonable limits without "improving"
the type out of existence. It seems evident that we are under no necessity of
improving foreign types and designs
when we desire a seaworthy cruiser. We
have a wide range of double-ender types
in our own front yard, all being developed
for the conditions met on our coasts and
of varying size and draft. Why, then,
continue to import types of doubtful value
for use in our waters?" *
Two years later, GLAD TIDINGS was
launched from Sawyer's yard in Milbridge, Maine.
* Copyright, International Marine Publishing Co.,
Camden, Maine. (Available from WOODENBOAT
Books).
Cradles
For Storage
And
Shipping
By Daniel
MacNaughton
If you hope to enjoy boating fora long
time, it is best to do one of two things:
1.) get rich enough so that you can pay
someone else to work on your boat, or
2.) develop a perverse attraction to maintaining and repairing wooden boats.
Most of us choose the second option, or
just suffer through. Working on boats
can be an enjoyable and rewarding experience, if you approach it with the right
attitude. It helps if you take the pain and
anxiety of it all away, any way that you
can. One of the most important ways is to
have a proper cradle for your boat.
The advantages of having a properly
cradled boat are not to be underestimated. If she is level, fore-and-aft and
athwartships, your scuppers, drains and
limber holes will all work properly. If you
set something down on a dependably
level surface, you needn't worry about it
rolling off and hiding someplace. If the
ends of the boat are properly supported,
and if she does not wobble and shiver
underfoot when you move, you can stroll
around the boat with ease and confidence, saving much in time and worry.
On those long winter nights when the
snowfall is heavy and the wind is high,
you will sleep easier knowing that the
boat is in no danger of injuring herself.
Your boat will not become one of those
victims of neglect which may be seen all
around the country, hogging and sagging
quietly, looking as if they were eager to
return to the earth from which they
sprung.
When designing the cradle, one
should consider the yard facilities available for hauling and storing. If you are
hauling the boat on your own shore, or in
one of the little vest-pocket sized yards
which are scattered along most coasts, it
is possible that you will be performing the
operation without the benefit of a railway
or lift. In a case like this, the boat is
usually floated onto the cradle at high
tide, and dragged up the beach with a
jeep or winch, with or without rollers. In
this instance, the cradle is the major
component, from which success or
disaster will result. As such, it deserves
considerable attention. This cradle must
withstand some shifting of the boat from
side to side, and bridge irregularities in
the ground, as it is being moved. The
ends of the fore and aft members must be
cut off at an angle, so that they will not
dig into the ground. These members
should be heavier than might be the case
in more sophisticated yards, so that they
will remain rigid while in motion, and
withstand several years worth of abrasion. There must be clear passage for the
keel or other underwater appendages to
enter the cradle. The cradle should have
a fairly wide stance, for stability on
uneven ground. All bolt heads in the
bottoms of the fore-and-aft members
should be recessed, so that they do not
snag the ground. This cradle had better
be all ready to support the boat, requiring
only the addition of the final wedges and
pads to protect the hull, when the boat
arrives. "Time and tide wait for no man."
If you aren't ready, when the falling tide
18/WOODENBOAT 51
sets the boat firmly on her keel, you've
got a boat on the beach, and you'd better
put the thinking cap on, quick!
Other yards will have a marine railway to haul the boat and cradle with.
Again, the boat must be floated into the
cradle, so plan the structure accordingly.
With a railway, the Panic Party Potential
is much reduced, in most cases, by the
fact that it is usually not necessary to be
too concerned about what the tide is
doing. If more time is needed to reposition the boat, or adjust the cradle, you
may have it. It is often possible to construct only the bed of the cradle beforehand, and use uprights on the railway car
itself to support the boat while the rest of
the cradle is made to fit. With a railway,
the passage from water to land and vice
versa is much smoother than when simply
dragging her up the beach, so the cradle
can be somewhat less rugged, though of
the same essential design.
It is well to consider at this point that
you may not always be hauling at the
same yard, and that a potential buyer of
your boat may wish to move to another
yard. Choosing a versatile cradle design
may be a good investment. (See fig. 1 for
a design type which could be used with
any hauling set up, including those mentioned above.)
If you will be hauling at a yard with a
travelift or crane, a couple of other possibilities may be opened up. With these
methods, the boat may be moved about at
will, with no cradle at all. In this case, it
is quite possible to use a very rudimentary cradle, such as the system of thwartship members and shores shown in fig. 2.
It is possible to assemble the whole thing
after the boat is hauled, and lowered into
position. If you should decide to move to
another yard, with similar facilities, the
cradle may be easily knocked down, and
transported without the use of a truck.
This is the cheapest possible way to
cradle the boat. Many yards routinely
build and own these kinds of cradles, so
you should check to see what the arrangement is where you are, and where you
may be moving. There is a form of
adjustable shore available, manufactured
by Brownell Boat Works, 1 Park St.,
Mattapoisett MA 02739. I spoke to Mac
52 18/WOODENBOAT
with very short fin keels will not stand
having a large portion of their weight
supported by the keel. The most typical
example of this will be found in some of
the more extreme IOR racers. These
boats require the greater part of the
support to be for the hull, rather than the
keel. This is usually accomplished with
wide, padded bearers, shaped to fit the
hull just forward and just aft of the keel,
in conjuction with the other keel
members.
The design of the cradle may also
depend in part upon the sort of surface it
will be resting on, and the changes that
surface will undergo as the seasons
change. It is important that the pressure
on the supports and braces for the hull be
MacMullen at Wayfarer Marine, a yard
in Camden Maine which uses them. He
said that they rarely use anything else,
and have no complaints or reservations
concerning them. They consist of a
widebased tripod supporting a screw
jack, topped with an adjustable pad. A
wide range of heights is available, at surprisingly reasonable prices. They would
seem to be an excellent rig for use on firm
surfaces. For boats which are fairly picky
about how they are supported, hauling
with a travelift or crane allows more flexibility as to where the cradle's structural
members may be placed. With a crane,
and to a lesser degree, a travelift, the
boat may be lowered straight down into
the cradle.
Your boat may have special needs,
dictated by her particular design and construction. To a large degree, the shape of
the boat determines how much support
the hull will require, and where it should
be placed. It should be possible for you
and your helper to move with confidence
on any part of the boat, without fear for
its balance, or putting any unusual strain
on any part of the structure. This is fairly
easy to accomplish on a short-ended boat
with slack bilges, which will often need
only to be held securely upright and level,
to be well cradled. With a long-ended
boat, support of the bow and stern is
vital, to prevent hogging. Support for the
bilges of hard-bilged, flat-floored boats is
important as well, to prevent hogging,
sagging, or cracked frames. Some boats
constant, and fairly even. If the boat will
not be frequently inspected during
storage, and if the ground on which the
boat rests is prone to frost heaves, softening, or erosion, even to a slight degree,
then the cradle should be an autonomous
unit, including the bow and stern supports. Then the cradle will rise, fall, lean,
or whatever, all at once. Otherwise, the
supports for the ends may wind up with
the whole weight of the boat, or none,
and a brace intended only to keep the
boat from tipping may end up with the
boat's weight. In some boats, this can
mean a cradle nearly as long as the boat,
which can be pretty impressive in both
size and expense. But when the alternative is hogging, or straining, surely the
expense is worth it.
Wind is not a factor to be ignored
either. In some areas, it is the primary
destructive force with which to deal.
Where the cradle bears against the hull,
it should be securely wedged, and the
wedges should be secured with nails, as
shown in fig. 3. No matter what the wind
does, the hull should not shift or rock
independently of the cradle. Even if very
small, this movement can, over the
course of a winter, weaken the cradle
severly, or damage the boat directly.
A cradle which will be used for shipping the boat by rail, truck, or ship, is a
somewhat different animal. (See fig. 4).
Note that there are twice as many vertical
members as usual, with shaped pads conforming to the hull shape, even on a boat
Thwartship
Members
which would not normally need them.
These are to prevent flexing of the hull in
a vertical direction, which could cause
cracking of the frames at the turn of the
bilge or in the tuck. The stresses
imposed upon a shipping cradle are
vastly greater and more suddenly shifting
than on a storage cradle. I have never
seen an overbuilt shipping cradle, and
the consequences of a badly built one are
so unthinkable, that it certainly pays to
eliminate all doubt. Use bolts whenever
We spoke to two highly respected yards in our area, in an effort to
establish some kind of rule of thumb for cradle timber sizes. Discussions
centered around the thwartship bearers, which support the greatest
part of the boat's weight. Based on experience, rather than on formulation, we offer the following table as a rough guide:
Displacement
Total Number And Sizes Of Thwartship Bearers
2,500 lbs.
15,000 Ibs.
20,000 Ibs.
35,000 Ibs.
five 6 x 6's
nine 6 x 6's or seven 10 x 10's
eleven 6 x 8's or eight 10 x 10's
eleven 8 x 10's or ten 10 x 10's
possible, instead of spikes or nails. Make
sure that the bed for the keel, and shaped
bearers for the hull, are heavily padded
with firm rubber; if you are shipping by
truck make sure that the truck is adequately sprung, to give as gentle a ride as
possible. If the boat to be shipped is at all
dried out, extreme care in cradling and
transportation should be taken, because
shocks and vibration will be transferred
even more directly to the frames, possibly
causing cracked or broken frames or
fastenings throughout the hull.
Due to the high cost of heavy timber,
bolts, and labor, a professionally-built
cradle can represent a hefty investment,
and one which deserves protection. It is
surely worthwhile to treat a cradle, which
will be kept outside, with wood preservative. And it may also be a good place to
get rid of all the odds and ends of paint in
the paint locker and at home, which, in
spite of producing some potentially
startling color combinations, will help to
give a good cradle a long life.
18/WOODENBOAT 53
The boat below was not designed in a
conventional way. The builder didn't make the
model first and then choose the material, but
exactly the opposite. He chose a material that
satisfied his critical demands and based his design
on it. Using this method he was able to utilise the
qualities of his chosen material
Bruynzeel Marine Plywood.
This unusual yachtbuilder
constructs his boats in 't Waar, a
village in the far reaches of North
East Groningen (Holland). That's why
he calls his boats 'Waarschip'.
The fact that he builds his boats
from Bruynzeel Marine Plywood is
not peculiar, for many years boats
have been made with this material.
This is due to its quality of
strength lightness and climatic durability. It doesn't warp, so
paint or lacquer won't crack,
consequently water cannot
reach the wood surface.
The easiness of glueing
ensures a waterproof exterior.
However, like all Marine
Plywoods it cannot be bent in two
directions. That's why builders uti lise the hard chine, but this gives
a bigger wet surface than the
roundframe resulting in greater water resistance.
The yachtbuilder of't Waar concentrated on
this problem. His inspiration came in the form of
the lap streaks system for which Viking boats were
renowned. He began with large sheets of Bruynzeel
Marine Plywood, he glued and riveted the parts
together and constructed a completely new roundframe hull. By doing so he married the advantages of
Bruynzeel Marine Plywood with roundframe.
This construction method is known as the lap streaks
system hull.
The high quality of Bruynzeel
Marine Plywood is due to the selected layers of hardwood which are glued tight
together to form a finely finished sheet.
Then it is put through a test that
simulates extreme climatic change.
Only after this does it warrant the
10 year guarantee that accompanies
every sheet of Bruynzeel Marine
Plywood.
We don't guarantee you
prizes like the builder of't Waar,
but like him you can be sure
that glueing faults, splits and
uneveness will not be part of
your boat.
Bruynzeel
Marine Plywood.
Bruynzeel Multipanel bv, P.O. Box 59, Zaandam - Holland. Telex no. 11413.
Dealers: Thomas Wylie Design Group, 1924 Willow Street Alameda. California 94501 .Hardwoods Inc 751 N Northlake Way. Seattle Washington 98103.
Maurice L Condon Co.. Inc. 250 Ferris Avenue, White Plains, New York 10603 The Harbor Sales Company, 1401 Russell Street, Baltimore, MD 21230.
54 18/WOODENBOAT
The Adirondack Guideboat
By Howard Ford
Photos by Rosine & Peter Lemon
Before the turn of the century the Adirondack guide, with his boat, opened a wilderness to sportsmen, tourists, summer dwellers, and land speculators. The north woods (upper New York state) is
country laced with lakes and streams, running one into the other to form chains between the mountains. Here the guideboat provided far more pleasant, more extensive and efficient travel than the
few muddy roads that existed. Its shape and design, evolved to meet a need for easy rowing over
long distances on choppy lakes and winding streams, for easy carrying by one person on portages,
for supporting heavy loads of provisions and passengers.
With lines resembling a combination of Indian canoe and dory, (and probably evolved from
the dory, wherry, and bateaux — Eds.) in construction and workmanship the guideboat is a sleek
shell with no trace of aboriginal crudeness. Light weight, consistent with performance and durability was the prime requisite. In its final perfection a 15' boat could be built to weigh 60 Ibs. with
all equipment, which included oars, paddle, middle seat, back rest for the stern seat and carrying
yoke. The usual travelling pace was a steady short stroke, nice and easy, but the boat was equal to
sudden swift bursts as when necessary to cut off a swimming buck. Many guideboats in an emergency have carried four and even six people across a mountain lake in an autumn storm, pulled
along by one pair of strong oars. As to rowing a guideboat, you might say it is different. The hull is
responsive, and subtle control pressures on the oars bring immediate results. The long oars amplify
error and the delicate touch needed to control the boat is more akin to flying than rowing.
— Peter & Rosine Lemon
18/WOODENBOAT 55
An Adirondack guideboat is a delightful
craft to see in or out of the water. My
first view of one was twenty-five years
ago at the Adirondack Museum at Blue
Mountain Lake, New York.
The varnished cedar planking, buttressed inside with narrow ribs every 6"
or so, was fitted so well it was difficult to
tell where any plank and its adjacent
mates were joined. The ribs curving from
the bottom board more sharply upward
toward the ends looked like those of a
graceful water bird. Even those not
familiar with boats could tell it was
designed to be light but sturdy.
That same person might think it a
canoe since the lines are similar but the
guideboat is made to be rowed, not paddled. They were often made by the
guides themselves to carry their clients
and gear to a coveted spot to hunt or fish.
They had to be light for portaging and
strong to hold a couple of deer carcasses
and all the paraphernalia the sports of the
late Nineteenth Century might require to
comfortably "rough it". As if these attributes were not enough these boats row
exceedingly well, moving across the
water efficiently and almost effortlessly.
There are not many guideboats
around any more and very few men still
build them. Those who have one do not
want to part with it except at a very high
price. The cost of a new one, if you can
bear the long wait for one to be made, is
understandably high. After many hours
of planning how to proceed, I decided to
make one.
Of course, I had some friendly advice.
I was lucky enough to talk with John
Gardner who was judging the reproduced
boats at the Clayton Antique Boat Show.
He suggested I talk to Harold Austin of
Blue Mountain Lake, who, over the ninemonth construction period, answered my
phoned questions and helped me out of
many a quandry.
If you know how to read boat plans
and have the patience to loft, you can
proceed that way. I did not know how to
do this but the Adirondack Museum
graciously permitted me to trace the rib
and stem templates of a Parsons' (the
builder) boat, and I made other measurements of a Parsons' boat on display at the
museum. This saved me a lot of time and
I was pleased to make a contribution to
the Museum for their kindness.
Thinking I might have a large selection of boat lumber available and wanting
a light boat, I calculated the cubic inches
for the ribs, the planking, the bottom
board, the seats, etc., and figured the
weight resulting from various combinations of woods. As it turned out, I was
able to obtain locally enough air dried and
quarter sawn mahogany for the bottom
board and ribs and stem and white cedar
for the planking. The contrast of dark
ribs against lighter cedar planks all varnished appealed to me and the weight for
my 15' boat, allowing for hardware,
worked out to 51 1/2 pounds.
56 18/WOODENBOAT
There are plans available from Mystic
Seaport of the 13' Blanchard boat, if that
is the way you opt to build. I wanted a
longer boat to get better speed but had to
settle for 15' because of limited workshop
dimensions at the time.
The rib templates that I copied were
only enough for a 13' boat, but some
barely decipherable pencil marks on the
templates showed that length was
obtained by simply making more of the
ribs for the center of the boat and perhaps
slightly changing the spacing. In my boat
this meant that the middle seven ribs
were all the same size and shape. This
does not result in a straight gunwale in
the middle because the ribs are screwed
to a board which is cut with a gentle curve
its entire length.
The bottom board is 3/4" thick at the
middle, gradually tapering to 5/8" thickness at the ends. In the middle it is 8"
wide curving very gradually towards each
end. It should be quarter sawn and air
dried for dimensional stability and to
keep from warping.
The original builders made the ribs
and stems (and maybe some builders still
do it this way) by sawing a thick piece
vertically from a spruce stump to obtain
the curve of the trunk to roots. These
wooden slabs were seasoned for several
years and the desired ribs cut out according to the curve wanted. The ribs were
quite strong running with the grain.
Actually the ribs are half ribs so that a
full rib consists of two half ribs each running from the sheer down across the bilge
and across the bottom board where they
overlap and are screwed together.
I had no spruce stumps available so I
decided to laminate my ribs. Using the
rib templates, I traced and sawed the
That same person
might think it a
canoe since the lines
are similar, but the
guideboat is made to
be rowed not
paddled...
proper shape out of 1/2" plywood to make
a form. Two plywood cut outs were used
for each form sandwiched around 3/4"
wood spacers. I faced the curved portion
of the form with pine 2 1/4" wide and about
an 1/8" thick (allowing for the 1/8" when I
first cut out the form) by screwing and
glueing it in place. About 2" in from the
curve I drilled holes every 3" into which I
could later put the foot of a C-clamp for
drawing down the laminations to the
curve.
I cut my laminations about 1/8" thick,
about 2 1/4" wide and more than long
enough for each half rib. About 7 or 8
laminations are needed for most ribs,
making them oversized to allow for final
band sawing.
Using an old toothbrush to coat the
laminations with resorcinal glue, I set
them together on the form with an extra
backing strip to protect against clamp
marks and used large clamps starting at
the middle and clamping toward the
ends. The next day I had a curved piece
of wood that looked like an auto leaf
spring and when I stood on it the ends
spread out very little.
The piece was wide enough to rip out
five half ribs giving me two identical sets,
one for a station in the bow and the other
for the same station in the stern, the boat
being symmetrical. The fifth rib was in
case I messed one up. There are many
fifth ribs in my boat. Each rib is 5/16"
wide and about 3/4" on the mold. I ripped
them slightly wider than this to allow for
final sanding.
Final sanding of the rib thickness was
done by using an excellent disc sanderplaner put out by Sears. One side is flat
but the other side has a 2 degree taper.
When put in a table saw and tilted 2
degrees toward the tapered side so it is
vertical it will sand with the grain.
Incidentally, when I began this project
I had little in the way of power tools
outside of an electric drill and a power
orbital sander. I signed up at the high
school adult shop course to have access to
the table saw, band saw, thickness
planer, jointer etc. Unfortunately, the
course was over way before I was, but I
was able to acquire a used table saw and
use of a friend's band saw. I acquired
other hand tools along the way, which I
will mention as their need applied.
After the ribs had been sanded on the
sides, I traced the exact pattern and
bandsawed almost to this line. Holding
the edge of the rib to the flat of a disc
sander on a table saw enabled me to take
off the remaining excess wood to get the
exact shape desired. This is particularly
important on the bottom flat side since
any deviation in the angle will be magnified at the side of the boat when the rib is
mounted on the bottom board.
The set of half ribs in the middle of
the boat is #1 with two sets of #2, #3, etc.
I found that since ribs 1 thru 5 are virtually the same, that one form can be used
to make all these ribs. Similarly, ribs #6,
7, 8 at each end are close enough in shape
so that one form will do for these. They
do deviate somewhat though, so I made
these ribs with a few more laminations to
allow sawing out to the exact shape for
each.
The ribs toward the end of the boat
rise from the bottom board more sharply
and the "heel" of the rib (at the angle
between bottom board and garboard
plank) has to be built up at that spot on
the laminating form with perhaps as
18/WOODENBOAT 57
many as twelve laminations to allow for
the depth for strength.
I made one form for the stems but
made each stem separately because each
requires about 25 or so laminations which
take time to glue up. These were made
wider than necessary so that I could pass
each side of the stems through my table
saw using a planer blade to smooth them.
Later I beveled the sides of the stems.
I used mahogany for my bottom board
the thickness of which is 3/4" tapering to
5/8" at each end. The width is about 8" in
the middle and gradually narrowing at
the ends to the thickness of the stems or
13/16". I strung a fishline tightly along
the length of the board to get my centerline and marked off the decreasing
widths from it. A light springy batten
along all the pencil marks gave me the
curve on each side which I cut with a
sabre saw and finished with a plane for
precision.
Shaping the sides of the bottom board
seemed like a formidable task because
they are beveled to match the angle of the
rib rising from it. As the rib angle
changes so does the bevel. I was afraid I
might ruin a good piece of mahogany so I
made a jig to help me plane the right
bevel fore and aft.
The jig consists of as many crosspieces as there are ribs and the ends of
these crosspieces are cut to correspond to
the angle of each particular rib. They are
spaced on 6" centers on a one by one
stringer joined near the unbeveled end of
the crosspiece and so that the beveled
edge of each crosspiece is almost at the
half ribs are joined together at just the
right spot. And the ribs can't be screwed
to the bottom board properly unless the
bottoms of the feet are flush with each
other. All this lining up is done so that
the joint between the half ribs is right on
the 6" spacing line on the bottom board.
I then removed the whole assembly
from the saw table and mounted it right
side up on a 14' 2 x 4 (narrow side down)
itself on saw horses notched to take the
2 x4. I then bored five 3/8" holes through
the lengthwise centerline of the bottom
board and through the 2 x4. I bolted the
bottom board to the 2 x4 and wedged the
last 3 feet so that the ends of the bottom
board were 3/4" from the 2 x 4. This gives
the necessary rocker to the ends for
I tore up an old sheet
and tied the batten to
the rib ends, because
I didn't want any extraneous screw holes,
and the sheeting,
though tied tight
would not cut into
the wood...
already cut sides of the bottom board. I
then glued a 1/4" x 1" batten on the
beveled edge. When the jig is clamped to
the bottom board, the batten served as a
guide for my plane. It worked very well
and I finished off the beveling with a
spoke shave for better accuracy.
I decided before mounting the ribs
that this would be the easiest time to
round the top edges. I did this with a
straight spoke shave and then much hand
sanding.
To be able to easily mount the ribs on
the bottom board I wanted it to be on its
side. To do this I used the bolt holes at
the edge of the saw table to bolt an 8" x
30" x 1/2" piece of plywood vertically
along the table side and to this I securely
clamped the bottom board.
The next job was to overlap the
bottoms or feet of the half ribs so that the
plank edges of the ribs were flush with
both sides of the bottom board. Actually
the ribs should protrude slightly, at least
those ribs toward the ends, to allow for
fairing the ribs as the curve of the plank
increases. Spring clamps were handy
here to allow adjustment and then the
ribs were screwed together with #7, 5/8"
screws. It's important that everything is
precise here because the whole shape of
the boat can be affected. The garboard
planks won't go on properly unless the
60 18/WOODENBOAT
better maneuverability. Of course, when
the boat was finished I plugged the holes.
