Canoe Yawl , Schooner , Ketch , Sandbagger Yacht , Sailboat , Boat Plans Plan

Citation preview

THE MAGAZINE FOR WOODEN BOAT OWNERS, BUILDERS AND DESIGNERS

ALBERT  STRANGE  AND THE  CANOE YAWL THE  ARTS  OF THE  RIVERBOAT  BUILDERS SPRING  PAINTING  AND  VARNISHING UNUSUAL  BACKYARD  BOATS

MAY/JUNE 1985 NUMBER  64 $3.50 $4.25  in Canada £2.50 in U.K.

Celebrating the quality and craftsmanship of one of the most enduring art forms that exists today: the Wooden Boat.

The Chicago International Wooden Boat Festival will feature some of the finest products, builders, dealers, collectors, and periodicals related to the boating industry.

AUGUST 8-11,1985 NAVY PIER, CHICAGO

For exhibitor information contact Keith Church by calling or writing 600 North McClurg Court Chicago, Illinois 60611 (312) 787-6858

I had a close call recently. I came dangerously close to making some purely subjective judgments about people who own boats made of other materials. (Not that pleasure boats of any material can be seen objectively.) I must say, however, that it was a little startling. I mean, I've done my best to appreciate the fact that wooden boats are not for everyone, and that glass boats, for instance, are not inherently bad boats. I've asked only that wooden boats be considered, not canonized. After all, it is such a personal matter. And, since I hope to avoid being judged for my personal preferences, I must obviously practice tolerance myself. On the other hand, I'm not immune to questioning. When I'm in a harbor or anchorage where there are lots of skiffs and dinghies made of aluminum and glass, I can't help wondering why anyone would have one of those things when they could so easily have one of cedar, or mahogany, or glued plywood. To my narrow mind, it would look better, it would feel better, and it would engage me. (And at this point I'd be precariously close to making a judgment.) Sounds a little fanatical, doesn't it? No doubt, my counterparts in the Brotherhood of Other Materials ask the same question about me: why would I have something built of wood when it could be otherwise? There seems to be an unavoidable parallel with religion, which I like, because it removes the need to defend my preferences. Or so it would seem. In fact, there are intolerant factions who occasionally challenge my beliefs: why wooden boats? And when I answer that it's because I love wooden boats, I often get stares of disbelief (or is it restrained amusement?). But I feel an intolerance. There was a time when the wood in boats made little difference to me. It wasn't until I began to appreciate its beauty and diversity that I became one of its champions. And I realize that there are many who have no desire to understand i t , and who prefer to appreciate it their way—from a distance. I accept that what may be pleasure to me will seem work to another, and vice versa. Maybe it's more like religion than I've thought. In the early days, when people asked if we were trying to make wooden boats a religion through the magazine, I was appalled. I certainly wasn't, and in fact, didn't believe they deserved that sort of misunderstanding. Well, maybe boats are a religion. Not wooden boats, but boats. Wood is just one of the denominations. Perhaps our commitments, as strange as they seem to others, would be better accepted if others saw the differences as denominational. After all, most of us are perfectly tolerant of various religious customs. Wooden boat folks simply worship at a different altar. What a comfortable notion. But, what a responsibility. It means that I have to be especially careful of those subjective judgment tendencies, or I've come no further than history's most infamous persecutors. So while I won't elaborate upon the judgments I nearly uttered, I will say that I came close. I thought you ought to know. I'll try and set a better example.

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WoodenBoat Number 64

May/June 1985

SHEILA, one of Albert Strange's many b e a u t i f u l designs, page 19.

C o n s t a n t Camber panels ready to become a strong and shapely dinghy.

page 83.

DYON/George Carey The symbol of summer for four generations

40

Albert Strange and the Canoe Yawl SHEILA Michael Burn The emergence of the small yacht in turn-of-thecentury England

49

Quick Steps for Spring Painting, Part II Anne and Maynard Bray The second weekend: tackling the work from the deck up

58

Building the Belles of the Western Rivers/Jack Custer A rare glimpse into the world of steamboat construction

64

TROUT UNLIMITED: The Compleat Fly Fisherman Peter Lentini Ten years' worth of thought on the "proper platform"

70

PILGRIM'S Progress Pete Johnson Dennis Holland's new Baltimore clipper, a long labor

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of love Bagging the GULL, Part I J i m Brown, John Marples and Dick Newick Constant Camber goes mono!

83

The Careful Creation of MELE KAI, Part II/James L. Meriam The completion of a lovely double-ended cruising boat

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A photographic record from the days of steamboats, page 64.

Editor's Page

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Letters Fo'c's'le

4 11

On the Waterfront Calendar of Events In My View Video Review

13 32 35 38

Designs Book Review Wood Technology Boatbuilders Boat brokers Classified

98 106 108 117 129 135

Index to Advertisers 152

Cover: TROUT UNLIMITED, a fly fisherman's f a n t a s y realized. page 70. Photo by Marty Loken.

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Dear WoodenBoat, With regard to two of the subjects covered in your excellent WB No. 63, a comment for each: I used foam-covered paint roller sleeves for years before I discovered how useful they are in applying paint. (I've destroyed hundreds of them in the snuggle to apply epoxy smoothly.) They are also a godsend to someone trying to paint his topsides alone. I apply the paint first with the roller and brush it out carefully with a badger brush. Contrary to the Brays, I finishstroke from the dry surface of the hull

into the wet edge. I just can't seem to avoid showing the marks of the brush where it first contacts the paint if I go

the other way. The roller allows me to apply much more paint without sags, and since I can go more quickly, I don't have to use as much thinner, which also improves hiding. I'm not sure why the roller allows the application of more paint without sags. I think it has to do w i t h the brush stroke's tendency to "trip" the painted surface, and perhaps it works similarly to the recourse of brushing out the paint vertically. The rollers I use are the ones commonly sold by the epoxy manufacturers like Gougeon Brothers. They are bright yellow, the foam is about 1/8" thick, and they're called "Tiz Twins." They're not worth cleaning up if you're using them for epoxy, but if you're using them with regular marine paint, they'll last a whole spring session. Roll out the most of the paint, wrap them in waxed paper, and tuck the excess into the ends. They'll keep soft that way for a week or so. And while we're at it, for super fairing ability from your disc sander, stick a piece of Formica on the foam pad with contact cement, and stick your sandpaper to that. Turns it into an honest tool, uninfluenced by the variations in hardness of the surface you're working on (for convex surfaces only). In reference to Tom Wylie's remarks

about cold-molded boats using veneers over strip planking, this method is particularly suited to traditional craft reengineered for cold molding. Older designs can almost always afford the extra weight of the method (compared to veneers over stringers or solid veneers), because the result is s t i l l lighter

and stronger than the original construction. In the wine- and champagneglass sections of the classics, a solid inner layer is very helpful for laminating veneers into the tuck at the stern 4

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and into hollow garboards. Thanks for getting me to think about haul-out time. Nothing so focuses the mind as a disc sanding in the morning. David C. King Port Townsend, WA

Dear WoodenBoat, My renewal notice sits on my desk

collecting dust. While I appreciate the wealth of practical information contained between the magazine's covers, I have grown weary of the creeping assertion that anything less than a traditional wooden boat automatically curtails personal growth and self-fulfillment. Boatbuilders and/or owners need not be insecure about the medium used in their craft. It is shortsighted and counterproductive to purposely

foster separateness among people. Respect and example are far superior as teachers than are rhetoric and assertion. Words cannot express the sense of "freedom" I felt when I opened the latest issue of WB to the article on Arno Day. Finally, in just an ordinary trade magazine geared to ordinary folks, an editor had the depth and the vision to ask questions of himself and others. Questions that heretofore had been the sole property of pundits, priests, philosophers, and other elite hucksters. For me Jon Wilson, Peter Spectre, Mason Smith, and Arno Day have in this article transcended the mundane questions of something versus something else, and have asked the important question: What motivates a person to be him/herself? Often in the editor's column, there is mention of personal expression, the search for meaning. I support WoodenBoat's effort to foster understanding between a man and himself. That Arno Day

could break his pattern of self-contained anger and share his hurt, with us, has opened the door to true freedom. How many of us can now come forward and acknowledge our pain and the defenses we have built around it which we cleverly hide behind our intolerance of other's shortcomings? Yes, Arno, my father yanked tools from my hands, and when I couldn't make my son listen, I yanked tools from his hands. I have had helpers q u i t , they thinking I was difficult, I thinking they were inadequate. The result was the same, though, as I felt misunderstood.