The stems now needed attention and
the rabbet which was to receive the plank
ends was more easily chiseled on the
workbench. The bottom of each stem
was notched about 5/8" deep and about 4"
back from the inboard end to fit the
bottom board. I made sure the notches
were cut so that the stems were perfectly
vertical when fitted. I temporarily
secured the stems in place so that I could
measure the angle at which the planks
would meet the stem. The angle varies
with each higher plank and so I measured
at four different places up the stem.
After marking my rabbet line I chiseled
the rabbet accordingly, using a small
piece of plank material to get the proper
depth. I then beveled the sides of the
stems outboard of the rabbet about seven
degrees on my table saw, practicing first
on a piece of scrap to check the degree of
bevel.
Before putting on the stems I again
checked that the bottom board was level
side to side and that the stems would fit
perfectly vertical. I then buttered both
pieces with Mahogany Boat Life and
screwed on each stem with three #8
1 1/2 " screws.
The whole assembly then looked
something like the relic of a Viking ship.
To make the framework of ribs sturdy
enough for planking, a 1/2" x 3/4" batten
was secured at the ends of the ribs on
both sides and to the stems at the point
where the gunnels would eventually go. I
tore up an old sheet and tied the batten to
the rib ends because I didn't want any
extraneous screw holes, and the sheeting, though tied tight, would not cut into
the wood. The ribs could be properly
spaced along the batten, the stems could
be held perfectly vertical and in line with
each other, and I could find the sheer line
with the use of the battens.
The boat is now turned upside down
and the preparation for planking begins.
At this point I think I had about 100 hours
of work behind me, of which 25 hours
were spent making rib and stem forms
and the jig for beveling the bottom board.
The ribs' outside edges should be
faired so that they will be flat to the curve
of the planking. The ribs in the middle
need little work but as you progress
toward the ends, the fairing angle is
greater. Using a sharp spoke shave, I
pared the edges of the ribs checking the
result with a 2" long piece of plank
material. Fairing is easy to do because
you hold the spoke shave in the same
plane as the planking will follow, and the
handles of the tool practically slide along
the adjacent ribs.
I used white cedar for my planking cut
on my table saw slightly thicker than
3/16" and brought to 3/16" later on a
thickness planer at the high school shop.
I sawed it about 4" wide and this was a
mistake that required me to make nine
planks per side rather than the eight
called for.
The planking is not much more than
3" wide. But each total length of plank,
about 15 1/2', has a doubles curve in
it and to cut this double curve you would
have to have a piece perhaps 6" or 7"
wide, resulting in much waste. So the
planks are in two or even three sections
and can be cut from a 4 1/2" board.
You should also know what the width
of each plank should be at every other rib.
For example, if the distance from the
bottom side of the garboard or bottom
plank to the top of the sheer at rib #1 is
24", then each of the planks at rib #1
should be 3 3/8"; at #9, perhaps 3 1/8", at
#11, 3", etc., so that at the stem the width
maybe 2 5/8". To arrive at these widths,
measure from top of sheer to bottom edge
of bottom plank, divide by the number of
intended planks and add 3/8" to allow for
the bevel.
The garboard plank can be temporarily held in place with spring clamps on
the ribs and overlapping slightly the
beveled edge of the bottom board. On my
boat, the garboard plank, being relatively
straight, was the only one piece plank.
Mark a line on the plank using the intersection of the bottom board. Also mark
They had to be light for portaging and
strong to hold a couple of deer
carcasses and all the paraphernalia the
sports of the late nineteenth century
might require to comfortably
"rough it."
18/WOODENBOAT 61
62 18/WOODENBOAT
#1, #3, #5, etc., where that rib will be on
the plank and remove the plank to the
work bench.
spot for drilling. This becomes more
Then measure the calculated width at
#1, #3, #5, etc and mark on the plank.
Make a batten about 1/8" x 1/4" and 10'
(or other convenient length) long, and
holding the batten against the width
marks, draw a line the length of the
plank.
Then put the plank in the vise and use
a broad knife to cut the plank to within
about 1/16 or 1/32 of an inch of this line.
I had to be careful not to cause a split in
the remaining plank material. I then
used a 3" palm plane to shave away the
remaining material exactly to the line.
Now I had to make a jig which would
enable me to get a uniformly beveled
edge on the planks. First I made what
looked very much like a miter box about
30" long and 5" inside width. One side
extends below the middle piece so I can
clamp it in a vise. Then take a 2 x4, 30"
long and rip it lengthwise at a 30 degree
angle to the widest side and so the top of
the cut is about 3/4" from the edge of the
3 1/2" side. The resulting two pieces in the
"miter box" will sandwich the plank so
that the edge protrudes and can be
planed off smoothly. Rip a 1/8" wide
groove on the top edge of the 2 x 4, and
another groove 2" away from the first so
that when these grooves are each inlaid
with a narrow piece of hardwood you have
a track for your plane to run on wide
enough apart to clear the plane blade.
The side of the miter box will guide
the plane and the correct bevel will
result. To keep the plank material from
moving out of place under the force of the
plane, glue some medium sandpaper to
the opposing faces of the diagonal cut.
Try the beveling operation on a few
pieces of scrap plank material first to get
the feel of it.
The next step was to bevel the top
edge of the garboard plank so that when
the plank is on the boat the bevel faces
out. When beveled, try the plank on the
boat using the spring clamps in the exact
place it will be.
The planks are secured on the ribs
with #3 x 1/2" brass screws. Since I
needed about 1400 of them I contacted a
local wholesale fastener outfit and told
them about my boat project. They were
interested and helpful and I got my
screws inexpensively.
I drilled all my holes and screwed on
the planks and then cut the ends to fit the
stem rabbets and screwed the ends in
place. I then removed the plank and
buttered it with Mahogany Boat Life, first
wiping the edge with lacquer thinner to
remove oil, fora better bond, and put the
plank back on. This made extra work I
suppose but avoided making a mess with
the seam compound.
I used a screw about every 2" on the
garboard plank into the bottom board and
drove the top row of screws into each rib
about 3/4" from the edge of the plank.
Before drilling each hole I pressed a
scratch awl into the plank at the exact
have two or three planks on each side.
important towards the ends, where the
To hold plank edges tight together
holes are drilled at a sharp angle to the
while the seam compound set, I made
rib, and must be offset somewhat on the
plank so the screw will be centered in the
narrow rib. The overlapping bottom edge
some wooden clothespin-like clamps. I
beveled a 3/4" x 2" piece of pine (the scrap
I used to test the angle before beveling
the stem sides). To both sides of this 30"
of the garboard plank was later planed off
and covered with a hardwood "drag" strip
to protect the bottom.
Use spring clamps to hold the next
piece of plank material so that it slightly
overlaps the previous plank. Shim the
other edge of the plank so that it is in the
same plane as the ribs on which it will fit.
(At first I wasn't aware of this trick
without which scribing cannot be accurate.) Then scribe the plank material
with a sharp pencil, always keeping the
pencil perpendicular to the plank edge to
avoid distortion. With draw knife and
palm plane take down to the line as
before.
Then I measured off my plank widths
at every other rib, connected the marks
with the batten to draw the line, and used
the drawknife and palm plane again. Satisfied that both edges were right, I then
beveled with my beveling jig and put on
the plank.
I didn't realize it at the time but I had
about five planks on each side before I
put in the stiffener ribs at the ends. This
planking was then too rigid to get it to
bend to the graceful concave curve of
these ribs and I had to flatten the curve
somewhat to fit the ribs in. It would be
best to put these end ribs in after you
piece I glued some leftover laminated
pieces (like tongue depressors) so that
they came together tightly for the clamping action. I then merely sawed this into
thirty clamps.
Fortunately, I split only one plank,
partway, where the bilge curve is
greatest. I filled the split with several
spacklings of epoxy and clamped the
plank back to rib curvature using short
stiff battens.
Before I learned the trick of shimming
the other plank edge when scribing, I had
some places where no matter what I did
there was a gap between plank edges of
about 1/16". I made thin strips to fill in
these gaps and chiseled off the excess
later. When the boat was finished,
neither the split or the filled-in gaps were
readily visible.
I made the decks next, first edge
glueing some 1/4" thick mahogany. I
made the deck coamings by glueing two
1/8" laminations on a form and further
laminating about 4 more laminations to
the bottom inside edge of the coaming to
act as a shelf for the deck.
It was tricky cutting the ends of the
coaming to just the right compound bevel
to fit the sheer planks on both sides and
18/WOODENBOAT 63
butting against the third from the last rib.
A sliding bevel gauge and dovetail saw
are helpful here.
The coamings are held in place by
screws through the planking but were
reinforced by larger screws through the
more substantial gunwale when it was on.
The deck was further supported by two 3"
wide by 3/4" crosspieces of mahogany
beveled to fit, and by notching the inside
of the stem.
I then scribed the glued deck planks to
fit the coaming and the sheer planks and
carefully sawed them out on a band saw.
A spoke shave was useful to bevel the
deck edges to wedge into place between
the sheer planks.
Before screwing the decks in place I
stained the coaming with stain mixed
with cuprinol, and gave it two coats of
polyurethane varnish on both sides to
reduce any chance of warping.
I had to clean off the excess Boat Life
seam compound, which had squeezed out
from between the planks, before planing
down and sanding. This was a very difficult job and a sharp chisel had to be
used to cut away the rubbery stuff. Sand-
ing was difficult too since it penetrated
the wood, discoloring it and also making
it rubbery to sand.
Before making the gunwales I made
the middle seat risers, long enough to
straddle the middle seven ribs, out of 1/2"
by 9/16" mahogany, rounding the upper
edges and securing to the ribs with
#4 x 1 1/4" screws.
I wanted to make the seats next so
that I could stain them at the same time
that I stained the rest of the boat. I made
them out of mahogany mainly because I
had some left, but I think a more dense
wood like cherry or walnut would have
been better.
I dovetailed the stretchers to fit tightly
in the crosspieces and drilled 3/16" holes
spaced 5/8" apart all around for caning,
which was done for me by a friend. The
seat proved to need bracing later, so I
epoxied to the bottom side of each crosspiece a 3/4" x 5/16" strip making the
crosspiece a T beam in crosssection. This
additional strip was made shorter at each
end by an inch or so to help center the
seat between the risers and the contact
surfaces faced with cork.
The job of tacking was perhaps the
most ticklish since a messy job here could
jeopardize all the work done so far. The
tacks are put in every inch from the outside and so that they pierce both mating
plank edges. They are clinched on the
inside and act as rivets to hold the planks
tightly together.
I used an awl to deeply mark where I
wanted to drive the tacks and, by hand,
put about ten of them in place at a time. I
then tapped each farther in so they would
not dance out when I drove the rest home.
To back up the thin planking and to turn
the point of the tack, I used an old steel
shuffleboard quoit. The trick is to get a
tight clinch without splitting the wood.
These copper tacks are only 1/4" long
and are slender shanked. I was told by an
expert that they should run 8600 to a
pound. The best I could do was find some
that ran about 6000 to a pound. Even so
the 3000 I used would have just filled a
cigarette pack. I'm sure the thinner tacks
would have resulted in fewer splits. The
seam compound probably helped limit
the splits and also kept the planks joints
dry.
I did not make the seats at bow and
stern for several months after using the
boat, so anxious was I to get it into the
water and see how it performed. They
are set on risers placed just high enough
at the narrow ends so that there is enough
width to sit. Trapezoidal in shape, these
seats I caned myself using prewoven
caning, which is much easier to get tight.
It calls for chiseling or routing a groove
all around the top of the frame and after
soaking the caning in warm water for ten
minutes to soften it, driving wedges into
the caning to force it into the groove. I
doused the groove liberally with Elmer's
Carpenter's Glue and then drove the
splines, similarly softened, in to secure
the caning. Later, the excess caning was
trimmed off and I varnished the seat but
left the caning unfinished.
The three-day Fourth of July weekend
was spent enlarging the basement
window to get the boat out and into the
light of day. At first I thought this might
be a Count of Monte Christo exercise of
laboriously chiseling away at the cement
blocks. But a knowledgeable friend
suggested that with a circular saw and a
masonry blade I could score the desired
opening inside and out. With a sledge
hammer I could clearly break away the
cement blocks to this line. It worked, and
I got the boat out and a picture window
for my workshop in the bargain.
Finally outside, I gave it a final
sanding. I mixed my stain with clear cuprinol and lavishly brushed this mixture
both inside and out. Three days of drying
in perfect summer weather and it was
ready for three coats of polyurethane varnish. I thinned the varnish by keeping
the can in a pot of hot water. I wanted the
varnish to fill even the thinnest crack
or void.
I obtained the polished brass oarlocks,
straps and the stem bands from
Emerson's Boat Livery in Long Lake, NY.
They do a beautiful job of making these in
the traditional guideboat patterns to give
the boat that final touch of class.
Finally the day was at hand when I put
all this hardware on and could step back
and survey with pleasure this result of
nine months' work. But not for long. I
launched the 52 1/2 Ib. boat, gingerly
stepped in, sat down, mounted the
bought spruce spoon-shaped oars and
pulled two firm strokes.
Ecstasy! It shot out across the smooth
water, coasting 75 yards in a straight
glide. I continued rowing for an hour of
pure pleasure and only a thimble full of
water came inside. People on shore
called to ask where I bought it. It was
almost obscene to tell them I made it but
a delight to bask in their compliments.
A proverb says, "he who cuts wood is
warmed twice". Build a guideboat and
you'll be warmed over and over again.
64 18/WOODENBOAT
We were running gaily north along the
east coast of Istria (Yogoslavia), our 1050
square foot spinnaker pulling like a mule.
I handled the sheets and tiller while Larry
used our new pole hoisting system to
gybe. All went off perfectly in less than a
minute. But Larry had a thoughtful look
when he came back to the cockpit,
"Another job for the work list. Need a
new spinnaker pole."
"What's wrong with that one?" I
asked him.
"Got a split running out from under
the chaffing strips. Pole's lasted eight
years, no complaints."
I went below and wrote — build new
spinnaker pole — on our growing list.
"Any other jobs for the list?" I yelled up
to Larry. "Yup, want to fix the boomkin.
I've finally figured a way of repairing it so
it won't crack so easily."
I looked at the trim around our chart
use the best of materials, so, though
she'd needed a new coat of paint each
nine months and varnish on her hatches
and spars twice a year, we had never
stopped to do any other work for the first
three years of our cruise. When we
reached Virginia in the fall of 1971, we
had money to earn. We disassembled
SERAFFYN, spliced all new standing
rigging and gave her a complete exterior
paint job. The winter of 1973-74 was
spent in England and by good fortune the
Parkstone Yacht Club in Poole Harbor
offered us the use of their facilities so we
hauled SERAFFYN and stored her in a
shed. This time there was a major job to
do. We needed to touch up and apply a
coat of varnish to the whole interior, plus
four coats to the underside of the deck.
Now, three years later, after exploring
England's south coast, Spain's Atlantic
coast, Portugal, a winter in Gibralter, a
table. It needed varnishing. So did all
summer on Spain's Costa del Sol, a
the trim in the boat. It's almost impossible to varnish the interior of a 24' boat
while you live on board. And so our list
grew. As fall wore on we looked over all
three pages and admitted, "It's refit
time."
winter in the Balearics and, finally, the
past summer's cruise including Sardinia,
Tunisia, Sicily and all the Adriatic, it was
refit time again.
One major decision we'd made about
refitting was, it would be crazy to try it
while we lived on board. We've watched
SERAFFYN had been absolutely new
when we set off from California in early
1969. We'd built her ourselves, trying to
other people do this and it only led to
rushed work and spoiled tempers as they
18/WOODENBOAT 65
tried to live and work in the tiny space
where tools had to be stored away each
evening and shavings cleaned away
before lunch could be served. Malta
became our choice for a winter home.
Malta was perfect for several reasons;
first, comfortable furnished flats could be
had for $55 a month, including utilities.
Second, mooring charges were $1.15 a
week or free if we chose to lie to our own
anchors instead of tying to the seawall.
Third, Malta has the warmest climate of
any non-warring country in the eastern
Mediterranean. Fourth, because of its
position as headquarters for the British
fleet up till the past few years, Malta has
good shipyard facilities. And finally,
though the Maltese have their own
language, 90% speak English also.
But first we had a bit of luck that took
the sting out of our winter refit. While we
were guests at the Yacht Club Adriaco in
Trieste at the north end of the Adriatic,
66 18/WOODENBOAT
Fredrico and Sabina de Minerbi invited
us for lunch. They were avid sailors and
part of the committee hosting the 1976
World Half-ton Cup Regatta.
Fredrico pointed toward SERAFFYN
as she sat quietly tied between two 40'
cruisers, less than 10 meters from the
club's entrance. "I've got an interesting
proposition for you. I'm director for
Veneziani, largest manufacturers of
marine paints in Italy. How would you
like a complete free paint job from top to
bottom, including the haul out?" We
accepted Immediately as we looked at two
inches of weed hanging from our rudder.
It turned out that Veneziani was just
making up a brochure on how to paint a
wooden boat. They needed a model for
photos. No Italian boat was ready for a
paint job in October, but we were. So
four days later SERAFFYN was sitting in
a cradle while Larry removed 8 or 10
layers of bottom paint with a blow torch.
I waited till he had scraped the majority
of paint off a large patch then came along
with the hook scraper and 60 grit sandpaper to smooth the hull down.
When we'd built SERAFFYN Larry
had followed an old sailor's advice and
applied creosote to the bare wood within
1/4" of where the white topside paint
would go. He painted on three coats of
the thin smelly stuff all on the same hot
day. Then we'd waited three weeks and
applied antifouling paint directly to the
creosoted bottom. We'd never had a
worm, though there were times we'd
sailed with patches of bottom paint missing for up to six months in the tropics.
Now, as I sanded, I could actually smell
the pungent creosote. We applied
bottom paint to each section we finished
so the wood couldn't have time to dry out
and crack. This messy, hard job took
three days and one frightening accident.
Larry was using a borrowed blow torch
the work list
Woodwork
Supplies to buy
Rebuild boomkin
New drainboard
Spinnaker pole
Dinghy mast?
Replace teak trim on cabin side
New cutlery drawer ?
Graving piece on oar
Drill more air holes in veg. locker
Drill water drainage hole
in galley door slider
Sextant locker door slider
Ash 1" x 8" x 4'
Ash one board 1" x 8" x 9'
Ash 3" x 3" x 16'
Teak 2" x 1" x 6'
Any scraps
Ash1 1/2" x 3/4" x 2'
Next to sink drain hose in veg. locker
Next to bilge pump hose in veg. locker
Scrape decks
Sails and sewing
Repair mainsail cover *
Mend pin holes in genoa *
New cringle in lapper *
Extra reef in staysail *
New wind vane cover *
New laundry bag *
Kit bags *
Enlarge spinnaker turtle *
Put handle on bottom of staysail bag
Cringle and ring
Cringle and ring
2 yards dacron
2 1/4 yards dacron
1/2 yard PVC covered nylon
Finish work
Varnish boom, bowsprit, hatches,
interior trim, new work
Paint bowsprit
Paint blue on bulwarks
then Larry dusted the boat and put a light
touch up coat of paint on any spots that
were thin, waited an hour, then did the
whole topsides in 2 1/4 hours. The Veneziani photographer snapped away,
occasionally interrupting Larry to reposition a paint can so the label showed
better. We used their yacht enamel with
a polyurethane base. It went on beautifully and three months later has its
original high gloss, but time will tell.
Larry also chose to make one change
Other jobs
Replace flares
Assemble dinghy emergency kit *
New burners for stove *
New grate for oven *
Re-chrome stove top *
Re-galvanize main anchor chain,
little anchor and chain
Spice rack divider (design) ?
New cockpit drain hoses
Holder for oversized books
New gaskets for all hatches and
cockpit locker gasket material
Chafing leather for tiller
and hose which he attached with hose
clamps (Jubilee clips). He'd been careless and in a hurry and hadn't secured the
torch well. He also turned the valve on
the butane bottle to fully open, then used
the knob on the blow torch to control his
flame. The third day the hose blew off
the torch and a ball of flame enveloped
Larry. Fortunately, the flame only lasted
seconds. But it took a careful haircut to
make Larry look and smell less scorched.
Cheap lesson: 1.) Secure the torch hose
connections carefully. 2.) Control the
pressure from the butane bottle valve.
Inspite of his mishap, we're sold on a
butane blow torch and are trading in our
buIky kerosene job for a torch and hose to
connect to our cooking gas bottle.
Topsides painting took one day. The
two of us had assistance from an American friend who was living in the marina.
Bob Riggs recommended we use dri-lube
sandpaper and we found it exceptional.
The three of us sanded the topsides with
150 grit till there wasn't a bit of shine left,
Flares
Various — see list
Aluminum foundry
Stainless steel
Chrome shop
Wired flexible hose
on SERAFFYN that I know will cut hours
from our yearly maintainance. He
fashioned bronze strips to cover the
edges of the channels. Fender ropes and
careless boat handlers were forever
taking the paint off their edges. Underwater, he replaced the brass pieces that
hold our rudder fairings with copper to
cut out electrolysis. New longer boomkin
chain plates were fashioned to replace the
old ones that had shifted 1/8" during
20,000 miles of sailing. Unfortunately,
the original silicon bronze 5/16" machine
screws holding the old plates in position
hadn't been set in grease and broke off in
the hard white oak framing. Larry
blessed his easy outs (broken screw
extractors — Diagram A) and we remembered to use grease on the bolts as we
fastened down the new chain plates after
bedding them in green gooey Dolphinite.
18/WOODENBOAT 67
So seven days later we re-launched
SERAFFYN, glowing from bulwarks
down, the dirtiest work of our winter refit
behind us before the winter began. Our
thanks go to the Veneziani paint company
as this saved us approximately $150 for
hauling and lay time, $75 for bottom
paint, $12 for enamel, and $10 for thinners, sandpaper, etc., all for a total
of $245. They seemed happy with their
bargain because they later wrote and said
the photos came out fine.
We arrived in Malta at the end of
November after a rough beat down 750
miles of Adriatic and Mediterranean.
After a few days of visiting old cruising
friends and opening two months' mail,
we sat down and spent one day reorganizing our work list. As a jumble of jobs it
looked formidable but it broke,down into
four catagories: Woodwork, Sails and
Sewing, Other Jobs and Finish Work.
That reorganization of our work list
was the most important step we took. An
asterisk next to an item meant it was a job
that could be done in the flat we planned
to rent. A question mark indicated a job
that could possibly be put off until a more
convenient time. It's the question mark
catagory that is our biggest problem. The
closer spring comes, the more tempted
we are to throw question marks around.
We love to go sailing, be it for an hour
or a week. Inspite of the fact that we'd
just finished a rough three-week beat
down the Adriatic to reach Malta, we
didn't want SERAFFYN out of commission too long. So as we packed our
clothes for a move into a flat, we took
every sail with us. Within three weeks of
spare time work, we had the sails ready
and back on board and, though we
couldn't cook a meal on board, we could
go for a sail. Since we wouldn't be living
on board Larry set a permanent mooring,
a 35# kedge east toward the strongest
winter winds, 150' of 5/16" BBB chain
with two 5/8" diameter mooring lines
shackled to the chain, then 150' of chain
with 25# CQR to the west. With our personal belongings and the sails off
SERAFFYN, we began to use our varnish
touch up kit liberally.
This kit is simply a cleaned out paste
jar with a brush attached to its lid. We fill
it with varnish. Then we go over all of the
exterior varnish work looking for dings or
scratches. Larry feathers them out with a
hook scraper, then I sand the scraped
area plus about an inch beyond it with 150
grit sandpaper. If we are working on
light colored bare wood such as spruce,
we don't use black carbon sandpaper as it
leaves little black dots embedded in the
wood and those dots show forever.
Finally, we apply varnish just to the bare
wood using the touch up kit. During the
next weeks we touch up these spots twice
more after carfeful sanding. Then
everything is ready for its final coat of
varnish. By sanding beyond the area to
be touched up, we can locate each spot
easily. The reason we swear by our touch
up method is that, not only does it give
immediate protection against discoloration, but it means even the scratched area
has the protection of four layers of varnish once the whole hatch is finished up
with one final spring coating. The varnish kit makes this method easy, no brush
to clean — instantly ready. Our winter
varnishing became a matter of putting a
final coat on the protected touched up
work whenever we felt like it.
Several things have helped keep our
varnish work in good condition. Our
hatches haven't been stripped to bare
wood in eight years. First, we've put a
1/2" radius on every corner we could. It's
difficult to avoid sanding off your built up
coats if your wood has sharp corners.
Second, we use rather course sandpaper
before the first coat (80 grit on teak, 100
on spruce or mahogany), this gives the
varnish something to grip. Between each
coat, we sand with 150 grit sandpaper so
there is no extra heavy build up of varnish. Third, we varnish the same day we
sand or if we have to leave our sanded
work over night, we cover it carefully so
no oil from air pollution or passing jets
can get between the coats of varnish.
The varnishes we've come to depend
on are all natural spar varnishes. In
Europe our absolutely first choice is
Spinnaker varnish, dries in three or four
hours and we had a high gloss on our
mast after thirteen months in the Mediterranean sun. In the US we had good
luck with Vitalux and Hong Kong varnish, but it's five years since we've used
American brands. Though we have a
varnish touch up kit ready at hand and
use it twice a month if necessary, we only
varnish a hatch or spar when the varnish
looses its gloss and before it begins to
craze. The time on this varies. With
horizontal surfaces we seem to varnish
every four or five months in the summer
sun. With vertical surfaces, such as the
cabin sides or mast, we have gone up to a
year between coats. The boom which is
protected by the sail cover whenever we
are at anchor, has just received its first
complete coat of varnish in two years and
6,000 miles of sailing.
Now someone will probably say,
"Why do all that work, paint it out." Yes,
paint requires only half the work of
varnish — one coat a year is almost
always enough. But it is a pleasure
spending three mornings doing up three
hatches, a deck box and cabin sides and
we are rewarded by having a boat that
looks like a yacht. The idea of painting
out a wooden spar makes no sense at all.
For the small difference white paint
makes as far as heat on the spars' glue
joints, you loose the ability to see what
the wood on your spar is doing. Paint
could hide the first signs of rot or delamination.
The first days of rain and grey sent us
to work on our sails. We were glad we'd
each spent six weeks working with a sailmaker. By purchasing a few special
tools, (three different sized cringle and
grommet punches and the rings and
liners to fit) we had the ability to attack
our own repairs and alterations. We
inspected each seam on every sail and
stitched up any chafe. Larry laid out the
new reef patches for the staysail and I
stitched them on the commercial zig zag
machine a tailor four doors down was
willing to rent us. Four afternoons' work
gave us seven items to cross off our list.
The wood work presented a much
more formidable looking object. The first
68 18/WOODENBOAT
decision we made was to use ash for the
spinnaker pole so we could leave it bare.
Our ash 14' oar had been out in the
weather with no paint or varnish for five
years and looked better every year. Ash
is 40% heavier than the spruce of our
original pole. Therefore the new one had
to be hollow. Being hollow meant glue
joints. No varnish to protect the glue
joints meant we'd have to use fully
waterproof glue.
We learned the difference between
water resistant glue and waterproof glue
the hard way. We'd used Weldwood
water resistant glue to laminate our
drainboard in the galley and also the
white oak carlins for our cockpit sole. The
carlins had started to delaminate after
four years. Since they rarely had water
on them we were very concerned and did
some research after securing the laminations in place with bronze bolts. We
found that Weldwood glue is not recommended for use on white oak as it has a
bad reaction with the oak's tannic acid.
This is not mentioned on the label of the
glue but is in the manufacturer's literature. This couldn't explain the delaminated maple drain board. A bit of library
work gave us the answer. Both under US
and British specifications, a glue can be
labeled water resistant if it stands up to
boiling water for 2 to 4 hours. To be
labeled waterproof, it must be capable of
withstanding boiling water for 48 hours.
The joints on our stem, 9 laminations of
white oak using waterproof resorcinal
glue are in perfect condition after 8 years.
So are the joints on our cabin sides and
rudder. Water resistant glues such as
Weldwood are fine for spars that are kept
dry and sealed by careful varnishing.
They are fine for cabinetry. But for joints
that will be exposed to dampness, insist
on seeing "waterproof" on the label.
A friend located a table saw and thickness planer Larry could borrow and the
woodwork list soon got some scratch outs
on it. Larry remembered to put rolls of
aluminum foil inside the hollow of our
new spinnaker pole before he glued it
together with resorcinal glue. The
aluminum foil wrinkles into place and
makes an excellent radar reflector. Our
mast is hollow spruce filled with foil and
ships have reported we give a signal like
an 85-footer.
The boomkin repair kit was the worst
on the list. Twice we'd been anchored
when heavy boats hit the boomkin and
bent our self-steering vane. Each time
the joint at the outboard end had cracked
even though it was held by two 1/4" bolts.
So instead of a key arrangement, Larry
had decided on a laminate of two pieces
of ash with spruce between. Of course,
this meant removing the windvane, its
supports, boomkin stays and back stays.
So it wasn't a job we looked forward to,
especially working in a dinghy. The
actual work took about three days.
And so our lists diminished, Malta's
weather often determining which job was
first. As we worked, we did a complete
inspection of the boat, looking into those
hidden corners, testing each through hull
fitting. A very small job that I realized
could mean the difference between losing
the boat or not was replacing the hoses on
the cockpit drains. It quite amazed me to
think of the possibility of the boat quietly
sinking at its mooring because one of
these split. Yet we've actually seen two
boats that had this happen. Though the
difference in price between 5' of heavy
duty PVC hose and heavy duty wired
compression proof rubber hose was a
matter of $10, we figure in this case the
extra money is well worthwhile.
One thing we have learned the hard
way is — get any work you have to farm
out started early. I remember when we
ordered a set of new cushions for
usually confined to afternoons and
weekends. We estimate, including the
paint job in Trieste and a haul out to
How much time does this refit take?
We work to earn our cruising funds five
scrub the bottom just before we left
Malta, each of us spent 250 hours on refitting the boat and checking the countless
details even on our ultra simple boat that
are vital for safe voyaging. If we hadn't
done our own work the bill for this refit
might have run as much as $2,500. Materials and galvanizing cost about $250
excluding the paints provided by
Veneziani.
Would there have been less work if
SERAFFYN had been built in fiberglass?
The answer to that perpetual question
depends. If you aren't concerned about
your yacht's appearance, fiberglass hulls
are definitely easier to own. If you never
polish the hull, it doesn't matter much
except that the gelcoat will oxidize and
lower the eventual resale value. If the
fiberglass boat is allowed to sit in the
water for three or four years, it probably
won't deteriorate structurally as a wood
boat will. But to keep either a wooden
boat or a glass boat of similar age in shipshape and bristol fashion, with the glow
that attracts appreciative glances and
protects your investment, it's the same
amount of work, or possibly less for the
wooden boat. Since all of the interior
work, machinery, electronics, rigging and
sail repairs are necesssary, glass or
wood, it's only the hull and deck maintenance that is to be compared. To keep a
glass hull looking good takes three wax
and polish jobs a year. The topside paint
job on SERAFFYN takes one day of work
each year and the hull looks like new.
After four or five years a glass boat needs
its hull painted anyway if you wish to
maintain a first rate appearance. Fiberglass boats might have less varnish to
maintain but that's not to say the glass
deck work can be neglected and look
good. I've tried to clean a skid resistant
pattern on a glass deck and it's impossible to get rust stains out of the non-skid.
The teak deck is easier to maintain than
any other material. A scrub with hot
soapy water and a plastic scouring pad
occasionally, a thorough scraping, using
a hook scraper once every four years and
that's about it.
Is 500 hours refitting every third year
a lot? I remember my folks working to
maintain their home. Painting the bathroom, papering the bedroom, rebuilding
the washing machine. They spent far
more time than that and their home
couldn't take them to the solitude of a
tiny hidden cove or move them to the
exciting hustle of a harbor like Athens.
As our winter refit moved along, we spent
the evenings poring over charts of
Greece, Turkey, Port Said and the Red
Sea as we planned our sail onwards in
hours each day, so SERAFFYN's work is
SERAFFYN.
SERAFFYN in England. The cushion
maker said he only needed two weeks to
deliver. Six weeks later we were ready to
move on board but there were no cushions. This time we waited only until the
Christmas holidays were over, then prepared our stove parts and sent them to
the foundry and stainless steel man.
Galvanizing went out the end of January
when we lifted the anchor and secured
between two friends boats. SERAFFYN
was ready for sea by the end of February
even though we didn't plan to sail until
April first.
18/WOODENBOAT 69
70 18/WOODENBOAT
As Old as the Dory
The Lowell Boatshop
as seen through the eyes
of Aubrey MarshalI.
By Bob Atkinson
"Lowell put an ad in the paper: 'Young Man To Learn Trade and I applied." That
was the day after Labor Day, 1923, and Aubrey Marshall was a young man of 20 who had just
come from New Brunswick, Canada to live with relatives near Amesbury, Massachusetts.
He has spent the rest of his life building dories. Even though Aubrey lived near the sea,
and was drawn to its shores, he never did experience the adventure of going to sea. Looking
back, his calling seemed clear, "I always liked working with wood", he relates.
When he started with the Lowells, Aubrey Marshall had no prior experience in boat building.
He was eager to learn, and see where his skill could take him: "I thought I would start
at the boat shop, and get the real feel of tools, and then go on to the automobile shop."
At that time, Amesbury was one of the centers for making the bodies for Hudsons and
Essexes. There was a lot of woodwork in auto bodies then, and many boat builders gained
experience at the boat shop and moved to the automobile shop for better wages.
Aubrey picked up the boat building techniques very quickly. It may have been that he was
one of those rare expert craftsmen that a boat shop could not afford to lose. In any
18/WOODENBOAT 71
There is something uniquely
and marvelously creative about taking
a pile of lumber, hand-made tools,
and handcrafting a thing
of beauty and utility.
72 18/WOODENBOAT
case, Aubrey came to the right boat
shop at the right time. The Lowells
had already firmly established themselves as prominent, master craftsmen of
their trade.
With Amy and James Russell Lowell,
and today Robert Lowell, on one side of
the New England Lowells carving out
highly respectable literary careers, the
boat building side of the family was
equally creative in its own way.
The Lowell family's involvement with
the sea and boating goes back to the early
1700's. R.K. Cheney, in Maritime
History of the Merrimac, reports that
Gideon Lowell (1672-1753) gave the town
a piece of land, in 1720, for a landing
place which was part of his shipyard.
It was Gideon's grandson Simeon
Lowell who was the first in the family to
set up shop for small boat building. Located at Salisbury Point on the Merrimack River, it is now a part of Amesbury,
and still stands today.
It is generally accepted that Simeon's
shop began production, in 1793, on a flatbottomed, straight-sided small craft that
became known as the Banks dory. What
he called it originally, though, was probably a wherry.
Of interest, notes John Gardner,
small craft specialist at Mystic Seaport
and Technical Editor for National Fisher-
man, is the fact that these early wherries
were very similiar in design and structure
to the military or river "bateau". The
bateau, originally a French derivated flat
bottomed skiff with pointed ends and flaring sides, was used in driving rafts of logs
down the river. America was introduced
to the bateau as the small craft were used
and built by thousands in the French and
Indian Wars of 1756 to 1760.
Though Simeon Lowell was too young
to serve in this war, some of his close
relatives did go to Lake George to serve,
and, with the contingent of Essex County
shipwrights, ended up building the
bateau fleets that were sent against
Quebec. Gardner's theory is that when
these war veterans returned home, they
shared their experiences with their
families and friends, and young Simeon
picked up many stories and detailed descriptions of the bateau, and tried his hand
at building small craft. Simeon opened
his own shop for business at the age of 48.
To try to pin point where the first
Banks dory came from would be a bit like
trying to determine where the 1977 Ford
came from. It is obvious that it is the
most recent model of a long line of developments and improvements that go back
to the Model T or before. Similarly, to
trace the Banks dory beyond the bateau
would involve taking it back to the Viking
ships or even the dugout.
What makes Simeon Lowell stand out
in this long process of developing and
refining a model is that he is the Henry
Ford of the small boat builders. The
seeds of production work were laid in his
shop. It was he who was instrumental in
providing the fishermen with exactly
what they needed. And he produced
boats in a manner that allowed him a
decent profit, considering the times and
circumstances. His price was right, and
the location of his shop was also perfect
for what he needed.
Pine planking from the forests of New
Hampshire were floated right to his door
on the Merrimack River. The manufacture of cut nails was started in the early
19th century by Josiah Perkins, a neighbor of Simeon's at Salisbury Point. His
nail machine produced a clench fastening
as good as the best imported nails, for
one third less. Simeon could, thereby,
build more dories faster, and cheaper,
than any amateur fisherman, or professional boat builder who was not so well
situated.
In the economy of a developing
nation, the Banks dory held a role of
supreme importance among the small
craft being built. From Simeon Lowell's
time to the beginning of motorized dragging, Banks dories were the favorite of
fishermen. Those fishing dories were
roomy and able to ride the waves well.
Their shape allowed them to be moved
through the surf and, when grounded,
run up on the beach where they could rest
without careening.
Simeon's grandson, Hiram Lowell,
took over the boat shop in the midnineteenth century, and gave it its
greatest output ever. Production potential was utilized to its fullest, and the
Lowell boat shop was known not only for
its quality work, but for the quantity of
dories it produced as well. It became the
foremost dory building establishment in
the country during the last quarter of the
19th century. There were at least ten
separate firms building fishing dories
within a few miles of each other along the
banks of the Merrimack River, in Amesbury. The Lowells stood out, however, as
no other small boat builder of that time
did, for not only did they take orders for
their dories from local fishermen each
year, but they sent them all around the
world.
Of 4,439 dories built in the state in
1885, as reported by the Massachusetts
Census, it seems safe to estimate that 1/4
of that amount were built in the Hiram
Lowell shop. From an old photograph,
showing an inscription of the number of
dories built each year in the shop, we see
that, for example, they built 1,416 in
1899, and 1,740 in 1902.
By the early 1900's the Lowell dories
had been shipped in all directions around
the world — San Francisco, Seattle,
Alaska, Norway, Sweden, and the Arctic
and Antarctic.
Their basically primitive shop was so
efficient because they used a method
known as piece work where each man has
a special task to perform. Henry Hall,
writing in 1880, says that the result of this
method "is seen in the degree of rush and
hurry in the large shops not noticed in
other branches of the art."
The Lowells approached their work as
a business in every sense of the word.
Aubrey Marshall remembers: "We used
the track system. The bottom was put
together on one side of the shop, the timbers and everything was all put on, and
the stem and stern. That's all that fella
done."
"Then it went along to a fella who put
the bevel on the bottom, so the garboard
would slip down by. He also done bench
work, and helped make laps, too. This
was over in one part of the shop.
"Then they were brought over and
beveled in the middle of the shop. After
he got finished beveling, we'd set them
on the bed. Then this other crew, of two
or three, would put it on, and another
fella would start the next strake. After it
was all planked, then she was taken off
that bed, and carried down back, and
that's where she was finished. That's
where I broke in, was with the finishers.
"The finishers would clean the capping, smooth up the timber, on the
inside, put the risings in, and put cleats
in on both sides. After we finished on the
inside, we turned it over, then caulked it.
We didn't sand it unless it was an awful
rough place. We turned her back on the
bottom, and pushed her out a door onto a
platform downstairs.
"By the time we got done, there was
another one ready. You didn't wait for
nothing. Everything was right at your
fingertips all the time. Your risings, your
cleats, your bow chocks, everything. We
just went from one operation to another."
Production was the key to their
success, and the routine became very
familiar, very soon, as Aubrey describes:
"When I first got there, I had to plane all
these risings up, after F.A. (Lowell)
sawed them on band saws. He'd keep
adding to the pile all the time. There
might be as much as 50 there at one time.
Then I would plane them all up, true and
champfer them, put them in a rack so
those guys at the finishing could reach
right up there and yank out a pair, and
slap them right in.
"I worked at that place on the track for
the first three months, then a fella got
through and went to the automobile shop,
cause they were paying a helluva lot more
money, they took me out of there and
put me down on the finishing bed, and a
another young fella came in.
"I stayed right there on the finishing
bed for the whole 50 years, practically.
During vacation, or when someone was
out sick, we'd switch around. I went to
the planking bed or to the bottoms. Once
you knew how to handle the tools it was
easy to switch around, course I kept my
old peepers open to see what those guys
were doing."
Aubrey Marshall started out at the
Lowell boat shop earning 40$ an hour,
with a 50 hour week, 7 am to 5 pm, with
one hour for lunch. He adds: "And you
worked every minute, no coffee breaks or
nothing."
Whenever any conversation arose,
Aubrey relates that Lowell would say,
"Boys, we haven't got any time for those
long stories." There are rare moments,
18/WOODENBOAT 73
Today, at Strawbery Banke,
Aubrey Marshall, probably the oldest and most
experienced active dory builder in the area, still
turns out the traditional straight-sided Banks
dory, along with a new model, the Strawbery
Banke dory.
though, when they could relax a little, as
he explains: "When the mail came in, 9 or
9:30, he would go home to answer the
letters. While he was gone, then there
wouldn't be much done. They'd tell
stories or get to arguing over something
that didn't amount to anything. Somebody would keep a watch out the window,
and when the old man came down over
his step, they would hollar, ' here he
comes', then the hammers would fly. As
though he didn't know how much was
done when he came in, because he knew
what had to be done when he left. They
couldn't seem to get that through their
heads, that he would know."
The boat builders had their own brand
of humor to temper their labors. "When
they made the laps, and the boards",
Aubrey recalls, "I've seen those old
fellas, there might be three men, one
right behind the other, one fella would be
roughing it off, the next guy would be
taking it down pretty close, and the last
fella would be putting the finish on. I've
seen them run, now this is no lie, I've
seen them run up and down that bench,
yes sir, not walk, run! All day!
"There used to be a fella named Eban
True that worked there, course this may
have been a story, but anyway they told
it. They seen him set on the steps, and
take his shoes off, and pour water out of
them at night. That was from sweat that
ran down his legs right into his shoes.
Now you can believe it or not, but that's
what they told me. You believe it?"
74 18/WOODENBOAT
The reputation of the Lowell operation
spread far and wide. There was a time
when the fishing crews on the new
schooners out of Essex would not sign on
unless they had the first set of dories
from Hiram Lowell. The sailing fleets out
of Gloucester, Portland, New Bedford,
and New York depended largely upon
Lowell dories, as well.
This demand for dories put a great
demand on the craftsmen, too. Aubrey
remembers, "In the fall of the year, oh
we'll say from the first of October, we'd
get an order for 100 for Seattle to be
shipped all in one lot. Well, course it took
a lot of room to store 100 dories, so we'd
stack them up, 7 or 8 high. I'll tell you,
when you're throwing that 7th one up in
there, mister, you got some job on your
hands." They were all stacked inside the
shop, since they were to be shipped in
January. They were trucked to Boston,
and shipped on the President Line as
deck cargo, through the canal, to Seattle.
It took the dories 28 days to reach their
destination.
One time, Aubrey recalls, "Lowell
talked to a fella from Seattle on the telephone, 'these boats', he says, 'are
gonna be brought here to Seattle, then
we're gonna load them onto freight cars,
and they are going just as far as the railroad runs up in Alaska. Then, they're
going to come out of the cars, and they're
going on for another 100 miles or so.
How', he says, ' I don't know, but that's
where they're going, way up among the
Eskimos somewhere'."
Before World War II, the Lowells
made dories for the government, and
some of Aubrey's friends from Amesbury
who were stationed in the Aleutians ran
into his dories up there. "They wrote
home to their parents", he relates, "and
said, 'We just rode in one of those things
that Aubrey works on'. Course the
parents knew they were talking about the
dories we made for the government.
When those kids came back, they said
they used to load them with coal, barrels
of oil, everything; course they were 21'."
A fleet of Lowell dories also had the
distinction of being blessed. Before
Aubrey came to work in the shop, they
told him of the winter they spent filling an
order of dories for Portugal. They stored
the finished ones up side down on the
lawn of the church next to the shop, then
shipped them all via flat car to New York
and cargo ship to Portugal. They arrived,
and the entire fleet was blessed by the
priest on Easter Sunday just before the
fishermen went out in them, not to return
until October.
The construction techniques, understandably, were at first primitive, and
developed sophistication only gradually.
There were never any written plans or
blueprints in the early days, only patterns
for each piece that were used over and
over for marking the actual pieces used in
the construction of the dory.
One of the more interesting ways that
the stem was lined up was to sight it in
line with the corner of the building across
the street. "It was maybe 150' away",
Aubrey explains, "We didn't know if the
corner of the building was straight or not,
but they did away with that method about
20 years ago. Now we use a big arm that
comes down from the ceiling, perfectly
plum, right down over the stem, plum as
plum."
When Aubrey first started, lumber
was cheap, about one cent a foot for 3/4"
native pine. (Now it is about 50-60¢
a foot.) But great care was taken in the
selection of the lumber to be used for the
dories. In September, Fred A. Lowell
went to Maine to pick and mark the timber. These trees were cut in the winter,
when the sap was down, and delivered to
the shop the following September.
Aubrey figures that 9/10ths of this
lumber was already dry by the time it got
to the shop. It was stored upstairs above
the area. He remembers one year when
they unloaded five carloads in two weeks,
stacked it all upstairs, and still had more
storage space left. They drew upon this
supply all year. Native New Hampshire
and Maine pine was used for the bottom
and planks. All the planks were naturally
bent, never steamed. Oak was used for
the stem, transom, timbers, and trim.
The Lowells used wrought iron 10
penny cut nails, made by Tremont Nail,
in the construction of their dories. Also,
chisel point nails, from Atlas Tack, were
used for laps. Copper rivets were used
only on special order. Aubrey says,
"There was never an ounce of glue in the
Lowell boat shop until after World War II.
When they did use it, it was a powder
mixture that they stirred up. Today,
Aubrey uses Arcon marine epoxy. They
used to make their paint for the finish,
from a mixture of white lead, linseed oil,
and powder.
The Lowell boat shop saw its leanest
years in more than a century right after
WWII. This was a result of increased job
opportunities as well as the demise of
handlining. Aubrey recalls, "When they
stopped handlining, you couldn't get
anybody to work on building dories.