It took courage to print this article, 64/WoodenBoat

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Surely the  one who  enjoys  most  the  beauty of a strong  and  smooth  boat, is the one whose  own  hands  have  made  it  so. All  over  the  world  professional  and  amateur boatbuilders  have  discovered  the  advantages  of building  with  wood  and WEST SYSTEM*brand epoxy.  For the  past  15 years,  wood  composite boats  built  with  WEST SYSTEM  products  have proven  to  be  effective  racers  and  durable cruisers that  are  low  maintenance and  do  not suffer the  problems  usually  associated  with wood. WEST SYSTEM  epoxy is often  used with fiberglass,  Kevlar®, and  graphite  fiber com­ "Trademark  of  Gougeon  Brothers  Inc.,  U.S.A.

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posites.  WEST SYSTEM  products are  useful  for many  applications  beyond  new  boat  construc­ tion,  including  repair,  modification, and reconstruction. We  invite you to assess wood composite con­ struction  and  WEST SYSTEM  products.  Pro­ ducts and  information  are available  from Gougeon  Brothers,  Inc. or the following distributors and their authorized dealers:

and if we are willing to accept the challenge of our trade, building and restoring boats, might we not accept the most basic challenge of all: making peace with ourselves so that we can go to the workplace with self-respect and openness to the growth pains of our fellow beings? Please renew my subscription.

Leaf Myczack Collierville, TX

Dear WoodenBoat, I am writing in hopes of using your magazine to help in my search for f u n d i n g to engage in research and t h e publication of a concise and factual book on ship caulking. I would also like to include in this treatise the shipbuilding reminiscences of the numerous ship caulkers with whom I am acquainted. My intial rough layout would include interviews with the men still involved in the trade, information on tools and their evolution, and a discussion of their techiques, all illustrated w i t h an abundance of both photographs and drawings. I believe a study of this subject can provide an interesting look at ship and yacht building through the eyes of men who saw an age of caulking that will never be a part of our culture again. Since my own involvement with the trade has brought me in contact with a number of the older practitioners of caulking, I believe I am in an ideal position to make this project both a practical and historical text useful to both amateurs and professionals. My needs for the project are, simply put, information from your readership to help me secure the necessary financial backing a project of this nature will require. My applications to the two f u n d i n g outlets, The Maine Arts & H u m a n i t i e s Commission and The Maine Commission of Humanities, require that any funding that they have available comply with the N.E.A.H. guidelines, which rarely, if ever, fund individuals not attached in some way to an accredited institution. That is why I have decided to seek funding privately. I hope your readership will be able to suggest avenues which might afford me an opportunity to bring this project to a healthy start. Many thanks for

your time and space.

Eugene J. Scalzo Box 731 Waldoboro, ME 04572 Dear Meg, In the March/April issue, one of the photo captions in t h e interview with Tom Wylie identifies ALERT as 64/WoodenBoat

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Tom's personal boat. Tom did refer to "my ALERT" in the interview, but he was actually referring to it as one of his designs. ALERT was designed by Tom, built by C & B Marine of Watsonville, California, and is owned and sailed by Mike Lingsch of San Rafael, California. Mike, by the way, is quite experienced as a crewman in Pan Am and SORC competition. My apologies for not clarifying the owner of ALERT in the article.

Taylor Chambers Ben Lomond, CA Dear Mr. Wilson, Thank you very much for the truly enriching article on Arno Day by Mason Smith. I was so impressed with the article that I am considering taking

his class, as I, too, love lines and lofting.... Dave Herz

Steamboat Springs, CO Dear Sir, On behalf of the 95% of British boatbuilders who chose not to exhibit at the Southampton Boat Show last September, I must take issue with your correspondent who assumes the boats exhibited there were representative of the current U.K. wooden boat building

scene. From a builder's point of view, it would appear the U.K. boat show circuit is primarily for the benefit of the

show promoters, rather than the exhibitors, and I, for one, would be u n w i l l i n g to pass the disproportionately high cost of exhibiting on to my customers. During the past seven years of trading, we have received a diverse range of commissions to design and build small craft and yachts, in wood, and I am bound to say that our style and building methods have their roots most definitely here in Britain, and not in the U.S.A. Apart from the long heritage of yacht building in the English Lake District dating back to the 1790s and

beyond, there has been continuous a c t i v i t y throughout the U.K. in the

development of small-craft design and construction, reflected to some extent by the wide range of racing and sailing dinghy classes that have flourished since the 1880s. The most substantial part of this activity remains undocumented for publication, with a few notable exceptions, but this does not mean it does not exist.

The vast majority of well-established British boatbuilders have developed their own styles, in the best nautical tradition, taking into account local sea 8

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conditions, materials available, and, of course, customers' tastes. Admittedly, there are a few "newcomers" who seem to be drawing their inspiration from the U.S.A., almost certainly because of the plethora of design information from this course, drawings and details of British small craft being much more difficult to obtain. So I would urge you to visit the U.K., seek out the thousands of creeks, shores, rivers, and lakes, yacht clubs, sailing clubs, and hundreds of boatbuilders who continue to trade on their reputations rather than the big-business style of the boat show. I am sure you will be rewarded by the picture that emerges. The foregoing does not mean that we are above pinching a good idea when we see one, and everyone at the Franklin-Eldredge Yard enjoys WoodenBoat immensely. Richard Franklin-Pierce Windermere, Cumbria England Dear WoodenBoat, As a professional boatbuilder, I am insulted and angered by the opinions expressed by Bruce Northrup in your column, "In My View." Mr. Northrup attempts to excuse his lack of business habits by saying that he is an artist, and, therefore, above those builders who struggle with management and marketing problems. The truth is that anyone who does something with the expectation of being paid is in business, and denying this by saying that you are an artist is just a poor excuse for not caring about proper business practices. It is also a slur to artists, many of whom are very good business people. Finding a comfortable excuse to hide behind, as Mr. Northrup does, hurts the rest of us as well. People with this attitude usually don't charge enough for their work, creating low average prices which the rest of us are forced to work with in order to be competitive. What those Northeastern boatbuilders heard at that seminar was that there is nothing wrong with good business practices and intelligent marketing applied daily. They are as essential as sharp tools and clean brushes. High-

quality work should be paid for, and a positive attitude towards the business end of a boatshop ensures this. Dexter Cooper Cataumet, MA Bruce Northrup's satire was so wellhoned that it apparently cut a bit close to the bone. —Eds. 64/WoodenBoat

9

British Made Plywood: Quite Simply, the Best Over 40 years of manufacturing experience go into Lydney's fully integrated plywood production. Timber species specially selected for their durability (including Khaya.  Utile, Sapele. Sipo. Okoume, and Teak among others) are pared into thin, uni­ form veneers. Adhesives meet British Standard  1203 for weather and boil­proof bonds, and have superb humidity resistance. LydneyPly also has outstanding mechanical resistance to deflection, traction, and compression, with standard thicknesses from  3mm through  35mm available. Quality control standards call for exhaustive inspections at every stage of production—and each individual panel is tested before leaving the factory. The result is marine plywood approved by the Lloyds Register (YSC/QA116).  British Standards Institution  and the Royal National Lifeboat  Institution.  Each panel  produced to these standards bears the British Standards kitemark  1088 and the Lloyds registration mark. Lydney is the only mill worldwide with the right to imprint  both these marks. Quality costs money, of course. The best always does.  But for ultimate applica­ tion,  where the integrity of your craft, and your life itself may be at stake, why  not the best? LydneyPly.