When WWII started, they left the shop
just like it was hit by a plague, and came
right down to the Navy-yard" (in Portsmouth). In 1972, Ralph Lowell, the
seventh generation proprietor of the
Lowell Boat Shop, donated all the tools
and patterns from the shop to Strawbery
Banke, Inc., a restored maritime community in Portsmouth, NH. With the
recent sale of his boat shop in Amesbury,
the small boat building industry has seen
the end of a long and successful era of
Lowell built dories.
Today, at Strawbery Banke, Aubrey
Marshall, probably the oldest and most
experienced active dory builder in the
area, still turns out the traditional
straight-sided Banks dory, along with a
the new Strawbery Banke dory,
[In the next issue we will have an article
on building the Strawbery Banke dory.
Aubrey and his three young apprentices take orders today for dories in a shop
where production is second only to craftsmanship.
18/WOODENBOAT 75
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76 18/WOODENBOAT
Basic
Plywood
Scarphing
Text & Photos by H. H. Payson
There's nothing like having a pile of nice
marine grade plywood around that's two
feet too short to make you start wondering what you're going to do with it. The
local boat shop where I bought it must
have been wondering too, as it had lain
around there for years with only a few
sheets missing. It was 5/16ths" x 14'
making it an uncommon thickness and
length for plywood. So one day after eyeballing the unshrinking pile fora number
of years, I asked the owner for a price on
the whole pile. He gave me one and I
bought it on the spot, figuring that even if
half of it had to be thrown away, it was
still a good buy at today's prices.
I lugged it home and stuck it in a corner of my shop while I poured over boat
manuals on plywood scarfing, hoping to
see a picture of a ready-made joint and
how it was done. All I could turn up was
the basic procedure such as a scale ratio
of plywood thickness to width of scarf.
They about all give the ratio 12 to 1 which
was at least a start. Of course, the easiest
solution was just to butt strap the joint,
but looking over the clean lines and
beauty of Phil Bolger's Light dory, it
struck me that the little craft deserved
better than that. A nice, fair joint like the
plywood companies do is what came to
mind. But how to do it?
Starting with the thickness to width of
scarf ratio, a 3 1/2" line was drawn with a
tri-square across the ends of the pieces to
be joined. That much was established
and right, so the books say. I practiced
on odd scraps I had around the shop first
by making a series of cuts with a Skil saw
on an inclined plane, but found that it was
too slow and not all that accurate. A
sharp hand plane was tried next, but it
tore up the cross grain and was terribly
slow. After all had failed in terms of time
and accuracy, it occurred to me to try it
with an electric hand plane and the old
eyeball method. This was both fast and
accurate — up to a point — and at least
gave me enough encouragement to tackle
the job as I watched the electric hand
plane make short work of getting the
excess wood off, and rather neatly at that
with the cross grain being no problem .
To save work and time, the short 2'
end tab of the dory side was done on a
table saw using a planer saw blade to
make the taper. Next, the 14' long plywood side was placed on a couple of saw
horses with the end to be joined resting
on a dead flat piece of 1/2" aluminum. (A
straight piece of wood is just as good.) A
couple heavy weights were placed near
the end to hold it down and to stop any
chattering. The weights are better than
clamps because they can be moved out of
the way a little when cutting the taper.
Watch the veneers as the electric plane
cuts through them and try to keep them
straight. Mow the whole area of taper
down to about 1 / 16th from the feathered
edge or finished taper and use a belt
sander with 60 grit belt to get the rest to
a feathered edge. If both pieces to be
glued aren't to a feathered edge, endslippage will result when clamp pressure
is applied. Before gluing, put the joints
together and check the alignment. When
you're satisfied all is O.K., take a
straightedge about 4' long and draw a
line fore and aft right through the joint
using it later to check sideways alignment
after the clamps are set down. Sometimes the clamping pressure, if not
applied evenly, will throw the joint
slightly askew. Sighting the line will
show just a fraction of movement. If any
is found it is just a matter of unclamping
the joint, putting it right back in line and
reclamping again.
Before final assembly, try the fairness
of the taper with a straightedge. If there
are any humps, they can be taken down
with a disc sander in an electric drill. It's
best to leave a little extra wood around all
the edges of the smaller 2' piece to take
care of any slippage when the joints are
glued. After the joint has dried, lay the
pattern back on and make the final cut.
Glue both pieces liberally and let the
joint stay open for a few minutes if the
wood is hard and smooth grained. On
plywood, I use a disc sander to scuff the
joint some before joining. Use two pieces
of board wide enough to span the joint.
Put one board on the bottom with waxed
paper, then the pieces to be joined. Place
another piece of waxed paper and a board
on top and apply clamp pressure
18/WOODENBOAT 77
Boat
Builders'
Forum
One of the most important lessons we can
learn about working with wooden boats is
that no one article or book can adequately
convey the unlimited possibilities open to
the builder. By our own experiences, and
through the experiences of others, we
learn there are no definitive solutions to
the problems we encounter. By experimenting and adapting, we eventually
come to realize that in the end, invention
rests with us. Books and articles can
guide us, but only we can create the
means to satisfy our particular needs.
Because we believe that differences
among builders offer the greatest potential for growth, we must seek to discover
those differences and share them with
others.
So, with this issue we continue the
Boatbuilders' Forum. In each issue we
will pose several questions for which
there can be many possible answers. We
will count on you, the professional or
amateur with in-depth experience, to
respond to these questions, clearly and
concisely expressing your pro or con
views. If you have drawings or photos
which adequately illustrate your point
(and which are suitable for good reproduction) enclose these with your answer.
We will not be able to accept all responses for publication, but we will try to
choose as fairly and open-mindedly as
possible, those responses which are
limited to 500 words or less.
Finally, because the Boatbuilders'
Forum aims to broaden communication
among the wooden boatbuilding community, we encourage those of you who
wish to comment on published responses
to do so through our Letters column. In
this way, many more can share in the vast
potentials for growth and understanding.
The following is a list of topics we'd like
to have responses to for an upcoming
Boatbuilders' Forum:
The Cross Planked Hull
Pro or Con?
The Laminated Back Bone
Is it better or worse than a conventional
structure, and under what conditions?
Rivets As Fastenings
Are they better or worse than screws?
Send your responses to: WOODENBOAT
Boatbuilders' Forum, P.O. Box268,
Brooksville, Maine 04617.
78 18/WOODENBOAT
Opinion:
On Eschewing Obfuscation
The following is an exchange between M.
MacL. Lusher of Prince Edward Island,
Canada, and our Associate Editor, Dan
MacNaughton. We thought readers
might be interested.
Dear Sirs:
I have just completed perusing
editions 13 and 14 of your publication and
found them interesting. Unfortunately
your creditability disapeared when I read
in issue 13, a letter from A.M.Z. regarding "keel battens" and "keelsons". The
flippant and irresponsible reply by your
staff member was not what one would
expect from those publishing a magazine
purporting to be about wooden boats.
If you Yankees would only learn the
Language of the Sea, and the terminology
of wooden boat and vessel construction
instead of adding whiffeltrees and horsefeathers, things could be discussed
without local lingo.
To separate keelsons from keel
centerline timber afixed atop the frames
however, to find that our "creditability
disapeared" as a result of the "flippant
and irresponsible" reply made by our
publisher Jon Wilson, to the reader's
question about keel battens and the like.
I am sorry if this is the case, but feel
(timbers, ribs) to bind or lock the frames
compelled to note that I found the reply
to the keel. Where deep frames or floors
are utilized then filler blocks are placed
neither flippant nor irresponsible. If we
could not inject humor or profess our
ignorance on a subject, we would be a dry
and insincere publication indeed.
batten?
Now, can you differentiate between
son and batten and son and sister in
wooden boat and vessel construction?
I. Keelson (wooden). A fore and aft
between before installing the keelson to
prevent the frames tripping.
II. Keel Battens (wooden). Afore
and aft timber wider than the keel, afixed
to the top thereof to provide additional
landing surface for the garboard strake.
Both keelsons and battens provide
additional longitudinal strength and thus
we find the door open for further confu-
sion between keelsons, keel battens and
hog pieces. People lazy with their
language put the "result" hogging before
the "function" strength and in some locations we hear the term "hog piece" in
place of keelson and keel batten. The
I do not consider the terminology of
boating to be a sacred institution, or even
narrowly definable. You accuse us of not
having learned the "Language of the
Sea." The most fascinating part of the
keel batten discussion is the emergence
and illustration of local differences in
language. I do not believe that there is a
"Language of the Sea", which is or ought
to be universal. We can argue your local
lingo against mine until we're blue in the
face, and all we will accomplish is a little
more blue in an already indigo world.
battens and both from keels, I have
proper language therefore is keelson if it
attached hereto several rough drawings
binds or locks the frames to the keel; keel
batten if it provides additional landing
Dear Mr. MacNaughton:
surface for the garboard strake.
learn the Profession of wooden boat
to illustrate the function of each.
Illustration Al illustrates the function of keelsons from boats to vessels.
Now, can you define a keelson?
Illustration All illustrates the function of a keel batten.
Now, can you define a keel
Dear Mr. Lusher:
Thank you for your letter and
The point I tried to make is that if we
construction we have an equal responsibility to learn the correct language of the
sketches. We found them interesting and
Profession. It is unfortunate that many
disagree with me on this point and prefer
informative. I am rather surprised,
each builder to have his own "Lingo".
18/WOODENBOAT 79
Thusly a communication problem arises
which will add confusion to our discussions about our first love — wooden boats.
My only reply to you and others who
prefer "Lingo" is the following illustration: You are on the operating table in a
modern hospital and a team of three
specialists have been assembled from
throughout North America to perform
major surgery on you — to remove one,
what was historically known as a kidney.
Each doctor, coming from a different
region, has his own "Lingo" rather than a
common Professional Language. Would
not you the patient on the slab be slightly
apprehensive of what would be removed
as the discussion of what to remove
waged back and forth?
I feel this confusion should not be
allowed to proliferate and I feel a publication of your avowed intent should aid in,
and (offer) leadership in stopping this
confusion at least for the major components of the structure. I shan't argue the
proportional difference between a keel
and its son nor the son and sisters. Nor
will I argue the proportional difference
between a batten and a strake of planking
as long as the differences are justified
with reason.
Dear Mr. Lusher:
Your point about "Lingo", as illustrated by the operating room scene, is
well taken. As the only magazine around
that seems to be a real forum for wood-
80 18/WOODENBOAT
oriented boat people, we get involved in
this type of discussion quite a bit. We are
sea, you may have dumped tea into
Boston harbor to afront him, but; you
humbled by the massive differences,
retained and continue to use the Kings
English, albeit not to correctly. You
seemingly legitimate, in language in the
English-speaking world. This is why I am
sometimes impatient with anyone who
thinks they have the "right" (only right)
cannot ignore the family tree of the Kings
English presuming rather that the
language had its origin on the beach on
word for something. I think I overstated
my point in my last letter, in the sense
that I wholeheartedly support a common
language, or at least an attempt at a
common language in boatbuilding, just as
I dream someday of being able to speak
easily to anybody anyplace in the world.
What an advance! But as someone with a
very rudimentary background in Anthropology, I feel a strong sympathy and
interest in local variation. Language is
owned by the person who speaks it, just
as his or her name is. If a person wants to
call a tree a dog, that's legitimate, in my
opinion. But I look forward to a time
when people can cooperate, and make
Plymouth "Rock".
This usage of the Kings English cannot be excused when propogated by one
in the communication field, particularly
by one with the avowed purpose of
becoming the "National Geographic of
Boating" let alone just another "Slick" of
photos for the coffee table. To explain
ever more precisely (in a final attempt)
what I am saying, there is...attached a
page from issue #16 of your publication
illustrating the confusion you continue to
create for your readers. (WB#16, p. 22,
para. 2, "clamp") particularly with such
elemental words of marine terminology.
communication (and therefore, life) better and easier.
Dear Mr. Lusher:
It seems clear to me that we are both
dedicated to the same ideal of a common
Dear Mr. MacNaughton:
My contention of irresponsibility and
flippancy is confirmed by your statement — and I quote— "Language is
owned by the person who speaks it, just
as his or her name is. If a person wants to
language amongst wooden boat enthusiasts, and that our only difference
emerges in the fact that you evidently feel
that this language already exists,
whereas I do not. Because I do not, I can
only speak of and deal with local variation
call a tree a dog, that's legitimate, in my
with a great deal of respect. If, as you
opinion."
have done with the keel-batten question,
an historically rooted and widely accepted
definition for a term emerges,
Well yes, you may have tossed King
George III and his minions back into the
WOODENBOAT as a forum can only
hope to note this definition of the term
and use it wherever it is appropriate in
the development of this common tongue.
You have stated your point well and
fairly, but I can only say that I respectfully disagree with the concept that there
is already a "correct" language of the sea
and wooden boat construction.
As to the error which you noted in
WB #16, I feel that the term "bilge
stringer" should have been substituted
for the word "clamp". However, if it
turned out that in the author's geographic
area, the term "clamp" was substituted
for the word "bilge stringer" then it
might behoove us to change the term only
with an accompanying editor's note,
perhaps.
Despite your reasoned, well-informed
argument to the contrary, I still feel that
just as one must respect the customs and
traditions of local areas, one must also
respect the language in which those
customs and traditions are discussed. It
is my opinion that if we do not respect the
language which individual groups of
people choose to use, then in some subtle
way we do not respect those groups of
people. As a communications forum,
WOODENBOAT hopes to bring people
with our common interest closer together.
With such an objective in today's world, I
personally feel that it is hardly in our
common interest to say to one another,
"You talk funny".
18/WOODENBOAT 81
Most boat owners would not consider it
lucky to have the cross member of a
cradle crack and sag under the weight of
a 50', 76 year-old double-ender and
"squat out" a soft place in the keel, but
we did. It resulted in the replacement of
a 12' section of the 5" oak keel that we
might not have detected, new garboards,
and the replacement of other suspicious
planks in the canoe stern of ARLINE.
We had hauled her for the winter on a
news-wheel 20' trailer made from a bus
frame, and we were not sure exactly how
far forward we should position the boat.
The weight concentrated mostly on the
after part of the trailer, exerting so much
pressure on that part of the keel that it
began to crush the soft portion, causing it
to bulge slightly and make ominous
noises.
A
Lucky
Break
Text & Photos
By Clifton Andrews
82 18/WOODENBOAT
At this point, ARLINE was nearly
completely out of the water on the concrete ramp when our good shipmate,
Cap'n Ken, who had made the trailer,
noticed that an oak timber at the rear of
the steel frame had also cracked under
the 12-ton load of the boat. Rather than
risk causing more strain in the wrong
places by hauling her further up the
ramp, Ken reversed gears and let the
whole thing back into the water for repositioning. This time we slid the boat a
good 4' farther forward before rehauling.
It was late in the season, so we
decided to wait until spring for the repairs to the keel. In the course of his fall
woodcutting, Ken spotted a white oak on
his property that he figured would do just
fine for keel timbers. It was felled, and
Ken hauled it in sections to a local saw-
mill with instructions to quartersaw it in
4" x 5" x 12" pieces that we could season
over the winter.
When the weather moderated in
March, the trailer was jacked up about
6", giving us just enough room under the
keel. We tacked 3/4" pine planks to the
hull below the turn of the bilge to distribute the weight, placed others on the
ground below to provide a level footing,
and then installed 4" x 4" uprights of oak
every 18" for one-third the length of the
hull, toenailing them to prevent slipping.
To provide just a bit more room between
trailer and hull, Ken let the air out of the
tires!
Then came the removal of the punky
section of the keel. It was done with a
circular saw, speed borers and chisels.
Fortunately, the deadwood near the
planking was sound, so that we could add
sections down from there, without having
to cut away up inside.
Toward the end of the keel there were
six pairs of bronze bolts, 1/2" x 24",
holding the keel assembly together.
These bolts ran for about 4', and we installed ten more pairs along the remaining 8' of the keel that needed replacing.
Unfortunately, part of the section ran
under the engine, and the only practical
way of getting the nuts and washers on
the upper ends of the new threaded rods
we used was to remove the garboard
strakes. It was either that or lift the
engine out of its bed, which because of its
position, we wanted no part of!
It all turned out for the best, however,
since we found all sorts of surprises when
Ken applied the catspaw to the fastenings
Opposite Page— ARLINE resting on the 4 x2
oak supports, freeing her keel for replacement
of a 12' section. Front wheels of the bus frame
trailer were removed to allow bow of the 50footer to pitch down when the rear of the trailer
was jacked up.
Right— Holes for the existing bolts were
drilled in each new oak piece, from a master
pattern. The new lamination was then jacked
into place.
Below— Filling the remaining cracks in the
new laminated oak section of the keel with
shingles. Caulking cotton and compound were
added after sanding. A 2" oak worm shoe completed the job and was recessed to cover the
bolt ends and nuts.
and removed 8'-10' sections of garboards. Old iron nails, certainly there
since 1900 when she was first built, considerably slimmer now, monel nails, and
steel screws. Quite a variety!
The former owner had assured us that
the hull was built of 1" hard pine and
apparently most of it is, accounting for its
long life. Having no local source of
southern hard pine, but with a nearby
mill sawing plenty of prime, native white
pine, we settled for several beautiful
1 x 10's for planking stock.
After the first layer of new oak was cut
and fitted into place, it was held up by
small jacks and holes were drilled up
from underneath through the part of the
keel remaining, for a total of 20 more 1/2"
bolts which were to hold the new section
together and secure it to the boat.
Using a heavy-duty electric drill into
white oak lying on your back is no breeze,
and in some places Ken had to dig small
pits in the ground to accomodate the drill
and use wooden levers because of the
confined space.
As new laminations of 4" oak were
added, holes for the bolts were drilled in
these with a master pattern, and then the
pieces were jacked into place. This also
proved to be tedious work as it is practically impossible to have all the holes in
the right places in a 4' or 5' length and
then force it into place over several long
bolts. Obviously, we could have avoided
this complication if we had been able to
raise the boat another 2' or so.
Finally, the bottom piece was socked
home, the jacks held the entire assembly
compressed, and the nuts were installed
and tightened on the projecting 32 bolts.
The tough part of the job was over! The
exposed nuts were then capped with a 2"
oak shoe, screw-fastened to the bottom of
the whole assembly.
So, what should have been a simple
haulout turned out to be the signal for
some major work. Undoubtedly, if the
punky section hadn't been crushed, we
wouldn't have noticed any problems
beyond some leaking during the next
couple of seasons. But there's something
very satisfying in restoring this vessel,
over three quarters of a century old, to a
robust health. As far as we're concerned,
it was a lucky break.
18/WOODENBOAT 83
designs
This double-ended design was begun on
ing radius in the garboard area results in
speculation, being a yacht that I could
build for myself at minimum cost should
improved performance, especially on the
wind. So nothing is lost and everything
gained by WEST system construction and
the hull sections it requires. I do advise
that the underwater area of the finished
hull be sheathed with polypropylene cloth
in epoxy resin, as this improves the abrasion resistance of the otherwise quite soft
hull planking.
The hull planking consists of five
layers of 1/8" thick Western Red cedar
veneers in WEST epoxy resin over longitudinal stringers. With no transverse
frames, the usual clamp and shelf at the
intersection with the deck is replaced by a
single laminated clamp which receives
the ends of the deck beams. Interior
joiner work is of U.S. Plywood® duraply
of 1/2" thickness. The deck is two layers
no client be found. A guiding philosophy
was to use many of the racing yacht
design techniques I had developed over
the previous years so that despite her
traditional appearance, she would be reasonably lively in her performance.
Having chosen the WEST system as
one of the construction methods, I had to
take this into consideration in the drawing of FRANCES' hull lines. The "wine
glass" shaped fairing of the canoe body of
a yacht's hull sections into the vertical
keel fin was evolved from conventional
wood (carvel planked) boat building, and
is very difficult to adapt to cold-molded
construction. It has been found on the
race course that the eliminating of a fair-
84 18/WOODENBOAT
of 1/4" marine plywood over conventional
deck beams, fiberglass covered. A
system of floors and heavy longitudinal
girders is used to reinforce the area of the
keel to which the massive (3500 Ibs.) lead
ballast casting attaches. The result is a
hull with an unusually low center of
gravity.
One will note that contrary to conventional construction practice, mahogany
and Douglas fir are the recommended
woods for the keelson and external deadwood rather than oak. This is because of
oak's checking tendency, which would
negate the advantage of the WEST
system's cell encapsulating coating. Dry
Douglas fir, Western Red cedar, mahogany, and even Sitka spruce are preferable to the more traditional teak and oak
because of the former woods' superior
despite the minimal power of that
steerer. Returning home from the Newport Boat Show, I did battle with a tenacious Nor'easter, running Newburyport
River bar twice with an adverse tide and
absorption of the WEST epoxy resin. An
added advantage is that one gets entirely
away from muscling about the heavy
baulks of timber that would be necessary,
using conventional frame and planking
construction.
Two rigs have been drawn for
FRANCES. The light air oriented sloop
rig is tall and powerful, while the shorter
cutter rig with its three smaller sails is
more suitable for extended offshore pas-
furiously. This she took in stride, showing her lifeboat heritage. FRANCES was
admired everywhere, being commonly
mistaken for a design by one of the "old
masters". I do hope that I have suc-
sages. I have found the sloop rig, with its
self tending jib, a joy to handle in
ceded in combining a style that is evocative of the past, with the most modern
crowded anchorages, as she may be short
tacked to windward without touching the
sheets.
materials and naval architectural technology.
The detailed construction plans for
I found FRANCES to be fast and comfortable, given the restrictions of her
small size. With a Q.M.E. vane gear, she
self-steered in almost all conditions
$250. Inquiries should be forwarded to:
C.W. Paine Yacht Design, Inc., St.
the "no go" warning strobe flashing
FRANCES, containing 15 drawings, cost
Particulars
LOA
LWL
Beam
Draft
Displ.
Ballast
S.A.
Headroom
Water
Fuel
26'
21' 3"
8'
3' 10"
6,800 Ibs.
3,500 Ibs.
327 sq. ft. (sloop)
4' 8" under deck
5' 0" under hatch
15 gals.
15 gals.
George, Maine 04857.
18/WOODENBOAT 85
Despite her small size, this little pram
represents an important stage in the
growth of wooden boatbuilding technology
and popularity. Many of us are accustomed to seeing cold-molded racing boats
of some size, and we forget that we are
just beginning to see the rebirth of this
material and that its range of applications
is enormous. We do not yet see many
cold-molded small craft around our
harbors, but when they do start to
appear, and as their maintenance characteristics become known, the building
method should really start to become
widely used.
Here is a little boat which will surely
be much admired and discussed, since
she can be all bright finished, requiring
only a minimum of maintenance each
86 18/WOODENBOAT
year to keep her looking fantastic. She
will be very light weight, should row and
sail well and carry a good load, and
should stand up well under the beating
which most tenders experience.
She would be an excellent first project
for anyone interested in exploring coldmolded construction, and could no doubt
even be mass-produced by some enterprising builder. While it is possible that
mass-production is not the wave of the
future, the thought of a half-dozen of
these little boats at the float is not unappealing, by any means. The construction
is beautifully neat and simple, consisting
of two layers of 1/8" red cedar veneer,
glued and saturated with epoxy. The
transom, thwarts, and trim are mahogany. The few fastenings in the boat are
bronze.
The plans, which are very detailed
and informative, were beautifully drawn
by Frank "Red" Davis, of Topsham,
Maine. Mr. Davis, who worked with
Julius Peterson of Nyack, New York, and
other Northeast Yards, has a very high
reputation among professionals everywhere. As well as being a first class
designer, he is a fine boatbuilder, carpenter, and philospher, and has been an
artist and illustrator, working in water
colors, and pen and ink. In its early
stages, the Apprenticeshop, in Bath,
Maine benefited greatly from his presence. recently, he has been working
closely with the Gougeon Brothers, and
though officially "retired" at age 70, is
still very busy indeed.
18/WOODENBOAT 87
The HERCULES, a trailerable 24'
trawler-type yacht, developed for amateur boat builders by Glen-L Marine
Designs, offers exceptional fuel economy
and low initial cost.
Mooring expense is eliminated by the
HERCULES, which can be trailered
behind any standard automobile and
parked in a back yard, and power requirements are minimal. Using a single
diesel, an 80 gallon fuel capacity provides
the HERCULES with a cruising range
exceeding 600 miles at 7 knots, although
speeds to 9 knots are possible. A gasoline powered engine may be utilized
instead of diesel. Less than 50 horsepower is required in either case.
68 18/WOODENBOAT
Intended for family pleasure cruising,
the boat has 6' headroom throughout,
including the head. Accomodations are
designed for self-contained convenience,
with shower, tankage for 40 gallons of
fresh water, fully equipped galley and
sleeping for two adults and two children.
The pilot house features wheel steering.
Storage space is extensive, and a selfdraining cockpit with a transom gate aft,
provides a 6' x 4' 3" area for fishing,
swimming or sunning.
Bottom design offers a deep bulbous
forefoot with a reverse curve at the chine.
Overall length of the HERCULES is 24',
with a beam less than 8' and a hull depth
of 6' 9"; height overall is 10' 10", with
hull weight (approx.) 1600 Ibs.
Ordinary materials are used to build
the HERCULES. Specifications include
plywood construction over sawn frames
with a hard-chine hull form.
Plans and instructions are incorporated with a bill of materials, offset table
and fastening schedule, and are available
for $26.00, postpaid. To eliminate
lofting, full size patterns for hull framing
members are postpaid at $42.00, including plans. In addition, a 1977 Glen-L
Boat Plans catalog may be obtained by
sending $1.00.
For further information, write Glen-L
Marine Designs, 9152 Rosecrans, Dept.
WB, Bellflower, California 90706.
26' Eastport
Pinky
By Brewer,
Wallstrom &
Associates, Inc.
The design was done for Penobscot Boat
Works, Rockport, Maine 04856 who have
been building a similar 32' vessel called
the Quoddy Pilot and wanted to offer a
smaller semi-custom yacht. The construction is similar to the methods used
on their 32 footer and has stood up very
well under years of hard sailing. (See
WB#14, Newsfront.)
The 26' Lubec boat is designed primarily as a daysailer with comfortable
cruising accomodations for one couple.
She is based on the inshore sardine fishing boats of Maine, craft that were noted
for good speed, great carrying capacity
and seaworthiness. Her heavy displacement assures an easy motion in a seaway
and the owner of a modern light displacement fiberglass cruiser would find her as
steady as a half tide rock in comparison.
The sail area is large for a 26 footer,
but not out of keeping, considering the
displacement. However, the center of
effort is low and the self tending rig is
simple to handle. Of course, many
modern sailors might have to add some
new skills to their repertoire since roller
reefing, turnbuckles, winches and other
new fangled ideas have been eliminated
for the sake of authenticity.
Plans are available to amateur
builders at $150.00 for the set and the
strip planked construction should pose no
problems to any competent woodworker.
Those wanting less daysailing space and
more cruising room could shorten the
cockpit, if desired, and add the space to
the interior.
The Lubec boat is an unusal craft by
modern standards, but will certainly draw
attention wherever she goes. Incidentally, Albert Hallet, the name on her
stern, was a well known builder of the
original working pinky sloops.
Particulars
LOA
LWL
Beam
Draft
Displ.
S.A.
Ballast
Power
Fuel
Water
25' 9"
22' 6"
8' 9"
4' 1/2"
11,500 lbs.
460 sq.ft.
4,600 Ibs. iron and
concrete (43%)
Pilot 20 diesel,
2:1 reduction
20 gals.
20 gals.
18/WOODENBOAT 89
new products
Navigational accuracy is a function of the
compass and the log. Recently two new
products have been introduced to the
market with claims of improved efficiency.
within an outer sphere and floated at
neutral bouyancy in a silicon fluid. The
magnet and card is free of pivots, jewels,
and gimbals. The Spherical Compass
comes in seven 3" models with a line of 5"
compasses to be offered later on this year.
For more information write: QUADRANAV Ltd.,349 Grays Road North,
Hamilton, Ontario L8E 2Z1 Canada.
Proengin Eodyn of North America
offers its Proengin Log Viking. This precise and durable instrument measures
and records the distance travelled
through the water. Rotating vanes are
towed astern and read out units of distance in 1 /1000, 1/100, 1/10, and 1 nautical miles, digitally on the unit that is
mounted on the boat. Each rotation of
the uniquely designed torpedo-shaped
device is 1/1000 of a nautical mile. No
power is required for operation. It is
The Spherical Compass is a refined
new version of the original compass developed by the Chinese around 2600 B.C.
Most magnetic compasses attach a bar
magnet to a card indicating the magnetic
points, and suspend both on a jewel resting on a pivot. Friction and wear are
unescapable in this type of system. The
Spherical Compass simply is comprised
of a massive bar magnet placed in a
sphere. This sphere is then enclosed
90 18/WOODENBOAT
available from: PROENGIN EODYN OF
NORTH AMERICA, 129 Mill Road, North
Hampton, NH 03862.
This completely different type of bilge
pump is powered solely by the action of
the waves and the motion of the boat.
Tumbalens is a precision piston pump,
manufactured in Sweden, and built of
non-corrosive marine materials. The
pump is placed outside the boat and
made fast with a light line so the floater is
free in mid-position. The lead weight on
the bottom stabilizes the pump. A
strainer with a one way check valve, to
prevent siphoning of water into the boat,
is placed in the bilge. According to the
manufacturer, even minute movements
of the boat or the water surrounding it are
enough to cause positive priming and
pumping action. It is available for $44.95
from: NAUTILUS TRADING CO., 495
East Seventh St., Brooklyn NY 11218.
Dick Andersen has informed us that
Boat Barn, Inc. has formed a new division
called Wood Marine Inc. to the Wood
Marine 24, a strip planked 24 foot
sloop built of western red cedar veneers,
edge nailed and glued with Cold Cure
epoxy over laminated fir frames. The
most interesting aspect of this enterprise
is that it will be produced on a semiproduction basis with a lot of work being
subcontracted out to some of the young
and talented boatbuilders of the Pacific
Northwest. For large scale study plans
and specs send $5.00 to: WOOD
MARINE INC., Division of The Boat Barn
Inc., P.O. Box 269, Coupeville WA 98239.
Walter Prokosch is an architect (land
variety), and we had a chance meeting at
La Guardia Airport. He is currently
involved with the design and manufacturing of post and beam modular kit houses.
The basic Unit One measures 12' x 12'
with 7'8" ceiling height and 9'0" in the
front. We discussed the needs of the boat
builder with regard to shelter for his projects. Although the kits would not be able
to accomodate the needs of someone
building a large boat that requires quite a
bit of clearance for keel and cabin work,
Prokosch's ideas of stringing two of these
Unit Ones in line with an enclosed porch
behind them (which is another kit) would
make a relatively economical permanent
structure for some one who could use the
33' x 12' space that would have 12' 6"
clearance at the front, and 8' 6" height at
the back. The portability — each bundle
weighs only 100 Ibs., — and the ease of
construction might make it just the ticket
for someone who needs a permanent
structure quickly and economically. For
more information write: SHELTER KIT
water sailors the possibility of sailing
without the discomfort and dangers of
exposure. It was selected for use by the
Canadian Olympic Team, so the quality
should be up to snuff. For more information write: HYDROSPEED SAILCRAFT
Ltd., 1 Wendakee Dr., Winona, Hamilton
Ontario, Canada LOR 2LO.
INC., Franklin Mills, Franklin, NH 03235.
All my life, I have sailed small, light, fast
and wet boats with pleasure. Since I
moved to Maine the frigid waters have
added pain to practice. News of the
Hydrospeed Sailor's Wetsuit came
to my great satisfaction. According to
Larry Woods, Canadian Olympic Tornado
sailor and manufacturer of the suit, the
donning of this apparel will allow cold
The folks at British Seagull sent us
this photo the other day; the engine was
given to the newly married couple as a
wedding present, and they plan to give it
years of hard use powering their dugout
canoe around the home islands.
— John Hanson
18/WOODENBOAT 91
readersearch
Dear Readers:
I will appreciate any help in securing
rigging and ballast plans for the 29'
double-ender SCRAPS by Victor Heresty.
I'm not sure of the spelling, or the
designer's address.
John S. Quinlan
9300 Elaine St.
Taylor, Ml 48180
Dear Readers:
I own a 40' wooden sloop by Jarl
Lindblom, built by Batvarf in Finland in
1949. The boat is marconi rig, spoon bow
rocker with teak decks, mahogany cabin,
LWL 29', beam 9', displaces 15,000 +
Ibs., and I understand Batvarf built about
six of these in the mid to late 1940s. It
may be one of only a small number of
such yachts built which were solely
designed by Lindblom. I have been
unable to find much information on either
the designer or builder, except that Lindblom was Norwegian, and designing at
least between 1945-1962. He did some
design work with Herreshoff, such as on
the CONCORDIA. Also, I understand he
was involved in the design of very graceful and beautiful boats. If anyone can
provide any information on Lindblom or
Batvarf, or knows of any reference which
discusses either, I would be most appreciative.
E.R. Gemmill
Box 30
Galesville, MD 20765
92 18/WOODENBOAT
Dear Readers:
My sloop is a Mystic Highlander built
in '52 by Mystic Boat Works. 26' cedar
strip, deep keel, just a superb work of
craftsmanship. I wrote the builders to no
avail for any information about the class,
if one still exists. The design was ' Dunham and Tinkam', I believe, but don't
quote me on my spelling. These were
superb boats. Any information you would
have for me I'd enjoy.
Jeffrey B. Armstrong
Friendship, ME 04547
Dear Readers:
Does anyone have any information on
a boatbuilder or boat yard named "Ludd"
that was, or is in business in the Detroit,
Michigan, or Great Lakes area? I have a
"Ludd" built, 22' class K cat boat about
1945-46 and am seeking information of
any kind on its origins.
Glen Cathers
325 George St.
Staten lsland, NY 10307
Dear Readers:
A few years ago Darra-James Tool
Company (now Toolcraft of Springfield,
Massachusetts) produced a tilting arbor
band saw, model 512, that "for bevel
cuts, tilt the machine. Table, work stay
level." This 12" saw tilted 7 degrees forward, 46 degrees back. Anyone who has
used this type of saw knows its many
advantages over the common tilting table
type. After a two month search, I was
discouraged to find that this saw's production has been discontinued. Does anyone know if there is another such saw
(12"-24" range) produced in America or
the world? Does anyone own one of these
saws? If so, how do you like its performance at turning bevels? Does anyone
have or know of a Darra-James Tilting
Arbor for sale?
Albert Geiser
P.O. Box 1306
Depoe Bay, OR 97341
Dear Readers:
I would like to obtain any available
information on a 23' 6" sloop built in 1955
by FA. G. BAAY — Yachtbuilders,
Loosdrecht, Netherlands. She is carvelplanked, mahogany on oak frames, fastened with copper rivets, with a keel
simply suspended from her rounded hull.
She was referred to as a folkboat by her
former owner, and while she bears a
resemblance to one she has an inboard
rudder, is smaller, and has a radically
different keel construction. Any help will
be much appreciated.
Buddy Robson
Rt. 6, Box 45
Tallahassee, FL 32304
Dear Readers:
Recently I read through Vol. 51 of the
Motor Boating magazine Ideal Series
showing study plans for 363 boats. When
I wrote to order Vol. 38 and 33 I was told
that they were out of print. Would you
have any idea where I could obtain these
books or other similar collections of study
plans. Most of the boats in these volumes
were designed by Wm. Atkin and his son,
John.
Russel Jackson M.D.
would be interested to hear from anyone
who owns the same boat, or who has such
plans or specifications.
Wilfried A. Setzer
Polk Street
1044 Crest Acres Rd.
Coquille, OR 97423
Dear Readers:
My husband and I recently purchased
a Wells 34 ketch, Nightingale. She is hull
#4 and was built by Tradewind Marine in
1964. She is in need of much care and
repair and we are looking forward to getting her in shape. We would be interested in hearing from any other Wells
owners or from anyone knowledgeable
about the Wells 34. Thanks for your help.
Dear Readers:
Knowing how I love to work with wood
a friend of mine gave me an 18' Rocket
daysailer built by A.R. True of Amesbury, Massachusetts prior to World War
II, which needs to be completely rebuilt.
Other than my imagination, the only
thing I have to go on is a sales pamphlet
with some very basic specifications about
the boat, including, by the way, its price
FOB — $1,400, with sails, Amesbury
Massachusetts, which we will never see
again. I would like any information,
plans, drawings, photographs, etc.,
which would help me in this project.
John J. Berry
24 Col by Road
Danvers, MA 01923
Dear Readers:
I am the owner of an Olsen 35 yawl,
built in 1959 by Olsen Brothers in Guttenburg, Sweden. There is a plaque on the
boat which indicates that it is hull #20 of
class #20. I had written to them in reference to obtaining specifications, drawings or plans, or whatever, and they
indicated that they were not available. I
Rocky Point, NY 11778
Susan Allred
P.O. Box 2596
Newport Beach, CA 92663
Reader Search is a free forum for readers
to help one another by sharing their
knowledge and experience. If you have
a question about your boat, or have
answers to any of the above questions,
please let us hear from you as well. The
more we know, the more we can share.
Write: Reader Search, WOODENBOAT,
P.O. Box 268, Brooksville, ME 04617.
18/WOODENBOAT 93
ask the pros
Following are a few short questions submitted by readers, and some responses
made by Dan MacNaughton, our Associate Editor. If you know of alternative
solutions, let us hear about them.
Question 2 — I will be unable to use my
cedar planked 1957 lobster hull this
summer. She is presently hauled out and
covered for the winter. Is there anything
I can do to protect the hull from excessive
drying over the long summer of heat. I do
Question 1 — I've just finished sheathing
my 30' sloop with AC plywood and plan
to sail south for the summer. Does plywood have any resistant qualities against
shipworms because of glue layers, or
should I take other precautions other than
bottom paint, and if so, what?
Warren D. Steinmetz
Westport, CT
Dear Warren:
Plywood probably has more resistance
to worms than conventional planking, but
that is as far as I'm willing to go on the
matter. I would recommend sheathing
the hull, since it will be quite easy at this
stage. I have had good luck sheathing ply
with fiberglass and Life-Glas resin, a
single-part, moisture cure resin made by
Boat-Life. This resin is very easy to handle, and very tolerant of varying weather
and humidity conditions during its application. An even easier method might be
saturating the surface, if not the entire
hull, with WEST epoxy resin. This would
Service is a much used word these
days; we've been talking about it in
our ads for more than a year now and
we think we do pretty well. Our customers seem to agree.
Every
inquiry
gets
a
personal
response; every question gets answered. If the man down the street
can better help you, we're going to
tell you so (and hope to get you back
when you need something from us).
On some things our prices are the
best around; on others, we're just
average and not afraid to tell you so.
Write or phone for a copy of our
descriptive list; tell us about your
project or your interests. A stamped
4 x 9" envelope is appreciated but
not required. Better still, look over
on the facing page and come see us
October 1.
94 18/WOODENBOAT
provide a worm-proof, rot-proof surface,
with excellent maintenance characteristics. Either method would give you a surface which should give no problems of
grain lifting or checks, in later years.
not like to sell the boat and my yard does
not have inside storage.
Les Burrows
Tuba City, AZ
Dear Les:
Don't leave the winter cover on the
boat, particularly if it is dark colored. If
you have a light colored cover that could
be rigged to keep the sun off, but allow
full passage of air underneath, this would
be really good. (See WB #13, "Winter
Covers.) Make sure there is a drain plug
in the lowest part of the bilge so that rain
water can drain out. If possible, paint the
bottom of the boat with a mixture of equal
parts Linseed oil, varnish and turpentine
or Cuprinol. This will help seal it, to prevent moisture loss, and will help the
bottom paint to adhere. If you can, sand
and paint the topsides with a coat of flat
paint. Putting water in the boat will keep
her from drying out too fast. Don't put in
enough so that the weight would hurt the
boat (which should be well supported);
and provide plenty of ventilation so that it
won't get too hot and humid inside. Salt
water is best, of course, for it won't promote rot. If you must use fresh water,
mixing in some rock salt wouldn't
hurt. But if the heat and humidity get too
high in the cabin, drain the water out,
and do it again when these conditions,
favorable for rot, diminish. When you
get ready to put her in the water, swell
her up as best you can, then fill all the
open seams with a very soft compound
like polysulfide. Don't caulk the seams as
this will prevent them from closing to
their old positions. Don't use hard compound in the seams, for the same reason.
After painting and varnishing as usual,
launch the boat, being prepared for some
pumping. She should swell up enough to
stop leaking badly within 24 hours. Avoid
high speed operation for 5 or 6 days after
launching, by which time she should have
swelled enough to have regained her
usual strength and tightness. As the
seams swell, they will push the soft
compound out, in little ridges. At the end
of the season, sand these off, and apply a
flat coat of paint. Apply the same mixture to the bottom as described above.
She should be fine from then on.
Question 3 — It has been suggested to
me that you would know the name of any
west coast boatbuilders who might accept
apprentices. Could you provide me with
this information?
Frank Schweitzer
Frananda Hills, CA
Dear Frank:
Thank you for your card and espe-
cially the return postage which you
generously provided. The apprenticeship
situation was rather good out there just a
few years ago, but it has virtually dried
up now. The reason for this is that most
yards are unwilling to take the time to
train someone who will leave to start his
own business just when he is starting to
get good. If you have experience already,
you will stand a better chance. If you
have any examples of your work that you
could show to a yard, that would help.
I'm afraid that you are going to end up
knocking on doors, in a sense, so anything you can do to spark their interest in
you is going to be worth it. When talking
to a builder, emphasize your own maturity and seriousness, and try to make it
known that you will be around for a while,
if this is true. Good luck!
Question 4 — I am very interested to find
a book or a pamphlet which explains the
methods for conserving the wood in the
interior of the boat... I mean the bilges
and bulkhead under the waterline but in
the interior of the boat. Some people are
of the opinion to let the wood bare as it is,
without any paint or preservative; others
do recommend preservatives, mostly
copper substances. I wonder if you can
recommend me a book that treats this
matter scientifically.
Alberto Arvelo
Santo Domingo, DEM REP
We're inviting one and all to a boatbuilding get-together here on, Saturday October 1. We'll have several of
our own projects, several staff projects, and various customer boats.
Between our own staff and our
guests, both amateur and professional there will be plenty of advice
and exchange of opinion. The tide
will be high in the afternoon and if
the weather is nice we'll be out on
the river in anything that will float; if
it rains or snows, we'll be in our 6000
square foot shop. There'll be prizes
in various categories, so bring your
boat or pictures.
P.S. We all know "There A i n ' t No
Such Thing as a Free Lunch"; make
no mistake, we'll be all set to sell you
a boat or anything you need to build
one. There won't be a hard sell and
if you just want to come and talk,
that's fine with us.
The lunch will be a simple smorgasboard; the first fifty people to
reserve will get it free, but after that
we may ask for some help with the
bill. Please try to let us know if
you're coming and plan to bring your
boat.
18/WOODENBOAT 95
Dear Mr. Arvelo:
The subject of preserving wood is one
which deserves more attention than it has
received in print. I can tell you things
which I have learned through my own
experience and reading, however. I don't
think that it is a good idea to paint the
inside of the boat, unless all the paint will
always be kept in excellent condition.
Thick or peeling paint invite rot. Donald
Street, a very respected sailor in this
country, recommends applying a mixture
of 1/2 Cuprinol (a wood preservative, containing Copper Napthenate) and 1/2 linseed oil. When applied one or more
times per year, this should both harden
and protect the wood from rot. I use this
method on my boat. The best way to stop
rot, of course, is with good ventilation to
all parts of the boat. Don't build in any
lockers without ventilating holes. Keep
the bilges and lockers clean and fresh at
all times. Fix any deck leaks as soon as
they appear. If you do all of these things,
your boat should not rot.
Question 5 — Asa Californian who has
been around boats and wood much of his
life, I have only once heard of a boat
being built with redwood. Why is this? It
isn't particularly expensive, I understand, and it is certainly rot resistant. Is
it too soft or weak perhaps?
Dana Munkelt
Orange, CA
96 18/WOODENBOAT
Dear Dana:
Redwood and other normally
neglected woods deserve a re-look. We
have no first-hand experience with redwood ourselves, but from what we have
heard, the wood is seldom used for conventional boatbuilding. It is reported to
be brittle and prone to splitting. We have
also heard conflicting reports concerning
its resistance to rot and weathering, most
of which are negative. Cold-molding and
epoxy saturation may hold great promise
for the poorer grades of wood, making
them more suitable for boatbuilding.
Spruce, for example, which has always
had one of the highest strength-to-weight
ratios, but which has always had a rot and
abrasion problem, becomes much more
attractive as a boatbuilding material
when saturated with epoxy, which renders it impervious to rot, and makes it
harder as well as even stiffer than before.
Spruce has not yet been used extensively
with this method, and we have not gotten
any reports on the performance of redwood in this matrix. Maybe you could do
some experiments and send us the
results? I have also heard that redwood is
being harvested much faster than it is
growing, which would mean that it is of
dubious ecological status as a boatbuilding wood. Do let us know if you turn
up anything.
Send questions to: Ask The Pros,
The
New Yorkers
Who Hustle
the Wind
Street life in a metropolitan area
often inspires genius. And that genius can
be funneled two ways—good or bad.
The 11th Street Movement in Manhattan's Lower East Side has funneled their
genius on the good side with a unique
energy saving project involving windmills
and solar panels.
This project is just part of the Emergency Energy Conservation Program operated by the Community Services Administration. CSA has established many
demonstration programs designed to find
new and better ways to help the poor and
elderly cope with what for them is a continuing energy crisis.
The program has a broad base,
covering everything from development of
low cost solar heating and wind generators to experiments with energy conserving farming technologies
But helping people help themselves isn't an easy task. Simply put. it
demands community support—Your support and the support of local and state
governments.
If you think this effort is worthwhile,
take action, contact your local Community Action Agency or Community Services Administration Washington, DC.
20506.
There are thousands of people who
want to help themselves. Like the 11th
Street Movement—they learned how to
catch the wind, so they'll no longer be a
victim of the elements.
Want
to be Part
of a
Beautiful
Relationship?
WOODENBOAT owes a great deal to those readers who have
spent time and effort writing articles which contribute to the
knowledge and understanding of others. We depend a great
deal on the interest and generosity of these readers, for it
is their support which enables WOODENBOAT to offer all
readers easy access to a wide variety of experiences and ideas.
Because we are a small staff, and still a rather limited
operation, it is difficult for us to acquire all the articles which
fulfill the readers' needs. We spend as much time as possible
soliciting material, yet it is a mammoth task trying to gather
all of the subjects for publication which you have been
requesting.