Exclusive Distributor: The Harbor Sales Company, Inc. 1401 Russell Street/Baltimore, Maryland 21230 Telex: 386624 Harbor MD UD

301/727-0106

Harbor stocks a full line of marine grade plywoods and offers cutto-size machining and giant scarfed panel service. Call us with your requirements.

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A

ny number of magazine articles i n s t r u c t the reader about living aboard with animals. In CONTENT, we consider ourselves animal lovers and have always had pets. Currently, most of our animals are roaches, but that can usually be said of any boat in south Florida. Next in number come the humans, then the cats. Actually, there may be room for dispute about ranking the two cats after the three humans, for the classification of our teenage son (Homo sapiens) may be a taxonomic error. If the species name is supposed to be descriptive, then how about H. smartassiensis? The traditional classification as "human" may be an abuse of language. Why are there no magazine articles about living aboard with this bizarre form of marine life, the teenage boat person? The answer may well be that no one has anything constructive to say about the subject. Perhaps we should simply slip the docklines when he's at school and sail to Bora Bora. Or, we could tie a l i t t l e catboat astern, have him live in that, and not let him out u n t i l he's 37 and vice-president of a midwestern insurance agency. Spending his life in a small boat u n t i l age 37 would not hinder his development, because he already knows everything. In addition, it would allow us to develop. It is stultifying to the spirit of parents just beginning to enjoy the first fruits of senility to be told several times

a day. "That's pretty dumb, Mom," or "Wrong again. Dad. I know that that sort of thing is also a problem for people who live ashore, but it is magnified aboard a boat. There arc so many things to do wrong aboard a boat. To enter a house you just open the door and go in. To enter CONTENT's main cabin you must step on a bowline, grab the forestay, step nimbly aboard, make your way down the deck without tripping over the hose that a certain person who shall go nameless didn't coil and hang up in the rigging, climb down the

Failure, which would include a barking dog ashore or a half-point rise in. the prime rate, would be attributed to another one of Dad's blunders. I have no doubt that as the l i t t l e c r u m b matures, he w i l l g r a d u a l l y become aware t h a t his father is a model of nautical wisdom, insight, and s k i l l , but sometimes it seems as though it's going to be a long row to hoe. For instance, I was pleased recently to see in him the first stirrings of an interest in literature. He admitted l i k i n g some of the works of Hemingway and Fitzgerald, and some of the Greek myths. Aha,

ladder and then...only then, are you thought I. This is the beginning of his "home." If you can do that in the pres- m a t u r i t y . Soon he will have a funcence of a teenager, at least our teenager, tioning forebrain. We'll be pals. without invoking an epic monologue Not long after, I went back to his about all the ways you are doing it cabin (the little f i n k has a cabin all to wrong, then the teenager is obviously a himself; Mom and Dad have to share a victim of a rare disease that paralyzes cabin) to see why I had heard no sarthe vocal cords. casm from him in the last half-hour. There is a corollary to the old saw He was asleep, a smile on his face and that no man is a hero to his valet: no an open textbook beside him...Greek man is a skipper to his teenage son. If a myths. Curious, I became intrigued by real skipper gives the order to let go the what he had been reading that had anchor, you listen for the splash. If caused him to sashay off into the arms CONTENT'S so-called skipper (the old of Morpheus with such pleasure. You dimwit) gives the order to let go the guessed it—summaries of the princianchor, you listen for the rebuttal. pal legends of ancient kings and gods, We're anchoring in the wrong place, a good many of whom wiled away the going too fast or not fast enough, or the hours by killing, castrating, and othermoon is in the wrong phase. Success in wise inconveniencing their fathers. I repeat, sometimes it seems as if it's anchoring, lying comfortably all night without dragging or excessive motion, going to be a long row to hoe. would be attributed to dumb luck.

—David Kasanof

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Ingredients for a better wooden boat 1. Craftsmanship Success begins with an understanding of the intricate processes used to construct a boat. Plus a sound building plan and a great deal of patience.

2. Building materials You need the highest-quality materials available, from the proper planks and moldings to the best epoxy glues and laminates. Good materials eliminate a variety of problems, including damage from shrinking and swelling of the wood. And they'll let you enjoy your boat much longer.

3. Duo-Fast staplers and fasteners Duo-Fast staplers and fasteners help build better wooden boats. Our Monel® fasteners hold glued planks and laminates in place until the glue is completely dry. So the completed boat is strong and stiff and less susceptible to natural expansion and contraction of the wood. Plus Duo-Fast tools do the job more efficiently, saving you time and money. Duo-Fast has a nationwide network of distributors to supply efficient service. Check the Yellow Pages for your nearest Duo-Fast distributor.

Monel is a registered trademark of International Nickel. 12

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T

hey unshackled my leg irons from the typewriter stand long enough for me to clear out for Boston and climb aboard a jet for England, where I spent two weeks this winter examining the state of wooden boatdom. Once again I

took advantage of the economies of the British Airways Fly/Drive program, and once again I burned up the roads in the never-ending quest for boatshops that were supposed to have been driven out of business long ago but weren't. Among the highlights was a helicopter ride 25 miles out to sea from Land's End to the Isles of Scilly, home of shipwrecks and smuggler's gigs and a small fishing fleet that is primarily built of wood. The purpose was to see the National Maritime Museum's outpost on the island of Tresco, where the Valhalla Museum houses an extensive collection of ship's figureheads salvaged from the hundreds of vessels that have been wrecked on the Scillies. You have to

don, Essex, was busily building an oversized rowing dory for a two-handed Atlantic crossing. He had just completed a modified Swampscott dory designed by Iain Oughtred (more about him later, too) for Lord Slrathcona. I took a look at the Swampscott dory at the Thames Steam Launch Company (12A Spring Grove, Kew Bridge, London) on the Thames, because the boat was being f i t ted out with a small steam engine and boiler. The TSLC is a small shop specializing in the design and building of steam power plants for small craft. The owner, Bob Bossine, was putting the finishing touches on an engine he calls the Third World Steam Engine—a very rugged, simple, easily repaired engine to replace expensive and complex diesel engines in developing countries. Steam power seemed to be the main theme of the trip, since Peter Freebody of Hurley, in Berkshire on the Thames, had a number of steam-powered craft under construction and restoration. The most impressive were a large new launch, strip-planked in teak and to be fitted with two steam engines, and the restoration of

a 67' passenger steam launch, the WIND-

customer who will use it for cruising on the Thames. Edwards has his shop at Constable's Boatyard, which has reinstituted a boat livery business with a number of restored Thames skiffs, punts, and dinghies. For £90 (about $100 at this writing) you can rent a Thames skiff for a

week, complete with full camping gear. Sounds like my kind of vacation. Constable's, 15 Thames St., Hampton, Middlesex, England.