We'd like to hear from anyone who feels he or she can convey in clear simple language the essentials of a repair, or
other project which they have undertaken. If you have done
work on any of the below listed subjects, or even some not
listed, or if you feel your reading and research have led you to
a clear understanding of certain problems encountered in the
construction or repair of wooden boats, won't you share these
experiences with us?
Write us with an outline of the subject you wish to write
about — some of the below are just for starters — and we'II
send you a sheet which lists our editorial/photographic
guidelines, including our rates and requirements. When we
can, we'll comment on your outline and offer suggestions for
improving the proposed article. We believe the best that
there is to offer WOODENBOAT readers is yet to come, and
people like you can make it happen.
Drop us a line and share your ideas. It just may be the
beginning of a beautiful relationship between you and all of
the other readers of WOODENBOAT.
Address your letter to: WOODENBOAT, Editorial Office,
Post Off ice Box 268, Brooksville, Maine 04617.
Small boat designs
Powerboat designs
Replacing structural members: planks, beams, floor timbers, installing sister frames, etc.
Understanding electrolytic damage to wood and fastenings — avoiding it.
Painting over varnishes which have different coefficients
of expansion and contraction, etc.
What's the difference between oil-based paints; single/
two-part paints, epoxy paints, etc.
Making your own paint: what are common ingredients
from which paint can be made.
What kinds of oil-based paints are there and how they
differ.
Installing port holes and port lights, taking into consideration how they've been imbedded and what kinds of compounds figure.
Exploring materials and methods for self-efficiency in
boats, eg. wind-powered generator systems, on-board
greenhouses, composting marine toilets, designed for
extended living aboard.
Reconstructing interior arrangements.
18/WOODENBOAT 97
tool critic
I always found painting and varnishing to
be one of the most pleasureable elements
of fine boat work, and though I used to
have a reputation for being no fun to varnish with, (you know, barking orders
about runs and holidays) it was ever the
sweetest task — flowing on the finish
with rhythmic motion, knowing we were
preserving and enhancing the beauty and
grace of the woodfitter's art.
So it shouldn't seem strange that I
love good brushes, and am completely
uncomfortable with the 49e variety found
in the bins with can openers, paint scrapers and vegetable peelers. Not that
such brushes aren't fine for all sorts of
preliminary applications like preservatives, sealers and so forth. But when you
start trying to flow good paint or varnish
with one, you find that the bristles fall
out, won't hold a decent quantity of paint
or varnish, and have none of the body
necessary for flowing on and brushing
out. I admit to this well defined prejudice
and would like to add that it does not
mean that I think all brushes under $18
are lousy. In fact, I've been pretty impressed with a few of the 3", five dollar
jobs on display racks. For a great deal of
painting work they seem just fine. But
like any other craftsman (I mean craftsperson), I'm drawn to the tools that
appear, at least, to be able to do their job
better. Those which have the subtle
qualities of balance, feel, finish, and the
98 18/WOODENBOAT
appearance of craftsmanship in
themselves.
I must also confess that badger hair
brushes for varnishing have a special
place in my heart, so I know that my
standards may be rather elitist in nature.
But to make amends, let me say at the
outset that a good painter can do a fine
job with almost any brush and a properly
prepared surface.
When I worked in yacht repair yards,
there were always, among the collections
of well maintained brushes, those whose
bristles were clustered in an oval pattern,
rather than simply rectangular. They
were great brushes to use, seeming to
hold more paint than the other type, and
having bristles which were slightly longer
than normal brushes. I noticed that they
were not particularly popular with anyone
but me. Although no one had anything
bad to say about them, they were seldom
chosen, largely due to habit, I suppose.
In those days I was a voracious collector
of catalogs, and spent most of my spare
time plaguing puzzled sales departments
with obscure requests. Every once in a
while, a brush manufacturer would
include an oval brush, but upon inspection, I would find that the general appearance of the brush was of low quality, not
at all like the brushes in our yard collections. I found also that no one knew why
they were oval — from painters to manu-
facturers — no one had more than a
guess about the quantity of paint held in
such a cluster of bristles. So gradually I
forgot about the whole thing and was
happy to use the better stock brushes
available.
Well, shortly after the Great Fire, I
received in the mail a sample of what
appears to be the answer to the fervent
prayers of long ago. An oval brush.
More than that, an oval brush with a
story. It was great! It seems that our
friend Ric Leichtung, who imports fine
woodworking tools for mail order distribution here in the US, has gained the distribution rights for Hamilton Brushes
from England. No run of the mill company, Hamilton brushes have been in
business since the presidency of James
Madison (whenever that was), and have
been supplying the British Navy with
brushes since that Navy ruled the waves!
What tradition, and in a paint brush yet!
But there's more. There's a reason for
the oval configuration, and it was apparently developed especially for sailing
vessels and small craft. And now that it's
been explained to me, it's perfectly
obvious. If you use a normal brush on a
cylindrical surface, like a spar, you'll
find, depending on the tightness of the
curve, that the center bristles tend to
separate from the acme of the curve, thus
reducing the amount of paint or varnish
in one small section, and increasing it in
two others. If your mind is working
you're realizing that the greater volume
of bristles in the center of an oval configuration cannot separate and thin out. In
fact, incredibly enough, they maintain a
remarkably even distribution. Thus, you
can be far more certain of proper and
even coverage without having to constantly brush over, or brush in a spiral or
diagonal path. In round spar work, we're
speaking of real time saved, with freedom
from concern about uneven coverage.
And that means better protection for the
exquisite Sitka spruce spar you just made
or refinished (and don't want to do again
next year).
Obviously, the job can be done, and
done well, with the standard brush, and it
has for years. But with a story like this to
tell, and a love for specialized tools, who
can resist the urge to possess these fine
things? Even if one didn't care about the
configuration, these are high quality
china bristle brushes, set in rubber (to
prevent the bristles from falling out with
regularity) and they look and feel like the
fine tools they are.
The prices are very reasonable, as far
as I'm concerned, and for those who can't
wait until the advertising appears, write
for further details to Leichtung, Inc.,
701 Beta Drive #977 WT, Cleveland,
Ohio, 44143. ft
— Jon Wilson
18/WOODENBOAT 99
book reviews
The Sea Bright Skiff and Other
Jersey Shore Boats, Peter J. Guthorn,
Rutgers University Press, 1971, 231
pages, $12.00 pp. Available from
WOODENBOAT Books.
Although this is not a new book, it
deserves reappraisal due to the tremendous interest being generated by Sea
Bright Skiffs today. Not only are they still
performing important lifeguarding functions, but their extraordinary surfing
ability is also being tested in rigorous
beach competition. The Sea Bright Skiff
by Dr. Peter J. Guthorn offers an impor-
100 18/WOODENBOAT
tant historical perspective into the evolution of a generic craft that was both a
reaction to its environment and a reflection
of the people who used them. Guthorn
chronicles the growth of the boats from
rowing skiffs, through power beach skiffs
to today's Sea Skiff as a function of the
basic Sea Bright design, with both an eye
to this geographic area's population shift
and growth, and the advancement of
engine technology. Dr. Guthorn's treatment of this specialized segment of
America's recent past economic history is
fascinating, and is equally important as
the information he sheds on the boats
themselves.
Although the book is not a boatbuilding text as such, it adds much
important insight into the construction of
the skiffs. Knowing the history and
reason for the skiff's unique features,
such as its rolled or box garboard and the
need for elasticity in the planking system,
helps when one is trying to build a skiff
the way it was, and is still being built.
This book caused a great deal of excitment in my life awhile back, so much so
that I just had to build the power skiff
drawn on page 42. The fine photos and
drawings in the book served as a good
introduction to the boat. Even more helpful to inexperienced hands, such as
myself, were the introductions to people
such as Guthorn and Harold " Pappy"
Seaman, who provided many of the fine
vintage photographs in The Sea Bright
Skiff. Even today in his nineties, Pappy
could draw a fairer free hand curve than
1. He was a treasure trove for helpful tips
on skiff construction. The whole resulting mess of my boat's construction was
handled under the watchful eyes of Sim
Davis, master boat builder from Bass
Harbor, Maine. It sure didn't look Iike a
skiff to him, but without his help the boat
would never have been completed. The
important lessons of geographical differences and stubborness were brought
right into my shop.
The Sea Bright Skiff is a history book,
but also a source of living traditions.
Skiffs, both rowing and power, are being
built as far from the Jersey shore as Newfoundland. The Other New Jersey Shore
Boats segment of the book tantalizes you
with thoughts, drawings, and photos of
other unique and beautiful boats just perfect in this age of recreational rowing and
low key beach cruising. The Shrewsbury
River Crab Skiff and the Raritan Bay
Oyster Skiff especially appealed to me.
But sadly, the book has barely enough
detail to attempt building, without a good
knowledge of Jersey construction and an
eye toward fair lines. Patiently, we are
awaiting Dr. Guthorns's next book which
will document the histories of other New
Jersey craft like the garvey, and Atlantic
City sloops — the party boat of their
day — and the South Jersey Beach Skiff,
subtle variation of the Sea Bright. I look
forward to this companion volume.
This book , like Atwood Manley's fine
J. Henry Rushton and His Times In
American Canoeing (also available from
WOODENBOAT Books, $14.00 pp.)
belongs in every small boat lover's
library. The Sea Bright Skiff and Other
Jersey Shore Boats is an inspiration
to the boatbuilder and to the historian, a
book that offers a new perspective on
people and their boats.
— John Hanson
The Cruising Cook, by Shirley Herd Deal,
S. Deal & Assoc., 1977. 135 pages, $5.95.
Anybody who knows me knows that the
most sophisticated meal I have ever produced is a toasted peanut butter sandwich. So it couldn't be much more
unlikely for me to do a review of a cookbook than of an Astrophysics textbook.
However, once you see this book, I think
you'll understand why I think it's the best
boating cookbook around.
This is not your average how-to-enjoyyour-kitchen-even-though-you're-coopedup-on-that-nasty-boat cookbook; nor is it
1,000 ways to make hamburger unrecognizeable. It is an exciting, informative,
inspiring book, written by a woman who
is obviously an excellent sailor, well
familiar with the ways of a ship at sea.
The book contains 197 recipes for everything from dried beef sandwiches to
Shrimp Creole; from raisin bread to
ketchup, but it is not just a recipe book.
There are sections on sprouting, collecting rainwater, the use of seawater, galley
gear, storage, keeping vegetables,
seasonings, and substitutions for ingredients. In short, I expect this book will
allow me to reorganize my culinary life,
aboard my boat. If the sea gods are
willing, I will no longer cook beans over a
candle, or try to put together a meal with
my last three label-less cans, only to discover that they are all yellow cling
peaches. Starving bachelors of the world
no longer have an excuse for eating corn
flakes and peanuts for four meals in a
row. And for those lucky beings who can
already actually assemble ingredients to
make a meal, here is your best introduction to cooking in a world where the
supermarket is not just down the street,
and where a hot meal at the right time
can make the difference between fun and
trouble.
The book is well-organized and
indexed, and is bound in such a way that
you can add to it, lay it flat, or hang it up
on a hook in your suddenly well-organized
and productive galley.
— Daniel MacNaughton
18/WOODENBOAT 101
BACK ISSUES
Most readers know that WOODENBOAT emerged from nowhere in
response to a fundamental need for an intelligent forum in our field.
Since its beginning issues, this unique journal has endeavoured to answer that need with handsome graphics, eloquent editorial, and a spirit
of joy and sharing.
In a manner totally distinct and unique, WOODENBOAT has
helped to nourish and affirm the qualities of craftsmanship, excellence
and integrity. In so doing, we've furnished a focal point for all whose
lives are connected with the universal essences of water, wind and
wood, who savor the fragrance of shavings on the boatshop floor, thrill
at the feel of fine hand tools, and know they're at home on a heaving
deck.
Our stock of back issues, severely depleted in the Great Holocaust &
Flood, still includes the issues shown below, offered at $3.00 each.
We've sold all the binders which were fit to put WOODENBOAT in.
At some (yet undetermined) future date the absent issues and binders
will be re-stocked, so don't give up hope for a complete collection!
For now, we will make available photocopied articles at $.20 per page, to
anybody who wants them. Note that issue #15 is now available.
#8 Lifeboat Conversion
Small Craft Restoration
To Tahiti on a Tahiti Ketch
Ashcroft Construction
The First True Knockabouts
#10 Building a Perahu in Indonesia
The Norse Folkboats
Choosing Imported Woods
The Seasoning of Lumber
A Pro Speaks on Painting
#11 Building a Viking Ship Replica
Wooden Tan Ship: GAZELA
PRIMEIRO
Thoughts on Lofting
Making Your Own Wooden Planes
#12 Building Racing Sailboat.
in Wood
Refastening
Lofting the 26' Lubec Boat
Winter Storage
#13 Pitcairn Island Longboats
#14Gaff Rigged Iceboats
A School for Boatbuilding
Sailing a San Francisco Felucca
Canvasing the Deck
Making a Shir/'s Wheel
#15 Colorado Dories
Mast Making
Cold-Molded Steam Launch
Pouring a Lead Keel
102 18/WOODENBOAT
Building a San Francisco Felucca
Taking Bevels/Making Molds
Spiling the Garboard
The Return of the Steam Launch
#16 is available, Issues 1, 2,
3, 4, 5, 6, 7, and 9 are sold
out. Place a swap & sell ad in
our Classifieds. It can't hurt.
#17 Replacing Keelbolts
Sheathing Materials
Sea Bright Skiffs
Riva Speedboats
books
Boatbuilding
published. See WB #16 for "Planking
the Maine Lobsterboat" by the author.
A must for anyone building any large
boat. 187 pgs.
DINGHY BUILDING *#17
Richard Creagh-Osborne
$15.00
Here are the most advanced wooden
boatbuilding techniques, applied to
the construction of small, lightweight
British racing dinghies. The wellwritten text and many clear, informative photos convey these neat, adaptable ideas to the small boat enthusiast. 240 pg.
THOMAS E. COLVIN, 24 pg.
$3.00
CRUISING DESIGNS FROM THE
BOARD OF THOMAS C.
GILLMER, 26 pg.
$3.00
20 DESIGNS FROM THE BOARD OF
JOHN G. HANNA, 24 pg.
$3.00
32 DESIGNS FROM THE BOARD OF
AL MASON, 26 pg.
$3.00
Design
BOATBUILDING,
Howard I. Chapelle
$17.50
The classic in the field, it is the single
most detailed text on the subject.
Absolutely essential for the serious
student. 624 pg.
BOAT BUILDING WITH PLYWOOD,
Glen L. Witt
$8.95
A complete text on the method, with
very good photographs of details and
applications, 224 pg.
THE FOLDING SCHOONER,
BOAT CARPENTRY,
Hervey Garrett Smith
$8.95
A very useful treatise on the repair
and restoration of boats and designed
for those who really want to do their
own work. 184 pg.
HOW TO BUILD GULFWEED
HOW TO BUILD TAHITI
BOATBUILDING MANUAL,
Robert M. Steward
$11.50
Another essential text, this is a very
useful companion to Chapelle's Boatbuilding, but somewhat more concise
and contemporary. 220 pg.
$3.00
$3.00
Although these two books are by no
means construction manuals for these
very popular designs, they do provide
much of John Hanna's insight into
how the boats should be built, and
they were actually designed for
amateur construction. *#12
Philip C. Bolger
$13.50
Subtitled "and other adventures in
boat design," this is the newly published companion volume to Small
Boats, and covers a broad collection of
plans for somewhat larger cruising
boats, both power and sail. Like its
companion, it is full of innovative
material and contains everything from
a 32' folding schooner (honest!) to
several sensible cruising houseboats. 208 pgs.
UNDERSTANDING BOAT DESIGN,
Edward S. Brewer, Jim Betts
$4.95
As its title implies, this is a basic text
which provides an appreciation and
introduction to the principles of yacht
design. 64 pg.
SAILING YACHT DESIGN,
Douglas Phillips-Birt
$15.00
A comprehensive treatise on the
development and design of the more
contemporary small craft. 334 pg.
SIMPLE BOATBUILDING,
Geoffrey Prout
$6.95
An interesting and informative book
on the building of flat-bottomed, Vbottom and lapstrake small craft. It
includes a section on designing your
own skiff. 162 pg.
CLINKER BOATBUILDING,
John Leather
$9.95
A complete construction manual for
small lapstrake craft. One of the only
published works on the subject. 240 pg
COMPLETE AMATEUR BOAT
BUILDING, Michael Verney
$7.95
A basic book which covers several construction methods inspiring confidence and understanding. 327 pg.
BOATBUILDING DOWNEAST
Royal Lowell
$17.50
Probably the most complete treatment
of building a Maine Lobsterboat ever
BOATBUILDING IN YOUR OWN
BACK YARD, Sam S. Rabl
$12.00
Written with a compassionate regard
for the amateur, it is a very clear and
useful guide through the intricacies of
building projects. 223 pg.
SMALL BOATS,
Cruising Designs —
Sail & Power
CRUISING DESIGNS, JAY R.
BENFORD, 66 pgs.
$3.25
20 DESIGNS FROM THE BOARD OF
Philip C. Bolger *#8
$12.50
A collection of some of Bolger's most
innovative and fascinating designs for
small craft, it contains complete plans
for building your own, right from the
" Reviewed in issue indicated.
18/WOODENBOAT 103
books
book: an Amesbury skiff, pulling
GOOD BOATS
boat, sharpie, canoe yawl, Friendship
sloop types and many others. 196 pgs.
Roger Taylor
THE COMMON SENSE OF YACHT
DESIGN, L. Francis Herreshoff $29.00
One of the foremost classics in the
field, it is an especially instructive text
which explores all facets of the art and
science of design. A masterpiece.
of the English sailing barge from its
$17.50
A fascinating collection of the author's
favorite designs, containing many
plan drawings and much intelligent
commentary on a variety of handsome
cruising sailboats. 214 pg.
349 pg. *#12
YACHT DESIGNS,
William Garden
$17.50
A fine collection of some of Garden's
most interesting and innovative designs, with his commentary. Included
are traditional and modern sailing and
power craft, each unique expressions
of this designer's famous style. 232 pg
THE GOOD LITTLE SHIP,
L. Francis Herreshoff
$20.00
A compendium of 243 of Herreshoff's
Vincent Gilpin *#9
$4.95
A republication of the classic work on
plans and drawings, the book is based
upon his how-to-build series of articles
in the forties and fifties, and includes
everything from the H-14 dinghy to
shoal draft cruising ketches which
made a place for themselves by their
simplicity, economy, and handy
ability. A book full of inspiration and
illustration. 64 pgs.
SKENE'S ELEMENTS OF YACHT
DESIGN, Francis S. Kinney
$15.00
Without question the most thorough
and comprehensive text on the subject
of the design of contemporary small
craft, it is full of fascinating details
and data which are essential to carefully thought-out work. 363 pg.
day. 350 pg.
THE CLASSIC BOAT
Time/Life Books
$10.95
Startlingly fine photographs taken by
someone who knew both boats and
cameras better than most. Its section
on design and construction is basic
textbook material. One of the most
incredibly beautiful books around, on
any subject. 176 pg.
THE REAL RUNABOUTS
SENSIBLE CRUISING DESIGNS, *#1
the 72' TICONDEROGA. 404 pg.
early ancestors to the present
Robert Speltz
$16.95
The history of the inboard runabout
from 1900 through about 1952. Covered are the famed Chris Craft, Gar
Wood, Hacker, and others. Many
previously unpublished photos and
useful information for the runabout
buyer, owner, and enthusiast.
History &
Traditional Craft
GAFF RIG John Leather *#7
$15.00
To the student of traditional sailing
rigs, this is the essential historical and
technical manual. Well documented
and illustrated, it is a unique work in
the field. 269 pgs.
WORKING WATERCRAFT, Thomas
C. Gillmer N.A.
$15.95
A fascinating study of the surviving
traditional craft in Europe and
America. Encompassing some 150
YACHT DESIGNING AND
PLANNING, Howard Chapelle $15.00
This is an essential text for the beginning designer of traditional craft, and
a very useful one to the curious layman. It contains detailed instructions
craft, it is very well illustrated with
plans and photos. 184 pgs.
THE HISTORY OF YACHTING
Douglas Phillips-Birt
$50.00
A unique and beautiful book that goes
for the correct methods of working up
a long way toward bringing together
AMERICAN SAILING CRAFT
a set of drawings. 319 pgs.
the essential origins of the wide range
of yachts. Profusely illustrated with
exceptional old photographs, paintings and plans drawings, it is the most
complete work of its type ever published. Extraordinary. 288 pgs.
Howard I. Chapelle
$15.00
A republication of one of the finest
DREAM SHIPS,
Maurice Griffiths *#12
$12.95
An inspiring work for the person who
wants to create his own perfect boat,
the book is full of the kind of insight
found rarely in print. From the planning and designing stages, the author
brings into being the elemental concepts of some 26 boats. 288 pgs.
* Reviewed in issue indicated.
104 18/WOODENBOAT
SAILING BARGES
Frank G.G. Carr
$9.50
An essential text for any barge enthusiast. Filled with photographs, plans,
paintings and scholarly text covering
the history, handling, uses, and crews
surveys of the most important
American working craft ever compiled. Full of lines and offsets, it is a
delight to peruse. 239 pgs.
THE JUNKS AND SAMPANS OF
THE YANGTZE *#16
G.R.C. Worcester
$55.00
A magnificent reference work on a
unique culture, and the craft around
which it thrives. The work is a com-
books
bination of four previously out-of-print
books published by the author who is
acknowledged as the leading authority
in the field. With wonderfully detailed
text and beautiful drawings and plans,
it is a feast beyond compare. There
are over 900 illustrations. 656 pgs.
mented by plans for several canoes.
203 pgs.
SKIFFS AND SCHOONERS,
R.D. Culler
$15.00
Here is a book which overflows with
the wisdom and experience of a
unique gentlemen's lifetime designing, building and sailing boats of all
kinds. Well illustrated with plans and
photos. 208 pgs.
HOUSEBOAT
Ben Dennis/Betsy Case
$9.95
A unique and beautiful lifestyle described in well-chosen words and pictures. The Woodbutcher's Art
brought to sea. A must for those who
want to cut loose, but have no need to
cross oceans. 326 pg.
YACHTSMAN'S EIGHT LANGUAGE
DICTIONARY Barbara Webb
$10.00
A must for yachts in foreign waters,
and a help to readers of foreign boating magazines. In a very clear format,
it covers the rig, design and construction of the boat, its equipment, sails,
engine, navigation, racing, first aid,
and more. 160 pg.
DICTIONARY OF TOOLS USED IN
THE WOODWORKING AND ALLIED
TRADES 1700-1970 *#13
AMERICAN SMALL SAILING CRAFT
Howard I. Chapelle
R.A. Salaman
$15.00
Another celebrated work by this noted
historian, it picks up where the above
survey leaves off, and covers small
craft which would surely have become
completely extinct without Chapelle's
tireless efforts. The only work of its
kind so complete in scope. 363 pgs.
THE NATIONAL WATERCRAFT
COLLECTION, Howard I.
Chapelle
$20.00
This is the book that many have been
waiting for, after having been out of
print for some time. The new edition
is a superb collection of information
compiled at a time when the traditional boats we all love were being
used regularly for various kinds of
work. Divided into 3 categories of
vessels and small craft, it is a survey
of the models and data at the Smithsonian Institution in Washington, D.C.
It is a tribute to the efforts of Howard
Chapelle. 2nd ed., 399 pgs.
THE CATBOAT BOOK *#13
edited by John M. Leavens
$12.50
The history and development of a
uniquely American boat type. The
book contains details on design, construction, maintenance and restoration and is well illustrated with photos
and drawings. 160 pgs.
THE SEABRIGHT SKIFF AND
OTHER JERSEY SHORE BOATS,
Peter Guthorn *#18
$12.00
A wonderful collection of information
on the unique boats of the New Jersey
shore. Primarily an historical treatment, this special work contains rarely
seen photos and plans. 232 pgs.
Reference
MARINE METALS MANUAL *#9,
Robert Pretzer
$5.95
Geared to the non-metallurgist, this
little book admirably covers performance of metals and alloys in the
marine environment. Laymen will be
pleased to learn in easy writing what
metals to use, where and why. 64 pgs.
INTERNATIONAL MARITIME DIC-
RUSHTON & HIS TIMES IN
AMERICAN CANOEING
Atwood Manley
$14.00
TIONARY, Rene deKorchove $29.95
Considered to be the finest maritime
dictionary in print, this is a work for
perusing, and not just for looking up
definitions. More than a dictionary it
is an encyclopedia as well of traditional rowing and sailing craft. An
inspired and comprehensive work.
1023 pgs.
A handsome book on the graceful
canoes and kayaks that changed the
history of wilderness cruising, and the
man who designed and built them.
THE MARINE PHOTOGRAPHY OF
PETER BARLOW *#6
$12.50
For those who respond to the theme of
renditions. Barlow's work is art, and
"small is beautiful" this book will
nourish dreams for a lifetime. Well
by his own admission, captures the
illustrated with photos, and supple-
better than a painting could. 175 pgs.
Exquisite, sometimes breathtaking
$47.50
The most comprehensive reference
ever published on woodworking tools,
this book is a dictionary, an encyclopedia and a catalog all in one. Providing the history, description and use of
more tools than most people know of,
it is beautifully illustrated with
sketches and catalog engravings.
545 pgs.
THE MARINER'S CATALOG
VOL. I $4.95
VOL II $4.95
VOL III $5.95
VOL. IV $6.95
Here are the catalogs every traditional
boatman needs to discover the abundant sources of tools, hardware,
books, supplies and a great deal more.
Opinions, evaluation and instruction
all have their place in these volumes,
each of which is entirely distinct from
the others, except for occasional
information updates. Invaluable and
entertaining contemporary reference
books.
Maintenance
THE BOAT OWNER'S MAINTENANCE MANUAL Jeff Toghill $12.50
A general-purpose book containing
much of use to the wooden boat enthusiast, as well as information on other
materials. Includes much valuable
material on painting and varnishing,
tools, fastenings, rigging, sails,
engines, and general repairs. 308 pg.
CUSTOMIZING YOUR BOAT
lan Nicholson
$12.50
A treasure trove of fascinating and
practical ideas to improve your boat,
or solve unusual problems in construction, equipment, or accomodations.
The author's excellent illustrations
and text should make this valuable
food for thought for any owner or
designer. 191 pg.
beauty and form of wooden yachts far
* Reviewed in issue indicated.
18/WOODENBOAT 105
books
comprehensive and instructive, it is an
scribed, scarf, fishplate, etc. A collection of joiner's possibilities. Very well
illustrated. 176 pgs.
extremely important contribution to
wooden boat literature. 192 pgs.
MODERN WOODWORKING,
BOAT REPAIRS AND CONVERSIONS
parts of the world. Although the scope
Michael Verney
$9.95
Covers the subject in detail from finding a suitable boat, to making any and
of the book is more analytical than
all repairs.
Willis H. Wagner
MODERN MARINE MAINTENANCE
John Duffet
$6.95
A comprehensive, up-to-date text on
the subject, exploring both wood and
fiberglass. 256 pgs.
$10.95
Devoted to the more advanced craftsman, the material focuses on all
aspects of contemporary procedures,
from sharpening hand tools to using
power tools and machinery. 275 pgs.
KNOW YOUR WOODS, Albert
Constantine Jr.
$12.50
Wood types are explored in two parts,
the first covering wood in general, the
second dealing more with specifics.
All woods under discussion are of the
finer, cabinetmaking and furniture
quality, and in this respect perhaps, it
is a bit limiting. The areas covered are
very completely investigated, and
should add greatly to your knowledge
of woods. 360 pgs.
THE MARLINSPIKE SAILOR,
Hervey Garret Smith
$7.95
A delightful book full of techniques for
making all the exciting things like
stroped blocks, baggy-wrinkle, mast
boots, and a sea chest. Knots and
splices are covered, as well as how to
rig lanyards and deadeyes. The illustations are simply magnificent.
143 pgs.
BOATOWNER'S SHEET
ANCHOR *#5, Carl D. Lane
$6.00
A complete manual for tips on acquiring a boat from inspection to conversion, finishing, interior layout, rigging
storing and more. A practical and
realistic approach to the classic problems of the used boat owner. Hard
bound edition out of print, here
offered at a special rate. 304 pgs.
SURVEYING SMALL CRAFT,
lan Nicolson
$12.50
A concise guide to the things to look
for when considering the purchase of a
used boat. This is not a textbook for
students, but an essential guide,
virtually the only one in print on the
subject. 224 pg.
Woodworking
TOOLS AND THEIR USES
Bureau of Naval Personnel
$2.00
This handbook is a clear and readable
explanation of a wide variety of tools
and how to use them. In a wellorganized and illustrated format, it
covers hand tools, safety equipment,
power tools and fastenings for wood
and metal, plus sharpening techniques and more. 179 pg.
SHARPENING SMALL TOOLS
CRUISING IN SERAFFYN *#14
Lin & Larry Pardey
$11.95
The Pardey's motto, "go simple, go
modest, go small, but go," best sums
up this extraordinary couple's reason
for an extended cruise aboard their
renowned Hess cutter. Inspiring and
instructive for those considering
"going". 192 pgs.
/an Bradley
$3.50
Materials, methods and implements
for sharpening a variety of tools,
including planes, screwdrivers, drill
bits, chisels, spokeshaves, saws,
metalworking tools, knives, scissors,
and razors. Well-illustrated and
detailed, a valuable addition to any
shop bookshelf. 106 pg.
MARINE CARVING HANDBOOK,
J.S. Hanna
$7.95
For those interested in carving decorations in traditional marine designs.
Functional carvings designed to dress
up your boat. Trailboards, quarterboards, stern decorations, all are
thoroughly illustrated. 92 pgs.
RESTORING VINTAGE BOATS,
John Lewis
$20.00
A handsomely produced work which
covers several classic restorations
which have been done in different
106 18/WOODENBOAT
WOOD FOR WOODCARVERS AND
CRAFTSMEN, Robert L. Butler $12.00
Well organized and beautifully illustrated, this is the ultimate book on the
care and feeding of wood, from harvest to drying and treating. Boatbuilders and carvers alike will find its
information invaluable. 122 pgs.
OLD WAYS OF WORKING WOOD,
Alex W. Bealer
a glimpse of craft and craftsmen as
they once were, and still can
be. 231 pgs.
To order, send you name and address
with a check for the titles chosen to:
WOODEN BOAT Books
Post Office Box 268
Brooksville, Maine 04617
Maine residents please include
5% state sales tax.
WOODWORK JOINTS,
Charles H. Hayward *#14
$7.95
Joints of all descriptions are covered
here: mortise and tenon, mitred and
$12.50
Methods and tools of another era revisited. Well illustrated with drawings by the author, the reader is given
Reviewed in issue indicated.
brokerage
We have a great selection of pre-owned
sail, power, and commercial to chose
from. Our staff can locate for you any
vessel you are seeking and our multilisting program will assure you of marketing and transacting a sale of your boat
in the shortest amount of time.
Our design staff can either design you a
vessel from your specs, or re-design your
present vessel.
Windsong now for sale! This 1969 Piver
Tri 41 X 22 X 3 built by E.J. Pearsell for
his own use. Powered by a Perkins 4-107
club jib, main and mizzen. Two steering
stations electronics, full galley, sleeps 7
and full head. Complete enclosed pilot
For deliveries of wooden boats we make
sure that the crew is qualified for your
vessel and understands the capability of
it's design. Call on us! We are a full
service brokerage.
house with wing doors. Epoxy. She has
This fine Garden designed ketch is a
proven cruiser. She has been well kept
having just finished a complete painting
of every space. Mahogany over steam
bent oak, copper riveted and bronze
fasten. 6000 lbs. iron keel. Perkins
4-107 for ample power and all sail in top
condition. Do to her caliber she is not
being priced. For the serious buyer.
never had a drop of water in her bilges'
and we are proud to claim her as the very
best in her class.
$35,000
21 '6" Brewercat '72
48' X 14' X 4.5' FB Trawler. Cummings
205 supercharged 3.0 Onan gen., FWC
and keel cooler. Nothing but the finest of
woods used throughout even to the cedar
lined lockers and storage area. New
paint, carpets, Bimini top and more
$70,000
1930-63' Classic Grebe motor yacht GM
671 's. The present owner has just completed major rebuilding of this classic. A
most fantastic value.
$49,000
41' Pacemaker, double cabin, CCMY,
(galley up), diesels, and extended
hardtop.
$33,000
40' Newporterketch, 1968, has been
completely updated in construction, full
electronics. Immaculate
27' MysticIsland cutter
29' Atkin cutter, '48
30' Offshore sloop '64
31' Piver Tri, needs work
$5,500
$15,500
$15,600
$25,000
57' CC Connie FDMY '66. GM 8V-71's,
15 kw gen. Fully loaded and captain
maintained
$95,000
$8,000
33' Top' slsq. schooner '66
34' Wellsketch '64
$24,000
$35,000
34' Johnson motorsailer'49
34' Hinckley sou'wester '47
35' Atkin dbl. end gaff ctr. '52
$23,000
$16,500
$35,000
35' Lion sloop '55
$21,000
35'6" Van de Stadt yawl
36' Warram cat, fast and able
$19.500
$18,000
36'5" Alden yawl '39 & '73
38' Rhodes Bounty sloop '40
$20,000
$22,500
40' 2 Newporter ketch '58
40' Cross Tri, dsl, elect., ' 74
$49,500
$45,000
45' Lawley bowsprit cutter
$37,000
42' Cross Tri, dsl, must sell '74 $23,000
42' Atkin gaff ketch '62
$39,500
44' Deveraux ketch '51
46' 3" Rhodes/Lundaux. sloop
48' Alden/Adamscutter '38
54' Paine cutter '37
$20,000
$34,900
$65,000
$28,000
60' Alden schooner
$47,500
67' R.D. Culler schooner
$64,500
57' 6" Alden/Nevins sloop. Built for a
famous sailmaker and in top condition.
Built in 1938 and still in new condition
from her Butternut panels to her teak
and Holly wood soles. 29 bags of sails,
Ford dsl., sleeps 9.
$83,000
34' Pacemaker FBSF '65. This fisherman has been kept in the best of
condition
$25,000
38' Pembroke FBSF '68. Lap strake with
twin dsls., gen., and electronics. In top
condition
$29,900
$53,000
73' Nevins/Alden cruiser '58. A very
fine long range live-aboard/entertainment/charter. Only one ever built.
$275,000
76' Trumpy cruising MY '67. The classic Trumpy. Perfect condition and
maintained
$550,000
46' The famous schooner SEBIN (See
WB #13 pp. 82-84) Top performer, full
electronics and fine appointments.
SEBIN has won all schooner competition.
Barients and full S.S. rigging, complete
complement of sails, delivered anywhere
East Coast.
$82,500
51' Tug yacht — 51' X 16' X 6', 6 cylinder, Cat D-342, electronics — 4" x6"
cypress framing, 16" centers, keel is
12" X 12" one piece keel. Planking
mahogany and cypress. She is shipbuilt
with yacht quality joiner work. Priced at
$65,000
This custom Conboy/Kingdom trawler
motoryacht is now offered for sale.
55' X l7' 6" X 4' 6" 1971, built to the
highest standards and only the choice
of woods chosen. She is ready for the
long range cruising yachtsman who
wants to live-aboard and have craftsmanship around him. Power is by a
D333 Cat and the Westerbeke 4-107
has chain drive to the 18' x 2" shaft,
for emergency.
" $225,000
18/WOODENBOAT 107
SAIL
HERRESHOFF 12 1/2', Bullseye, excellent
BRUTAL BEAST, cat rigged
RHODES 19, 1939, centerboard
LUDERS 16, excellant
$2,200
$800
$1,650
$3,000
FOLKBOAT, 1957
THUNDERBIRD sloop, 26' family cruiser
$5,800
$6,500
AMPHIBICON, Butler built, call
FRIENDSHIP 27', Ralph Stanley
$24,000
CUSTOM CUTLASS MAJOR sloop 30'
$14,500
CUTTER 35', loc. Bass Harbor
FRIENDSHIP type 38', 1951, Collemer
HINCKLEY yawl 41', 1950, bristol fashion
ALDEN schooner 42', gaff topsail rigged, 1965
ALDEN/COLLEMER 42', 1955, gaff schooner
ALDEN/GAMAGE schooner 43', 1926
GEIGER/JOHNSON yawl 46', 1941, CB, excellant
CROWNINSHIELD schooner 50', 1926
$17,000
$25,000
$35,000
$65,000
$42,000
$17,000
$45,000
$19,000
ALDEN/COOK ketch 54', 1929, rebuilt
$40,000
ALDEN/DAVIS staysail schooner 72', 1931
ALDEN/PENDLETON schooner 75', 1924
$90,000
$85,000
POWER
OLD TOWN INDIAN WAR CANOES (2) each
$1,100
LYMAN 18', inboard, 1954
1926 LAUNCH, old but operable
CUSTOM 26', lapstrake/cruiser, head &
galley, 225 inboard, built for Gary Moore
$1,800
$1,200
CHRIS-CRAFT Corinthian 28', twin 350's
$8,000
FRANK DAY lobster cruiser, 34'
BOBBY RICH lobster cruiser, 36'
CHESTER CLEMENT lobster cruiser, 36'
WHEELER sedan cruiser, 40', 1946
CUSTOM double ended trawler, 45'
DAYSPRING trawler, 60', 1957
$18,000
$5,500
$5,500
$10,000
$110,000
$45,000
$6,500
We are proud to announce that we have been appointed the
sole American agents for the fine line of yachts built by
James N. Miller & Sons Ltd., of St. Monance, Fife, Scotland
This yard has been building Fifers for over two hundred
years out of traditional materials — English Oak, Scottish
Larch, fine mahogany and durable teak — with the skill and
care of craftsmen. From 28' to 65' they will build a boat to
suit your needs & desires. We encourage serious inquiries.
APPRAISALS, INSURANCE, COMMERCIAL
FISHING BOATS, ONE DESIGNS
108 18/WOODENBOAT
BOAT PROBLEMS?
Tired of traveling and looking? Give us your headaches.
Fill out the following information and mail to us.
BUYER INFORMATION
DESCRIPTION OF BOAT WANTED
SIZE:
_______________________________________________________
TYPE:
___________________________________________________________
ENGINE:
______________________________________________________
INTENDED
USAGE:
PRICE RANGE:
__________________________________________________
__________________________________
NAME:
___________________________________________________________
ADDRESS:
_____________________________________________________
CITY:___________________________ STATE:_____________ ZIP: ______
TELEPHONE: BUS:___________________
RES:_______________________
ATTENTION SELLERS
"Boating Fever" is contagious. Help us expose the Buyer's market by listing your Yacht or
Commercial Vessel with us. Slips are available for Yacht Brokerage Listings. Please send me an
____Open ____Exclusive listing form to fill out.
DESCRIPTION OF BOAT TO SELL
SIZE:
_______________________________________
TYPE:
_______________________________________________________
ENGINE:
______________________________________________________
EQUIPMENT:
ASKING
_______________
_____________________________________________
PRICE:
NAME:
ADDRESS:
_____________________________________________________
___________________________________________________________
________________________________________________________
CITY: ___________________________STATE:_____________ZIP:
TELEPHONE:
BUS:_______________________
______
RES:_______________________
18/WOODENBOAT 109
110 18/WOODENBOAT
classified
Boats For Sale
ALDEN Maine Coast YAWL by Morse
(Thomaston) 1928, 35'. Hull professionally rebuilt, 1976, fast, able sailer. In
commission an unusual classic, ready for
restoration. $8,500. Beard, Winterport,
ME. (207) 223-4638.
GREY GOOSE built by and for Robert
Derecktor. An exceptional 36' sloop of
finest quality and performance. Mahogany, bronze keelson etc. Diesel. $34,700
firm. Owner (305)524-4530.
19' LIGHTNING SLOOP #62, beautifully
restored and complete with galvanized
trailer and Seagull aux. Asking $1,500.
Robert G. Breur, 41 Rainbow Dr., Highland Mills, NY 10930. (914) 928-9263.
26' William Atkins GARY THOMAS built
by the Dean T. Stephens School of
Wooden Boat Building. Fir over oak and'
iron bark. Offered for immediate sale.
Particulars and photos on request.
Ash, birch, cedar, cherry, fir, oak,
spruce, mahogany, walnut, white and
yellow pine. The Greak Auk has been my
nine-year love affair with a wooden boat.
$19,500. Dean T. Stephens, 31100 Highway One, Fort Bragg, CA 95437.
She's a 33' MEADOW LARK, L. Francis
TALL SHIP'S sailing lifeboat. Best offer.
In Boston. (617) 523-3455.
40' CLASSIC beauty built by David Hillyard in England in 1937, of english pine
over white oak timbers and copper fastened. Cabin houses and interior mahogany. In excellent condition and ready to
sail away. C. board allows 3' 6" draft for
great island cruising — Hard chine
makes her stiff in the blows. For information: Rolfe Nyberg, 8315 SW 131st St.,
Classic 1902 Blaisdell DINGHY, 9' lap-
strake, white hull, varnish inside, beauty
to row and admire. First-class condition,
Elliott, Box 456, Henniker NH 03242.
(603) 428-7050.
ished, reupholstered with genuine red
leather. $7,900. Dave Peach, Stony
Brook Rd., Marblehead MA 01945.
(617) 631-5571
THORNYCROFT — Scandinavia 1924,
classic 6-metre, 35'. Fife designed.
Mahogany on oak. Wooded 1974. FAST
$7,500 firm. Jack Gray Newagen ME
25' FOLKBOAT. Built in Copenhagen;
Sailing in Ontario. Asking $4,000.
Purcell, Bernhards Bay NY 13028.
1932 STAR, #836. Oak frames, bronze
screw fastened, recaulked, mahogany
trim, varnished deck, spruce spars. Dacron and cotton sails. $1,700. John Milgate, 402 Soule, Pleasant Hill, CA 94523.
34' CHESAPEAKE SKIPJACK, bugeye
18' GARWOOD, 1936. Complete restoration. Original power, rechromed, refin-
$7,500. Daniel Brayton, 36 Front St.,
Marblehead, MA 01945. (617) 631-7092.
(315) 675-9729.
Miami FL 33156 or (305) 233-2981.
Priced at: $32,000.
rigged, with centerboard. Pine and cedar
on oak. Fiberglass covered deck. Galley,
head, sleeps 5, 4 cyl. Universal, four sails
and complete inventory. Seriously for
sale at an excellent price of $6,000. Steve
Guarcello, Weems Creek Drive, Annapolis MD 21401. (301) 267-9229.
Herreshoff design. Ideal for family plying coast and marsh. Launched 1956,
rebuilding since 1968. Now in fine shape,
but she still offers the boat carpenter
opportunities to refine the cabin interior.
(415) 937-0253.
18' DAYSAILER, Alden, wood with
BUILDERS PERSONAL BOAT
(featured Mar/ '76 Nail. Fisherman)
19' sailing Seabright Skiff, white pine
over oak, copper and bronze fastened,
stem, sternpost and knees grown hackmatack, Hond. mahog. thwarts, dacron
line and sails, Cassens and Plath compass, all bronze hardware, stainless rigging, teak rub rails. Complete $3,400.
Robert Crockett, Rose Bay Boat Shop,
RR#1, Rose Bay, Nova Scotia Canada.
BOJ 2X0. (902) 766-4747.
04552. (207) 633-3559.
bottom fibreglassed. Dacron jib and
main, steel centerboard, extras $950.
Larry Southwick, Starlight Lane, N.
Stonington CT 06359. (203) 535-2996.
25' Raised deck SLOOP, stone horse
type. Believed to be Mower design Viking class. $2,600 firm. (401) 783-8901.
MASON 38' cruising ketch. Loaded!
Will deliver west coast. P.O. Box 30321,
Honolulu, Hawaii 96820.
26' REISINGER COQUETTE SLOOP.
Mahogany on oak, Volvo diesel, three
sails, 1/4" S/S rigging. Galley, Head.
Hauled 4 / ' 7 7 . $8,000. Call after 7PM
(804) 787-4808, Chesapeake Bay area.
Old INDIAN DUGOUT. Write for details
Voorhees, Weston VT 05161. $300.
HERRESHOFF 12' classic design, newly
72' x 18'Double planked hull. Includes
struts, shafts, propellers, rudders,
engine beds, water and fuel tanks. Ed
constructed in 1976 to original lines.
Cedar planking, oak frames, mahogany
trim, canvas decks. Sitka spruce spars
with sails by Harding. Cockpit cover,
Pendyk, Anacapa Marine Services, 3800
Curlew Way, Oxnard CA 93030.
winter cover, custom trailer included.
Absolutely beautiful! For sale at less
(805) 985-1818.
than replacement cost. Call (207) 947-8641
CUBAN HULL 25' 6" rebuilt + 5,000.
23' SLOOP, white cedar on oak. Rebuilt
1974, double axle trailer, $3,500. Milford
RD wood mast S.S. chain plates and
shrouds, 4 cyl gas engine, 3 1/2 ' draft.
NH 03055. (603) 673-4088.
Overhauled-bottom covered with Chem
Tech L-26. In water. Poor health causes
DARK HARBOR sailboat 26'. Dacron
sails, sleeps two. Needs repair. Call
sale. Ed Holden, Box 3161, Marathon
Shores, Florida Keys 33052.
Gardiner ME. (207) 582-5627.
(305) 743-5437.
(Ask for Mr. Nixon).
CHESAPEAKE SKIPJACK 30' (deck) x
9 x 2'. Diesel, 2 berths, traditional
design, built 1971 by Richardson, Cambridge MD. Henry P. Megargee, Jr.,
2607 Brigantine Ave., Brigantine NJ
08203. (609) 266-7588.
18/WOODENBOAT 111
Rare, unconventional 30' SLOOP. Built
in Sweden 1954. Mahogany, Ljungstrom
rig. Three sets of twin sails in perfect
condition. 5 HP Kermath inboard totally
rebuilt. Major restoration work recently
completed, many brand new extras. Must
sacrifice $3,000. Sillen, 14 E. 63rd St.,
New York, NY 10021. (516) 734-6311.
Classic 27' Stadel CUTTER. New Volvo,
many extras. Must sell asking $10,500.
Christmas Cove, Maine. (207) 644-8453.