R

yck Lydecker, who has seen his fair share of boat shows in his day. went

to a couple more this winter: "After scouring the National Boat Show in New York City in January, I had found nary a wooden boat, except for the lovely antiques displayed in honor of the 75th anniversary of the show. But at the Washington, D.C., show in February, I found several. Britannia Boats of Annapolis, purveyors of very fine traditional boats like the Cornish Shrimper (in fiberglass) from across the 'Pond,' had an ingenious fold-up dinghy in wood. But, better than

that, Jim Shteir-Dunn of Capitol Hill Marine, Washington, D.C., had two of Lowell's Boat Shop creations on the floor, a sailing surf dory, which he said was sold, and the sliding-seat model. Guys like Jim should be encouraged. It takes guts to go into the Great American Boat Show with a Real Boat. "While in New York, at a session with fellow boating writers, discussion ensued on the hazards of aluminium masts running afoul of powerlines. Someone suggested avoiding the electro-

SOR BELLE. Freebody has expanded his operation to another facility on a small island in the Thames near Maidenhead. In Hampton on the Thames, just above the head of tidal water, Mark Edwards is restoring Thames skiffs and be serious to get all the way to Tresco, but building new ones on order. When I was the effort is worth it. (During the summer there, he was putting the finishing months, British Airways flies a passenger touches on a Piccolo sailing canoe (using helicopter several times a day directly to the Bob Baker/WoodenBoat plans) for a Tresco from Penzance.) I revisited the Merseyside Maritime Museum in Liverpool at the invitation of Mike Stammers, the curator, and discovered that the promise of the past is being f u l f i l l e d in the present. The museum's facilities are expanding exponentially with the renovation of the historic Albert Dock warehouses, and the boat restoration and maintenance shop is picking up speed. The 177' Mersey pilot-boat EDM U N D GARDNER is now open to the public at the Canning Dock, and the newly built replica pilot schooner SPIRIT OF MERSEYSIDE is f i t t i n g out nearby. The most impressive part of the museum is the serious attempt to make all restoration work authentic in every way. For example, the interior of the Piermaster's Building, restored following interviews with former occupants, is realistic because of its imperfections, if you know what I mean. Fabian Bush (more about whom in a Thames skiff built by Mark Edwards. This is a three-seater planked in Brazilian cedar. feature article later) of Osea Island, Mal-

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cution p o t e n t i a l altogether by fabricating masts from another material. "Interestingly, wood was never mentioned, although it has, I believe, been f a i r l y well documented as an acceptable material w i t h which to hold lights, wind vanes, burgees, and even sails aloft. Metal shrouds, of course, w i l l fry you just as fast no m a t t e r w h a t the mast is made of. and I'm wondering if there is a suitable nonconduct ing material for standing rigging. C a n ' t t h i n k of something; maybe a wooden boat innovator w i l l ; might be a selling feature." The winter shows are all over now, because they tell me that winter itself is over (you m i g h t t e l l that to the person responsible for dumping snow on out ground yesterday), and the summer hoopla is almost upon us. Word from out West is that the Forestry Center at Portland, Oregon, has scheduled its 1985 Wooden Boat Show for July 26-28. U n l i k e most commercial shows, t h i s one doesn't charge a fee for exhibitors to display their wares. If you're a builder, designer, or seller in the Northwest, this is a show t h a t shouldn't be passed by. For d e t a i l s , contact Ken Swan at 503-9825062, or the Forestry Center at 503-2281367. Forestry Center, 4033 SW Canyon Road, Portland, OR 97221. The big show in the East, of course, is

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t h e Wooden Boat Show, which is in i t s ness, Rusty Rudder can't pass up a f l i g h t f i f t h year. Between August 15th and 19th, of fancy here and there, as evidenced by the Newport, Rhode Island, waterfront the caption for the cover photo of a couwill be overrun w i t h wooden boats and ple of Gold Cup racers: "Out of the floor their paraphernalia, old and new. Besides of the greenish sea, thrusting our speedthe commercial end of the show, which I ing prow through (he watery sheath, we understand w i l l be considerable, there two, seaborn and wind-wayward, melt w i l l be meets for various organizations, out t h r o u g h t h e loamy wake and slip as a including the Antique Powercraft His- speck of cloud on the rim of the sea, the torical Society, the Traditional Small castaways of bliss." Rusty Rudder, AnCraft Association, and the Wooden Canoe t i q u e & Classic Boat Society, Box 831, Heritage Association. Add to that the Lake George, NY 12845. Concours d'Elegance and the Wooden The winter issue of The American Boat Race for rowing c r a f t , and you have Neptune should be sought out by those a veritable overdose of biodegradable who are concerned about the s t a t e of boats. For details, write Rob Dwelley, scholarship in m a r i t i m e h i s t o r y . In an Wooden Boat Show, Box 519, Newport, article on the Frank C. Munson I n s t i t u t e RI 02840. o f A m e r i c a n M a r i t i m e Studies, the dist i n g u i s h e d educator Benjamin W. Larausty Rudder, the journal of the An- bee has t h i s to say: "It would be heartentique and Classic Boat Society, has ing to conclude t h i s article w i t h a ringing taken on a new look under the editorship paean to the great advances made in the of Steven Lapkin. The latest issue, Win- field of maritime history over the past 30 ter 1984/85, has a balanced collection of years....But with the passing of Robert G. m a t e r i a l r a n g i n g from t h e p r a c t i c a l Albion, Samuel Eliot Morison, W i l l i a m ("Restoration Tips") to the i n s p i r a t i o n a l H. Baker, Howard I. Chapelle, H.J. Parry, ( M a r k Mason of BABY BOOTLEGGER and Marion Brewington, to name but six fame goes for the u l t i m a t e replication, giants in the f i e l d who have died in the t h a t of MISS COLUMBIA). Those who last decade, one can only wonder where concern themselves with such t h i n g s to look for the historians who w i l l take should pay special attention to Denny up the work. Fewer graduate students Anspach's perspective on "Preservation pursue t h e subject these days, if only versus Restoration." Yet for all its serious- because i t is not available to them, and

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the situation grows worse each year." If you think scholarship is something irrelevant in a practical world, consider the fact that your well-thumbed copies of American Small Sailing Craft and The Dory Book would still be pulpwood logs without it. The American Neptune, the Peabody Museum of Salem, Salem, MA 01970, $32/year. There's nothing scholarly about Boat International, a new British magazine,

but it does have a certain moneyed lustiness to it that almost makes me wish I were rich. A cross between Town & Country and The Yacht, seasoned with a touch of the Sharper Image catalog, it seems to have been edited for people with rose-colored reading glasses and chromeaccented cocobolo coffee tables. Number 5, which came out this winter, has articles on the 12-meter world championships and the Libera-class racing machines of Italy's Lake Garda—the two standard features of almost all yachting magazines around the world this year— but the photography is so spectacular and so spectacularly reproduced that the magazine is welcome on my coffee table any day of the week. Boat International, COMAG, Tavistock Rd., West Drayton, Middlesex, England, £9.50/year. Better Boat, the new sister publication of Practical Sailor, has an article in

the February 1985 issue solely on the sub- off," but then again, nobody ever asked ject of keelbolts. If ever there were a topic them to. Motor Boating & Sailing, 224 to induce black paranoia in the mind of West 57th St., New York, NY 10019, the boat owner, this is it. Just the thought $15.97/year. of losing a ballast keel at an inopportune A greater service to wooden boatmoment is enough to bring on the heebie- ophiles is performed regularly by the jeebies. But most people operate under Forest Products Journal, the trade magathe principle that what they can't see zine of the Forest Products Research won't be a problem. Better Boat has a Society. The Journal's February 1985 better idea—examine your keelbolts; if issue has two especially i n f o r m a t i v e there's a problem, replace them (they pieces: one on how to prevent pilings and include detailed instructions on how). other wooden harbor structures from chafBetter Boat. Box 388, Newport, RI02810, ing due to tidal and wave action, and $39/year. another on how to identify w h i t e oak Motor Boating & Sailing made a logs. The secret in the latter case is to serious attempt to balance the gonzo con- spray the heartwood w i t h a 10% solution sumerism hype (how to buy a Loran, of sodium nitrite—white oak w i l l turn how to buy a boat, how to get to the dark purplish or greenish to black; red Miami Boat Show, how to finance a boat, oak will turn yellow or brown with an how to charter in Scotland, how to stock orange t i n t . Forest Products Journal, a galley, complete with such revelatory 2801 Marshall Court, Madison, WI53705, advice as "The premature depletion of $65/year. food can diminish morale during an otherwise good trip") in the February 1985 issue w i t h a relatively laid-back piece of calculated nostalgia about Lowell's Boat Shop in Amesbury, Massachusetts. Lowell's claim to fame is two-fold: they build dories in a variety of types, and they're the oldest continuously operated boatbuilding shop in the U.S.A. (192 Speaking of trees, our correspondent years). MB & S author Anita Shreve says Matthew Walker asked me to remind you Lowell boats "won't blow your socks t h a t properly planted and tended trees

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can turn a desert into an oasis. For more information on the role trees play in the earth's ecology and how you can help nature keep things in balance, write for the free brochure "Conservation Trees" from The National Arbor Day Foundation, 100 Arbor Ave., Nebraska City, NE 68410. Tell them Matthew and Pete sent you.

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autical Quarterly continues to outdistance the competition in the serious-text-in-a-stunning package category. As a matter of fact, I'd put it among the top 10 boating magazines of all time. (This may sound like shameless hype, but it is sincerely felt.) The Spring 1985 edition has a very well-researched and -written article by Michael Crowley on the wooden lobsterboat builders of Beals Island, Maine. My only quibble is that there is an ever-so-slight suggestion that Beals Island is the only place left in this country where serious wooden boat building continues. Nautical Quarterly, 373 Park Ave. South, New York NY 10016, $60/year.

Alden-designed Biddeford Pool 18 restored by Rumery's Boat Yard.

Launching date should be the end of April. Says Gordon, "Reading Bruce Northrup's statements in 'In My View,' WB No. 63, I experience similar emotions. I will admit that I can keep my

bookkeeping records straight and barely wind up with a week's pay, but I am doing what I really want to do: build wooden boats." Bruce Malone of Camden, Maine, recently launched an 18' lapstrake daysailer designed by John Leather. Malone will be adding this boat to his already established line of Rangeley Boats and skiffs. Rumery's Boat Yard (109 Cleaves St., Biddeford, ME 04005) has finished the restoration of an Alden-designed Biddeford Pool 18, a lovely gaff sloop originally built in 1917. After a full year of use, the six 16' carvel-planked rowboats built for the marine unit of the Toronto Metro Police by the Tender Craft Boat Shop have

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n boatyard news, Gordon Swift of wife Custom Boats (RFD #2, Exeter, NH 03833), reports that he is finishing up a 35' cutter designed by Joel White for John Carson of Exeter, New Hampshire.

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Utility rowboats built by Tender Craft for Toronto's Metro Police.

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he photograph above—from the May/June, 1984 issue of WoodenBoat— shows skilled Alaskan kayakmaker Dick Bunyan fashioning a rib for his kayak by clamping his teeth on it before bending it with his hands. Which reminds us... Right now, there are who-knows-how-many wooden boat enthusiasts out there fighting tooth-and-nail to find scarcer-than-hen's-teeth copies of WoodenBoat on newsstands. We wonder why. Because a subscription to WoodenBoat saves you the time and trouble of searching for every issue. And saves you $3.00 off the newsstand cost in the bargain! Not to

mention the convenience of having each new issue delivered to your home. On time. Right from the press. So if you are now a WoodenBoat reader but not a subscriber, use the coupon below—or a postage-free card in this issue—to enter a subscription and start copies coming to you regularly. Whether you're an old hand—or just cutting your eye-teeth on the pleasures of building, maintaining and sailing wooden boats—you'll always be glad you entered a subscription to WoodenBoat. And you can do it now at a price that won't take a big bite out of your budget!

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Ray Hebert among the Whiz-Bang. Thunderers at the Tulsa Sport and Travel Show.

proved themselves again and again. The

There's life in the Midwest, according to our correspondent Bob Kenly: "I found Ray Hebert at the 29th Tulsa Sport and Travel Show. His story isn't unique measured against Down East standards, but conservative mid-America doesn't treat such kindly. A ray of hope, though, is in a section of northwestern Arkansas called the Ozark Mountains, which seem to foster the likes of Mr. Hebert. He was some sight to see showing off his lapstrake canoes amidst all of those brand-new Whiz-Bang Thunderers." Hebert builds lapstrake canoes, St. Lawrence River skiffs. Culler wherries, and other traditional small craft at Reverence for Wood Boat Shop, 15 Douglas, Eureka Springs,

boats are used for lifesaving and other emergencies along Toronto's Lake On- AR 72632. tario waterfront. Tender Craft Boat Shop, Bill Pierce in Eldridge, Missouri, is 67 Mowat Ave., Toronto, Ontario, another midwestern builder to be reckCanada. oned w i t h . He recently finished two gorMeanwhile, Gill Bibby in nearby geous 20' sailing canoes to his own Hamilton, Ontario, apears to be going design. Planking is northern white cedar great guns. His shop is c u r r e n t l y com- he c u t for himself in Minnesota. The pleting a 30' Bristol Channel cutter and coaming, deck framing, rudder, and leehas on the order book the restoration of a boards are white ash; the deck is cherry; 1929 Peterborough inboard l a u n c h and a and (he hanging knees, maststeps, and 1926 10' D i t c h b u r n launch. Gill's real partners are w a l n u t burls. Bill will build love is building small craft, such as more of these boats on order or your Swampscott dories,Whitehalls,Delaware dreamboat to your custom specifications. Duckers, and the like. Gill's Boat Shop, Bill Pierce, Rt. 1, Box 69, Eldridge, MO 230 Hempstead Dr., Hamilton, Ontario, 65463. Canada. Dale Coleman of Hecla Sails (Box

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1162, Fort Bragg, CA 95437) reports that his business in 1984 was double that of 1983. Hecla specializes in sails for traditional small craft in—get this—100% Egyptian and Sudanese cotton sailcloth. He also sells his sailcloth by the yard and supplies genuine hemp cordage. The

sample he sent me of tarred Italian hemp rope is enough to barken one back to the Golden Era.

Bill Pierce's

matched

canoes with bat-wing sails.

pan—20' decked

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ife on the Muskingum River, courrtesy of Jim Stephens of Marietta, Ohio: "Three years ago a group of us r e s u r r e c t e d t h e Marietta Rowing & Cycling Club, an organization t h a t flourished here over 100 years ago, dying out, we believe, about the beginning of the Great (Kaiser) War. We have held two annual River Rendezvous weekends on the week prior to Memorial Day, and plan another for 1985. "For the fall of this year we are planning the Jerome K. Jerome Memorial Row, named after the author of the droll Thames River classic Three Men in a Boat, which was first published in 1889. The t r i p will take two weekends and will begin at Zanesville, Ohio, proceeding down the Muskingum 35 miles to the village of Stockport. The next weekend we w i l l resume the bucolic voyage for the f i n a l 40 miles to Marietta, where the Muskingum joins the Ohio. Just as in JKJ's trip on the Thames, there will be locks and dams to negotiate, powerboats to curse, and pleasant pubs in which to relax. The Muskingum is Ohio's longest and largest river within the state's borders, and it flows through small towns and very hilly rural country with only two industrial plants to mar the scenery." The first weekend will be October 5-6, 1985; the next, October 12-13, 1985.