BOOKS FOR BOATBUILDERS. Out-ofprint & current. List 500. JOHN ROSY,
3703 NW Nassau, San Diego CA 92115.
Boatbuilding Shops
14' x 51" PEAPODS. Cedar on oak,
copper and bronze fastened. Brass oarlocks — taste of heaven! Photos available
upon request. JOHN DAVIES, West
Brooksville, Maine 04617.
BLUENOSE BOATYARD, Chester, Nova
Scotia. (902) 275-3361. Quality custom
yacht builders.
MAINE SHIPWRIGHTS — 2 5 years
experience on major and minor repairs.
Complete facilities. Customer controls
Rebuilt 48' SAILBOAT HULL. Mahogany over oak and steel. Perkins diesel.
Finish your way. $19,500. Jon & Susan
Micocci, 1146 NW 21st Ave., Miami FL
33125. Phone: (305) 643-6093.
New Atkin 18' SLOOP. Yellow cedar,
bronze fastened. Highest quality workmanship. Bluenose Boatyard, Chester,
Nova Scotia, Canada BOJ 1JO.
38' Casey CUTTER 1951, rebuilt 1975.
New engine, electronics, dinghy, outboard. Trade airplane. $15,800.
(609) 825-7168.
Herreshoff Fish Class 20' SLOOP, 1927.
Very good condition, asking $3,000.
Golden Era Boats, Box 212, Noank, CT
06340. (203) 536-1005.
Classic 39' DIESEL CRUISER, Davis
built 1929. Cypress hull $3,000. Gibson,
cost. Kittery Point, Maine 03905.
(207) 439-0182.
2 NAUTILUS decked sailing canoes,
WEST system and lapstrake available
later this fall. Other small boats custom
built. Contact: MAINE SAIL AND OAR,
Box 38, Seal Cove, Maine 04674.
Designers and Builders of wooden boats
since 1867, up to 50' both in power and
sail. MASON BOATS, P.O. Box 398,
Smiths Falls, Ontario, Canada K7A 4T4.
Books
PRINCESS — wooden boat cruising
classic with original drawing autographed
send $10.00 to the author. JOE
RICHARDS, Box 253 Route 1, Smyrna
DE 19977.
Charters
Cruise the Abacos
on the Bahamian
Schooner, WILLIAM H. ALBURY.
Tall ships and
OPSAIL-76 participant sail to the cen-
ter of the wooden
boatbuilding center
of the Bahamas.
Meet the master
shipwrights at Man O War Cay and watch
them ply their craft as handed down by
their ancestors. Write: INTER-ISLAND
Schooner and Trading Co., Dinner Key
Marina, Coconut Grove, FL 33133.
TRADITIONAL SHARPIES on the Lower
Chesapeake 24' and 40', $275 & $325 per
week. SCUPPERNOG SAILS, Box 2171,
Poquoson.VA 23662.
(703) 931-9195.
AMPHIBICON 26' cedar strip planked
CB sloop. Boston area $5,900. Call
(617) 482-5432.
1934 Crocker STONE HORSE — cedar on
oak, inboard, Diesel, fully found, excellent condition. Sloop, 241 State St., Guilford CT. 06437. (203) 453-9398.
FOUR MASTED SCHOONERS of the
Coast. Illustrated with 150 photographs,
tales of the vessels, their successes and
tragedies. Appendix has complete list of
562 American and Canadian vessels.
9 x12, hardbound, $19.50 ppd. LOWER
CAPE PUBLISHING, Box 901 W, Orleans
MA 02653.
CHESAPEAKE SKIPJACK 34' on deck
11' x 2' 4", centerboard, single handling,
diesel, VHF, RDF, Path, cedar and pine
BECOME A MARINE SURVEYOR!
on oak, sleeps 5, full galley, documented, trophy winner in classic races,
for reference, list of insurance companies, and how to set up your own office.
$10,000. D. Brands, McDanielMd.,
Cost, $29.00. Write: SURVEYOR,
Box 718, Boynton Beach FL 33425.
21647. (301)745-9694.
112 18/WOODENBOAT
Book of basic procedures & Forms — outlines, fees, actual cases, formats, books
Charters, cruises, 3 private cabins, lic.
capt. and crew. Labor day cruise to Nantucket — America's Cup — Fall in Chesapeake Bay — Individuals from $250/week.
AMAZING GRACE, (301) 656-6562.
Marine Engines
MATCHED PAIR Chris-Craft Hercules
175 HP with Paragon 2:5 x1 reduction
gears. Good running condition when
removed for diesel installation.
(713) 474-3769.
Robust, Economical, Safe and Dependable. Norwegian Engines 6 to 30 hp.
Controllable-Pitch Propeller.
THE INTERNATIONAL Boat Plan and
Kit Directory Has Big Plans For You!
Over 2000 of them, also over 400 kits.
Not to mention the hundreds of suppliers
of building materials and tools, electronic
equipment and kits, engines and kits,
sails and kits, navigation and license
courses, general boating gear, and how to
do it books on virtually everything
nautical. We are your #1 source book
here and abroad. Available Nov. '77.
$3.00 plus $1.00 to cover postage &
handling. P.O. Box 399, Eastsound,
WA 98245.
LOW COST thickness planer/sander
plans $2.00. Woodworking bargains
catalog $1.00. REGO 49 E Downing St.,
Fall River, MA 02723.
ROSE BAY BOAT SHOP, Quality Custom
Builders, RR #1, Rose Bay, Nova Scotia,
Canada (902) 766-4747. Also now at:
SABB EAST, RFD #2, Box 307, Plaistow,
STOCK PLAN catalog of wood cruising
boats, $5.00. GEORGE BUEHLER,
PO Box 10279, Bainbridge Isl. WA 98110.
NH 03865. (603) 382-4409.
Plans
Positions
PLANS for small classic boats designed
pram to 19' "Grand Banks" type sailing
dory. Send for free study plans. WEST
System manual available for $2.00.
Write: GOUGEON BROTHERS, 706
Martin St., Bay City, Ml 48706.
LEE SAILS, custom made by CHEONG
LEE of Hong Kong. High quality, low
price. Satisfaction guaranteed, four
weeks delivery by air. Send dimensions
for quotation. CHOW's TRADING Co.,
2W Captain Richard Lane, Northport,
Interested in taking South or Islands in fall
specifically for WEST system construction. From 8' molded sailing-rowing
Sails
NY 11768.
35' Warner Yawl at own expense and
maintain in exchange for live aboard
through April except for two weeks in
Spars
Feb. (914) 946-3692 OR (203) 438-9049.
Publications
Self Steering You Can Build
A do it yourself manual for a powerful
vane. No welding — local parts — hand
tools — written for non-professionals —
many photos — $7.50 U.S. funds. Parts
and complete units available. WENSEL
New & Used Spars and extrusions at
lowest prices anywhere. Spinnaker
poles, booms, anodized, with or without
fittings. Write or call for price quote.
MARINE TRADERS & LOCATORS INC.
10 Harbor St., Danvers MA 01923.
.
(617) 777-0435.
Supplies
SAILING ENTERPRISES, 2091 Hy. W,
Grafton WI 53024. (414) 377-2580.
Adirondakana painting reproductions,
boat plans and books about New York's
wilderness in a free booklet. ADIRONDACK MUSEUM, Blue Mountain Lake,
NY 12812.
Build the Friendship Sloop MARION
CLARY 22' 3" x 7' 6" x 3' 4" x 4500lbs.
displ. x 315sq. ft. S.A. Designed by
veteran boatbuilder Nick Roth, who has
himself built four of these craft. Complete building plans (5 sheets) are
$30.00 pp and are available for immediate
first class mailing from the designer.
NICK ROTH, PO Box 50, Bath ME 04530.
HARDWARE for classic boats. Blocks,
portlights, windlasses, lights and much
more. Hemp-stropped blocks. Singles
only, for 3/8" line. $8.00, $8.75. Send
specific needs to FORD BOAT WORKS,
Box 801, Dept. WB., Bothell WA 98011.
STEAM POWER for boats, cars and stationary use, gives vibrationless silence
and use of liquid, solid and waste fuels.
All described in Light Steam Power.
Send $2.00 for sample magazine and
brochure to STEAM, Kirk Michael, Isle
of Man, Britain.
Services
TRADITIONAL Cruising Cabin Motor
Dory 30' 3" x 9' 3". How to build article:
Construction plans with exact frame
measurements. $10.00, Air Mail $12.00.
Or send stamped self addressed envelope
for details. 48 plans: Dories, sharpies,
and skiffs. Power and sail. Low cost/
STANDARDIZED BOAT PLANS, Box
720, Galveston, Texas 77553.
Use our bind-in card for your classified,
and reach 25,000 potential buyers.
HAND WOVEN Manila Boat Fenders.
Side and bow fenders available in five
standard sizes. Soft and long lasting,
protect topside from damage. Side fenders: 3 x 10" - $5.00; 4 x 12" - $8.00;
5 x 14" - $11; 6 x 20" - $19; 8 x 24" - $34.
Include check or money order, please add
10% for shipping and handling continental U.S. RAY W. VANDERMEER, 3305
South 'G' St..Oxnard CA 93030.
18/WOODENBOAT 113
COMPLETE RIG, from Knarr sloop,
includes 38' aluminum mast, sails,
winches, spinnaker, etc. Best offer over
$500. 202 Morris Ave., Buffalo, NY 14214.
MANGANESE BRONZE ANCHORS,
$410 plus freight buys you the best propane, butane or the safer compressed
natural gas galley range ever built. The
only marine range featuring an all stainless steel exterior including gimbals, rail
and fastenings, with thermostatically
controlled oven with safety shutoff and
broiler. Porcelain top and door in colors
optional. Send for free brochure with
complete line of products and prices.
unique design sets easily, yet collapses
flat for stowage. Rugged, won't rust.
Two sizes: 2.5 IDS., 12" long-$15; 7 Ibs.
15 1/2" long-$30.00. Traditional bronze
BELAYING PINS: 6" long x 3/8" diameter
shaft, $3.00; 8" x 1/2"-$5.00; 12" x 3/4"$7.00. WINSTON ELLIS & CO., Drawer
W., WestTremont, Maine 04690.
GAS SYSTEMS,Inc., Dept. W,
6400 Marina Dr., Long Beach CA 90803.
SILVER SAILBOAT NECKLACE. Hand-
Stainless — Brass, bolts-nuts-screws.
Handy polished assortment for small jobs
$5.95. Our 17th year. TCH, Box 1023W,
La Habra, CA 90631.
crafted gift for either sex, 18" or 24"
chain. $5.00 plus 50¢ shipping. W.S.
KATZMAN, 4044 Stone Canyon,
Sherman Oaks, CA 91403.
STAINLESS or BRONZE — Machine
screws, nuts, washers, all thread etc.,
TEAK BLOCKS — 3 1/2" to 10" sizes.
TROY BROS. MARINE, Box 71 W,
239 Seal Beach Blvd., Seal Beach, CA
90740. (213) 596-7434.
offered in type 316 & 18-8 (304) stainless,
silicon bronze, and hot dip galvanized.
Other materials of maintenance and
construction as well. 24 Hour shipment.
Send 40¢ postage for free catalog. WM.
ALVAREZ& CO., P.O. Box 245, Dept. W,
Placentia, CA 92670.
SEXTANT — Heath Hezzanith (English).
New, guaranteed. $300 shipped U.S.A.
Box 11307, Kansas City, MO 64112. Call
(816) 531-8000.
SILICON BRONZE & STAINLESS screws,
bolts, and nuts. Stamped envelope to
MARINE SCREW, Box 421B, Valley
Stream, NY 11580.
CUSTOM BELT BUCKLES, hand cut and
constructed in solid brass, picturing your
WEST EPOXY IN CANADA. Canadian
sales of the WEST system, specifically
boat, $15. With both name inscribed
beneath the hull, $20.00. Satisfaction
guaranteed. BUCKLES, David & Barbara
designed for wooden boats. Sale and
Bowman, P.O. Box 738, Berkeley,
CA 94701.
114 18/WOODENBOAT
representative. WHORWOOD ENTERPRISES, 59 Ridout St. S., Suite 16B,
London, Ontario, N6C3W9.
(519) 439-1377.
SAILBOAT paperweight. Exclusive gift
from the STUDIO OF JEFF FARWELL,
Dept. W, 7211 Stonehurst Rd N, Jacksonville, FL 32211. $7.50. Brochure 50¢,
free with order. Money back guarantee.
BOAT BUILDERS SUPPLY — All types
of imported/domestic, cruising/racing
hardware at discount prices. Save by
joining a group of fellow boat builders
and buy cooperatively. VOYAGER
MARINE, Box 123, Alviso, CA 95002.
Wanted
Sailboat, large traditional, ketch — yawl
to be 50% stronger than S / S wire and
tested by Lloyd's Register of Shipping for
WEST SYSTEM tm BOATBUILDERS,
schooner. Box 1282, Whittier, CA 90603.
1/8" Western Red Cedar, fir, spruce and
(213) 697-1609.
Red Meranti veneer. THE DEAN
Back issues of WOODENBOAT numbers
3,4,5. DERANLEAU, Box 1209, Tahoe
HAND-FITTED for 1 x19 wire. Designed
Wood
COMPANY, Olympic Mfg. Div.,
P.O. Box 426, Gresham, OR 97030.
City, CA 95730.
BOAT LUMBER — Teak, Phil. Maho-
CHARACTER ketch. Heavy construction,
gany, Honduras mahogany. Kiln dried,
good quality, other species available.
35'-40' for circumnavigation, no brokers!
Write J. Tyson, 49 Foreside Rd., Cumberland-Foreside, Maine 04110.
F.SCOTT JAY CO., INC., P.O. Box146,
Pasadena, MD 21122. (301) 544-1122.
100% holding efficiency. VOYAGER
MARINE, Box 123, Alviso, CA 95002.
WILL PAY $4.00 each for your 2,3,4,5,6,
7,9 issues of WOODENBOAT. Christo-
pher Klassen, 123 Hansen Lane, Eugene
OR 97404.
NEEDED IMMEDIATELY for fall pro-
gram — two Monomoy lifeboats in serviceable or repairable condition. Will
consider other rowing boats from 24' to
30'. Write: MAINE COAST HORIZONS,
Box 151, West Brooksville, Maine 04617
or call: (207) 326-4345.
CASH REWARD for issues 3,4,5,7, of
WOODENBOAT. Scott Watson, 2 Sleepy
Hollow Ct., Orinda, CA 94563.
BOATBUILDERS
ATTENTION !
HARD-TO-FIND FASTENINGS IN STOCK
FOR BUILDING CLINKER, LAPSTRAKE,
CARVEL, AND PLYWOOD BOATS.
COMPLETE FIBERGLASSING SUPPLIES.
GLOUCESTER SEA JACKET MARINE
PAINTS AND COMPOUNDS
LOWEST PRICES IN THE INDUSTRY.
WRITE FOR FREE PRICE LIST.
DEALER INQUIRIES SOLICITED.
DUNBAR MARINE SPECIALTIES
BOX 531
EAST LONGMEADOW, MASS. 01028
Classified Rates: A classified order form is available
on the bind-in-card attached to these pages. Compute
the cost of your classified at 50¢ per word (including
your name, address, zip code and phone number).
Photos and illustrations cost $10.00 each per insertion. Black and white glossy photos provide the best
reproduction. All art submitted will be reduced and
cropped to suit column width. If you would like the
photo or illustration return to you please enclosed a
self-addressed, stamped envelope.
display classified: Space is available at $20.00 per
column inch. Camera ready copy must adhere to a
width of 13.5 picas (a little over 2" wide). We will
produce your ad in-house for a $5.00 minimum charge.
Deadline for Issue #19 (Nov./Dec.) is
September 25th, 1977.
Mail with your check or money order to:
Classified Advertising
WOODENBOAT
P.O. Box 268,
Brooksville, Maine 04617.
All orders must be pro-paid. Please specify heading
under which you would like your ad to appear.
18/WOODENBOAT 115
For many, fall means the end of our
boating season, but for those who
own or love wooden boats, the season never ends. That's why we're
planning to plunge right into a feature on building the Banks dory, to
take up where Bob Atkinson's article
on the Lowells left off in this issue.
A lot of people will be taking
items home from their boats to work
on, and one of these could include a
hatch. So, we'll try to have a feature
on how to build/rebuild one.
Some of our design features will
116 18/WOODENBOAT
include looks at the Tumlarens,
Waterwag dinghies, and others.
We'll also learn how an architect
views boats, and discover the course
he designed for his students to appreciate the grace and beauty of
form through the study and construction of wooden craft.
If you've ever wanted to learn
how to take the lines off a boat,
completely restore a classic vessel,
or simply share in the experiences of
other wooden boat owners, issue #19
will be there to help make it happen.
John Atkin
Americana Heritage
Antique Boating
James Bliss & Co.
Bristol Marine Inc.
Brooklin Boat Yard
Bruce Roberts Intl. Inc.
Bruynzeel Multipanels bv.
Chesapeake Academy
Chem-Tech Inc.
ClytieCorp.
Cohasset Colonials
Concorida Yacht Sales
M.L.CondonCo.
Samuel Connor
Chester A. Crosby & Sons Inc.
The Dean Co.
Detco Marine
Die's Disc
Duo Fast
Edson
Emlen & Storey
Faire Harbor Boats
Flood Co.
Flounder Bay Boat Shop
Garden Way Assoc.
Garrett-Wade Co. Inc.
General Hardwood
Gougeon Bros.
Grisette Sailing School
Jay Stuart Haft Co.
Harbor Designs
Harbor Sales Co.
Hydrospeed SaiIcraft Ltd.
Industrial Formulators
Yacht KATHLEEN
Kermit Parker
Kern & Cruger
Kong & Halvorsen
Kristia Assoc.
Leichtung Inc.
Lowell's Boatshop
Manhattan Marine
S.F. Manning
Marina Cortez
Marine Diesel
Maritime Services
MARISOL Plans
A. & R. Marshall Sales Ltd.
Martin Marine Co.
MacDougall's
Mechanick's Workbench
Mile Creek Boat Shop
Nakomis Boat Works
National Fisherman
O.R.E.S.
Pacific Bronze Co. Ltd.
Princeton Tools
Proengin Eodyn
R.S. Pulsiter
Replica Seacraft
R.K.L. Canoes and Boats
Roberts & Adams
Rosborough Boats
Sailor's Art
Sailrite Kits
Seal Cove Boatyard
Sea Magazine
Simpson Timber Co Cover.
Southwest Boat Corp.
Ralph Stanley
John B.Seward
Storch Sail Loft
Super Stripper
Tremont Nail Co.
Tropical Yacht Brokerage
Wetzler Clamp Co. Inc.
Nathaniel Wilson
Woodcraft
Yardarm
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5
1
54
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101
94/95
94
110
101
99
91
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31
45
100
108
96
Cover 4
96
94
10
53
5
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93
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92
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43
53
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Cover 2
97
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110
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25
When you're building boat
cabinetry and bulkheads, you
need a panel that will take some
pretty tough treatment.
So before we ever put
DecraGuard on the market, we
challenged it to all sorts of
murderous tests. We tried to
burn it with cigarettes. Soaked
it with water to try and
delaminate it. We pounded it.
Poured gasoline on it. And
alcohol. Even hit it with a
live blast of steam.
DecraGuard came through
with flying colors.
Then we put it through
some gruelling tests with
jigsaws, routers, drills, and
planes to make sure it would
give marine woodworkers the
highest kind of performance.
It did.
All of which says a lot about
how DecraGuard is made.
Very simply, we take high quality
plywood panels and make them
better with a special overlay.
It's a phenolic resin saturated
coating that's permanently
bonded to the plywood surface
through heat and pressure.
The result is an economical,
ready-to-use, prefinished laminate panel that lasts longer than
ordinary wood panel products
It's strong, lightweight, and
virtually moisture proof. And
it works like a dream with
ordinary tools
DecraGuard comes in
4 ' x 8 ' panels in 1/2" and 3/4"
thicknesses in beautiful finishes
that include Thai Teak. Planked
Oak. and Antique White.
We'd be happy to tell you
more. After all. DecraGuard is
one of our favorite subjects.
Call or write Marine
DecraGuard on your business
card. Simpson Timber Company.
900 Fourth Avenue.
Seattle. 98164.
Phone 206-292-5000.
By Robin Benford
of Jay R. Benford &
Associates, Inc.
Yacht Designers,
Friday Harbor, Wa.
It started in May of 1975 when we sanded our 34
foot Sunrise back to bare wood. This included the
well-aged red cedar hull, fir decks and cabins,
plus yellow cedar, iron bark, teak, gumwood, oak
and mahogany. Applying DEKS OLJE #1 was a
breeze—we just kept putting one coat on top of
another (wet on wet) until the wood was filled.
This required 1-1/2 hours per coat or a full work-
ing day to apply six coats to all woods except the
The Benfords'
34' yacht Sunrise
hull, which required seven.
Then we applied six coats of DEKS OLJE #2,
allowing 24 hours drying between coats, and our
job was done. The initial application took 3-1 /2
gallons of #1 and 2-1/2 gallons of #2.
Eight months later we met the Strumpet, owned
by Ernest K. Gann. This boat was finished at the
same time as ours, but with other teak oil-type
products. Her decks were scuffy and dark compared to the like-new DEKS OLJE-treated decks of
the Sunrise. The Strumpet is now finished with
DEKS OLJE and, after nine months, the Ganns
are delighted.
Over the years, our clients, friends and ourselves have tried all kinds of teak oil finishes and
oil concoctions, but they have all fallen far short
of what DEKS OLJE produces. It looks beautiful,
is easy to apply, lasts longer, does not soak up dirt
and turn dark, and is easily maintained with a soap
and water wash and an additional coat or two
each year.
Many boat owners just clean and polish their
decks, but what about spills from drinks, suntan
lotion and, in our case, a quart of bottom paint?
We cleaned it up with kerosene and plenty of
paper towels, never expecting complete removal.
But we were amazed—not a trace of this spillage
remained. Can you imagine what a mess this
would have caused on unsealed porous decks?
While we have twenty months of experience
with the DEKS OLJE system, its history in Norway
goes back more than 18 years. Paul Schweiss, of
Clinker Boatworks in Tacoma, built boats in
Norway and observed the use of DEKS OLJE by
the Scandinavian fishermen who will not use anything else. It's amazing, he says, to note that the
brightwork on old fishing boats finished with
DEKS OLJE stands out like new, making these
boats brilliantly distinctive in Norwegian harbors.
Wouldn't our harbors and marinas look glorious
filled with brightly finished wooden boats? Perhaps our pleasure boats should take this tip from
the Scandinavian work boats, as they have in
Norway.
Being in the yacht design business, we have
tried to avoid selling related products, but with
DEKS OLJE we have made an exception. So many
people have wanted to know how we keep the
Sunrise so pretty, we just had to tell them and
make the system available.
Also from Flood: Marine Penetrol,' which restores luster
to faded fiberglass, and Deks Rens," a one-part Marine
Wood Cleaner and Brightener that works like acid, is
mild to use. Deks Olje;" Marine Penetrol' and Deks
Rens" are trademarks of The Flood Company.
For details and the name of your nearest
Flood Marine Products Dealer, write or...
CALL TOLL FREE 800/321-3444
In Ohio call 216/650-4070 collect.
Copyright 1983 The Flood Company.
FL-2118-2