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For information, write James L. Stephens, Treasurer, Marietta Rowing & Cycling Club, 425 Mulberry St., Marietta, OH 45750. Not q u i t e as relaxed as that is the Head of the Sound Regatta being planned for the coast of Maine on July 6, 1985. This will be a three-mile haul from Southwest Harbor on Mt. Desert Island up through Somes Sound, billed by local boosters as the only natural fjord on the East Coast. Invited to compete are recreational shells, racing shells (singles, doubles, quads), and sea kayaks in classes for men, women, youths, seniors, perhaps even mixed. Any women who plan to attend had better grease their oarlocks carefully, because our Editorial Assistant, Meg Davis, who swings a mean oar, swears she'll be there with steel in her eyes. For details, contact Reg Hudson, Live Yankee, Southwest Harbor, ME 04679.

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ulch: A nautical flea market will be eld from 10 to 5 on Saturday, May 11, 1985, at the East Hampton Town Marine Museum's Boat Shop, Commercial Dock, Three-Mile Harbor, East Hampton, Long Island, New York. Rain date is May 12.... Workshops on handtool techniques and joinery, and wood turning, will be held from June 17-28,

1985, at the Hiram College campus, Hiram, Ohio. The classes are sponsored by the Conover Workshops, 18125 Madison Rd., Parkman, OH 44080, where you can obtain enrollment information.... The Third Annual Waterfront Conference is set for September 27-28, 1985, in Washington, D.C. If your town or city is contemplating "adjustments" to the waterfront, the Town Fathers (or Mothers) would be well advised to attend. Details from The Waterfront Center, 1536 44th St. NW, Washington, DC 20007. A replica of the topsail packet schooner SWIFT of the 1780s will be built at the Victoria, B.C., Expo 86 by the Robertson II Sail and Life Training Society. Half the money will come from the Society and half from the Expo management.... The North Carolina Maritime Museum has a wide range of boatbuilding courses planned from May through August, including basic boatbuilding, canoe building, lofting, and oar and paddle making. For details, contact the Museum at 315 Front St., Beaufort, NC 28516.... A group calling itself the Admirals of the Fleet of Florida have begun raising funds for the development of the Florida Maritime Center to be located on the Miami waterfront.... Ralph Eshelman of the Calvert Marine Museum,

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Solomons, Maryland, says there was an error in the description of the bugeye LITTLE J E N N I E in the last issue of t h i s column. The vessel was not b u i l t in Oxford, but at the James T. Marsh Shipyard at Solomons....The National Fishing Lure Collectors Club (no, your eyes have not deceived you) w i l l be holding their 1985 national convention in the Century Center, South Bend, Indiana, J u l y 4-6, 1985. Details from Raymond L.

Carver, Historian/Librarian, NFLCC, 22325 B Drive South, Marshall, MI

49068. Gregg Blomberg of Kestrel Tool

(Route 1, Box 1762, Lopez, WA 98261) sent us a fascinating illustrated fact sheet on how to make your own Northwest coast elbow adze. Kestrel is more than your usual tool company, selling more than your usual tools.

cer of P.T. Boats, Inc., the association dedicated to the memory of World War I I ' s most celebrated wooden f i g h t i n g boats.

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runo Veronese, naval architect and f a i t h f u l WoodenBoat reader from Genoa, Italy, wrote to us recently about a boat now owned by a naval architect friend in Trieste: "The BAT is a small yacht of British design, built in 1889 at Maldon, Essex, England, as a small racing yacht. Her designer was Harold Clayton. Before the first World War she appeared on one of the lakes of northern

Italy. She disappeared after the second World War, only to be found some years later in a shed near the northern Adriatic

coast.

"The BAT, however small, is a typical British yacht of her time, narrow and deep, of great displacement and with a e regret to report that James M. heavy ballast keel of lead. She has the "Boats" Newberry died in January same LOA and LWL of 17', with 7' beam at age 75. Newberry was Founder, Direc- and 4'6" draft. An interesting and unutor. President, and Chief Executive Offi- sual feature is that, while her transom is

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The BAT, built in 1889 in England and burning up the rare courses in Italy in 1985.

p l u m b like her stem the sternpost is raked i n w a r d , o b v i o u s l y for cutting down hull surface and therefore skin friction. The rudder shaft, a vertical iron rod outside the transom, is connected to the raked rudder blade by means of a sort of universal joint. The hull is b e a u t i f u l l y b u i l t and looks like new, with oak keel, stem and sternpost, ash grown frames, oak floors and knees, teak planking, copper and bronze fastenings, and low-

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carbon iron f i t t i n g s that remain rust-free. "Originally this yacht was not decked; then her present owner decided that, in order to extend her life, the hull should be in some way stiffened, and so a few years ago a partial teak deck with a small cuddy forward was built on her, trying to preserve, as much as possible, the look of her time. With her reefing bowsprit, and boom extending outboard (altogether

building is still alive here, but very few people get down to building wooden boats due to the iniquitous cost of imported timber. For example, Neville Walter and his working partner Charl du Plessis v i r t u a l l y committed economic suicide in building a strip-planked canoe with an equation that looked something like this: 800 Hours of Labor (400 sand-

twice the hull length), the BAT carries a

Price R2.400 = Labor of Love. The one encouraging aspect of the project was that the canoe received tremendous favorable comment at a local boat show, particularly as it was the only all-wood boat on display." Up in Whitehorse, in the Yukon, W i l l i a m Campbell has b u i l t a Joel White-designed Martha's Tender to add to his fleet of wooden boats, which includes a 20' strip-planked canoe, an 18' ocean kayak of the Greenland type, and a 20' Texas dory. Campbell isn't one to throw things away. The apron for the outboard motor on his tender is a muchabused a l u m i n u m camp frying pan h a m m e r e d f l a t and screwed to the transom. Bruce Smith of Gig Harbor, Washington, has f i n i s h e d his 34' gaff ketch designed by Paul Johnson. Framed in laminated yellow cedar and strip-planked of old-growth Douglas-fir t h a t was

ing) + Material Cost R 1,100 + Selling

lot of sail and is very fast: she is still winning races on elapsed and corrected time.

"All told, a beautiful little yacht, approaching the century, and the pride and love of her present owner, a naval architect who can appreciate this kind of boat." Further news from far-flung places comes from Neil Rusch in Cape Town, South Africa. "Interest in wooden boat-

Expensive to build, perhaps, but tins South African stripper is beautiful to look at anyway.

William Campbell's Greenland kayak on the Yukon River.

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me seven and a half years of, at times, very part-time building. Many of the timbers specified in the plans were substituted by local ones—frames of jarrah, laminated keelson of kauri, floors and tiller of

wandoo."

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OBELIA, born of LYRA, shaking down under power.

knocked down by the Mount St. Helens blast, she was built by Smith, working alone, in 15 months, lofting to launching, for about $12,000 including a 16-hp Ducati diesel. Says Smith, "For me, low cost is a more important factor than moving upwind like a helicopter—after all, it exists; it occupies its space." Another boat that exists thanks to amateur enthusiasm was just launched by Andres Foss of Sorrento, Western Australia, though his elapsed time was sign i f i c a n t l y greater. "OBELIA, born of L Y R A by Tom Tucker (WB No. 10), took

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yck Lydecker has been following the EPA's new rulings about lead in gasoline—90% of the lead has to be out by the end of the year, and there are rumors of a complete ban by 1988. Ryck has been wondering about the effects on boat engines. "I know the easy answer is go out and buy a new engine that burns unleaded fuel. But I suspect that many of your readers would rather not, thanks. Probably for monetary reasons, but also because they want to use original engines, particularly in historic or traditional vessels. "EPA cites studies by the Army and the Postal Service that show that their rigs run fine on unleaded fuel with no undue maintenance problems. But, those engines were probably built in recent times ( w i t h i n the last decade) and could, from what I'm told, go it without the extra lubrication lead provides. "How about the average boat engine, which they say is 12 to 14 years old? And boat engines run under load constantly, u n l i k e cars. Well, there is no answer as

NUTSHELL PRAM BUILDERS please take note:

A mistake in the offsets published with the plans in WB No. 60 has led to some confusion and questions. The height of the second lap from the outer face of the transom should have been expressed as 0-4-0 from the D.W.L, (not 0-0-4). The omission of the location of the D.W.L, on the building jig has also led to some confusion. It should be plotted at 16" above the lop of the ladder frame, and exactly parallel to i t . The inclusion of t h i s line may help in positioning the ' m i d s h i p s f r a m e and the temporary molds. We apologize for the c o n f u s i o n caused by these errors, and for the d i f f i c u l t y presented by the necessarily reduced size of (he information. It is always a potential problem when working from reductions instead of full-sized sheets of plans. W i t h thanks for your patience, Cynthia Curtis Research Associate WoodenBoat Plans

yet, that I know of, but for the sake of my old 6-hp Johnson and a fondly remembered Redwing t h a t pushed my Isle Royale gas boat around Lake Superior, I'd like to know what to do. "Two other problems with all this:

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A stylish stand for a model of the

there may be shortages of leaded fuel this summer, p a r t i c u l a r l y in the Pacific Northwest and upper Midwest, and alcohol additives to boost octane can eat up fuel lines, particularly on older rigs. So be careful. If the pump where you buy your gas isn't labeled regarding alcohol content, either find out or buy elsewhere."

clinker boat is built. Bill is a boatbuilder by trade, having served his apprenticeship years ago at HMNZ Dockyard, building and repairing wooden boats, including whaleboats and numerous other small clinker craft. He maintains

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ui Simpson of Auckland, New Zealand, sent us photographs of a model of a foglo snipa built by her husband Bill. You would be hard pressed to find a more finely crafted model of an open boat. Says Tui: "The 17" model is of a boat that was built in Finland, used in the Aland Islands in the Baltic, and later shipped out to New Zealand for use in the Hauraki Gulf. The miniature was built by Bill in much the same way a full-sized

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that building this snipa was the greatest challenge he has faced in boatbuilding. He also believes he could have built the snipa toils f u l l size twice over in the time it took to build the miniature." Jan P. van den Heuvel of Terneuzen, Netherlands, is also a meticulous modelmaker. For a model of the Gokstad Ship, he b u i l t a unique stand, which, while far out of the mainstream of model stand design, has such style that it is almost worth displaying alone.

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Captain Merrick's cradle boat i s a rocker and a floater.

he Cradle Boat of the Bi-Month comes from Capt. Robert Merrick, USN (ret). Lapstrake-planked of redcedar on white oak, it has black walnut thwarts, breasthook, and transom. The stand is Damson plum and cherry. Captain Bob's boat doesn't just rock, though, it floats. The seats are removable to make way for baby. —Peter H. Spectre

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Compiled by Meg Davis

M A Y

J U N E

3, 4, 5 13th Annual American Maritime History Symposium Three days of lectures, films, and music of maritime eras. Maine Maritime Museum, Bath, Maine

1 Marine Swap Meet Sponsored by the Ancient Mariners' Sailing Society. San Diego, California

( M M M . 963 Washington St., Bath, ME 04530. 207-143-1316)

4, 5 Weekend Skiff Workshop Offered by the Northwest School of Wooden Boatbuilding.

Port Townsend, Washington (NWSWBB. Mrs. Barbara Purdue. 251 Otto St., Port Townsend. WA

98368. 206-385-4948)

11 "All About Boats" Seminar A seminar about the factors which govern the speed, stability, and performance characteristics of a boat. Lake Michigan Maritime Museum, South Haven, Michigan (l.MMM. P.O. Box 534, South Haven. Ml 49090. 616-637-8078)

11, 12 Dixieland Chapter Rendezvous & Show Sponsored by the Antique & Classic Boat Society.

Joe Wheeler State Park, Alabama (Ken Jorgensen, 615-373-2718)

11, 18 Lapstrake Repair Seminar Students w i l l replace steam-bent frames and scarf in new planks, and refasten with rivets, clench nails, and screws. Basic woodworking skills are required. Center for Wooden Boats Boatshop, 1010 Valley St., Seattle,

Washington (CWB. 1010 Valley St., Seattle, WA 98109, 206-382-BOAT)

18, 19 The North American Small Boat Show Spotlight on affordable boats for families, fishermen, and physical fitness buffs for f u n of all kinds. Activities will include rowing clinics, the "Sarocathon." a four-part race to win the Small Boat Journal Cup, "Small Boat Rowing Race," "Waterbug Slalom Challenge," Sea Trials, and more.

Newport Yachting Center, Newport, Rhode Island (Newport Yachting Center, Rob Dwelley. P.O. Box 549, Newport. RI 02840, 401-846-1600)

18 3rd Marietta River Rendezvous A running, rowing, and bicycling race centered around a boat-

house w i t h many beautiful wooden boats on display. Marietta, Ohio (Jim Stephens. 425 Mulberry St.. Marietta. OH 45750)

18 Oar-Making Workshop Offered by the Northwest School of Wooden Boatbuilding. Port Townsend, Washington (NWSWBB, Mrs. Barbara Purdue, 251 Otto St., Port Townsend. WA 98368. 206-385-4948)

18 Wooden Boat Lofting Workshop Draw the lines of a boat to f u l l scale. Lake Michigan Maritime Museum, South Haven, Michigan (l.MMM. P.O. Box 534. South Haven. Ml 49090. 616-637-8078)

19 2nd Annual Ship Channel Sprint 8½-mile race from Hull to the USS CONSTITUTION in Boston Harbor. All varieties of craft are invited and encouraged to participate! Hull, Massachusetts (Ed McCabe. Hull Lifesaving Museum, Box 221, 1117 Nantasket Ave., Hull. MA 02045, 617-925-3595)

May 20- Wooden Boatbuilding Class June 26 Build a boat from lofting to finishing out. Meets twice a week for 6 weeks.

Lake Michigan Maritime Museum, South Haven, Michigan (l.MMM. P.O. Box 534. South Haven. MI 49090. 616-637-8078)

May 25, 26 Refinishing Seminar June 1, 2 Students will learn how to restore a weather-blotched and paintsick boat to showroom perfection. Involves alternative ways of stripping old f i n i s h , painting, and varnishing. Center for Wooden Boats Boatshop, 1010 Valley St., Seattle, Washington (CWB. 1010 Valley St., Seattle. WA 98109. 206-382-BOAT)

May 26 Master Mariners' Regatta Oldest wooden boat regatta in the U.S. More than 120 boats expected—all of traditional pre-World War II design and build.

Out-of-town boats are encouraged to participate in this 18-mile race on San Francisco Bay. San Francisco, California (John Walters. 707-745-3388) May 31, 1 1 t h Annual Newport Used Boat Show June 1, 2 Open to individuals trying to sell their own boats, as well as to brokers and dealers. Newport Yachting Center, Newport. Rhode Island (Yankee Boat Peddlers, Christies Landing, Newport. RI 02840. 401-849-3033)

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(AMSS. P.O. Box 6484, San Diego. CA 92106)

1 Repair & Maintenance Workshop

Offered by the Northwest School of Wooden Boatbuilding. Port Townsend, Washington (NWSWBB, Mrs. Barbara Purdue. 251 Otto St., Port Townsend. WA 98368. 206-385-4948)

1 Wooden Boat Planking Workshop Explore various planking techniques. Lake Michigan Maritime Museum, South Haven, Michigan ( L M M M , P.O. Box 534, South Haven. MI 19090. 616-637-8078)

1, 2 Pacific Northwest Chapter Port Ludlow Rendezvous Sponsored by the Antique & Classic Boat Society. Port Ludlow, Washington (Chapter Secretary. 206.155-5721)

1, 2 Second Annual Wooden Boat-In Sponsored by the Alabama Antique & Classic Runabout Club. 20-30 boats expected. Big B u l l Docks on Lake Logan Martin, Alabama ( A l a n Coupland, 205-836-9181 or David Berry. 205-252-0566)

1, 2 Small Craft Workshop

Small c r a f t enthusiasts meet to discuss traditional small craft and to exhibit, sail, and row examples from their own collections. Special presentations on boatbuilding and Sunday morning row sail down the Mystic River. Mystic Seaport Museum, Mystic, Connecticut (Curatorial Department. Mystic Seaport Museum, Mystic, CT 06355, 203-572-0711)

2 3rd Annual Wooden Boat Show While there will be many runabouts on display, the show is open to any wooden vessel, antique or just completed, and to a n t i q u e outboard motors. Hurst Harbor Marina on Lake Travis, just outside Austin,

Texas ( J i m Frechette or Jane Quisenberry, 1807 Palma Plaza. Austin. TX. 512-477-0913)

8 3rd Annual Collectors' Car and Boat Show Sponsored by the San Francisco Yacht Club, this show will feature antique sail- and powerboats, live music, and food. San Francisco Yacht Club, 98 Beach Rd., Belvedere, California (SFYC, 415-435-9133)

8 Ancient Mariners' Yesteryear Regatta Over 70 classic yachts come together from the San Diego-Los Angeles area.

San Diego, California ( A n c i e n t Mariners' Sailing Society, P.O. Box 6484, San Diego. CA 92106)

9 Ancient Mariners' San Diego-to-Maui Race Third annual race is open to either vintage or traditionally designed sailing yachts. San Diego, California (Maui Race, 4550 Cheshire St., San Diego. CA 92117; Bill Clark, 619-2972795. days, or Trudy Wood, 619-268-8220, evenings)

16 Captain Vancouver Day In celebration of Captain Vancouver, the Vancouver Maritime Museum will sponsor a day of festivities with special heritage vessels, crafts, shanty songs, sea stories, etc.

Heritage Harbor, Vancouver, British Columbia, Canada ( V M M . Karen Booth, 604-736-4431, ext. 274) 23 Pier Day Celebration

Annual festival of maritime culture, with launching of Apprenticeshop's 40' pinky schooner, demonstrations and exhibits on maritime-related crafts and traditions, entertainment, and food. Percy and Small Shipyard, Bath, Maine (Maine Maritime Museum, 963 Washington St., Bath, ME 04530, 207-443-1316)

24-28 The An of Marine Survey Seminar Offered by the Northwest School of Wooden Boatbuilding. Preregistration required. Port Townsend. Washington (NWSWBB. Mrs Barbara Purdue. 251 Otto St.. Port Townsend. WA 98368. 206-385-4948)

29, 30 Long Island Chapter 4th Annual Rendezvous & Show Sponsored by the Antique & Classic Boat Society. Bayshore Yacht Club, Great South Bay, Long Island, New York (Warren Moore. 516-757-0174)

The Battenless Mainsail by Fritz Seyfarth

A

number of veteran cruising skippers have been recommending the no-roach, battenless mainsail with the leech running straight from head to clew, often hollowed a bit. Their strong argument for this simple arrangement would seem to make a lot of sense: Although the roach (or the round, as it is often called) may give a better-looking sail, it provides only slightly increased sail area, mainly of importance, they say, to the racing skipper wanting to get unrated sail area under the measurement rule. The cruiser should care less. The battens needed to support this roach are a nuisance. They cause chafe, foul in the spreaders and shrouds, break, get lost, tear their pockets, damage the sail, and can be a problem in hoisting, lowering, furling, and reefing. Without battens, the sail should be cheaper to build with less area and no expensive batten pockets. This argument is further bolstered by the fact that many bareboat charter fleets now use battenless mains, the major premise being that a good charter boat must be a proper cruising boat. It is an assumption, however, open to question; they just don't necessarily have anything to do with each other any more than a Big Mac w i t h fries correlates to a candlelight dinner at Elaines, and this batten situation is a good example. Along w i t h other abuses, bareboat charter operators experience serious damage to their sails. Mains are raised and lowered while running downwind without any regard to fouled battens in the rigging. And it is not a rare thing to see a rental boat under f u l l main motoring out of an anchorage at 7 knots straight into the teeth of 20-knot trades, its mainsail flogging violently. As a consequence, many charter firms have simply gone to idiot-proof, battenless mains to try to keep repair costs from skyrocketing. So why have battens? Have those sailmaker knaves huckstered the batten myth? A closer look at the no-roach, battenless main provides some interesting considerations. 34

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The area can actually be reduced by 10 to 15 percent; this is a pretty fair amount of sail area to give away in a proper sailboat under normal sailing conditions. The overall airfoil shape is not nearly as good, especially to windward, where a performance loss in the

range of 25 percent or more can occur.

I recently needed a new main for TUMBLEWEED, my 40' John Aldendesigned ketch. I queried 18 leading United States sailmakers requesting information and prices, and specifically asked their opinions about a nobatten main. Fifteen replies said about the same thing: "Yes, indeed, a lot of 'cruising folk' nowadays are opting for the battenless main. It makes a lot of sense as a more durable and simple cruising sail. Yes, we would certainly recommend such a sail and will be delighted to make it for you." Aha, another positive breakthrough for my favorite theory that "simplicity can be beautiful"! But there were three negative replies. Two sailmakers (Mack-Shaw Sailmakers in Fort Lauderdale, Florida, and Clark Sails in Essex, Connecticut) didn't t h i n k much of the battenless main, but would make me one if I insisted. The other (North Sails in Stratford, Connecticut) was forceful about it: They just would not build me such a poor-compromise, inefficient sail. So I dug a bit deeper, and the answer—for me—was simple: A perf o r m a n c e - o r i e n t e d cruising sailor would not be happy w i t h a battenless main. Other than a slightly lower i n i t i a l cost, the damage factor is the only advantage of battenless mains. There are a number of important disadvantages. Drawings by Kathy Bray

Part of the misunderstanding probably results from the idea that "cruising folk"will compromise a long way on sailing performance, since many have already made houseboat concessions with improper rigs and poorly driven hulls loaded down with all sorts of extra gear and equipped w i t h big diesel engines turning large, threebladed, heavy-drag props. However, I suspect there are a number of skippers who just won't put up with slogging along at three knots when a proper cruising boat can sail along smartly and pleasantly under the same conditions at six knots. What usually happens is that the slogger will seldom be sailing; what he actually has is a motorboat with steadying sails. The battenless main will likely appeal to him, especially one with a roller-furling arrangement. And then there is the claim that c r u i s i n g boats always reach and run, seldom doing any windward work that requires an efficient main. I must be unlucky or sail in weird areas, because so often "everywhere I try to goes, the wind is always on my nose," as an old island ditty has it. A boat and rig that won't provide decent performance to windward is not my idea of a proper cruising boat. A seakindly boat fitted with good sails is a joy to sail, and such joy does not necessarily come from an obsession for speed. An important function of a mainsail is its effect on the essential overall performance factor of balance. A boat's balance is determined by the way in which the sails interact with the keel and rudder; a well-balanced boat requires only a gentle, steady pull on the rudder to track in a straight line. If all else is equal, the leech of the mainsail has the greatest effect in the shortest time on a boat's balance. In directing the airflow off the mainsail, the leech determines the directional stability of the boat; it is your rudder in the air, balancing with the underwater hull form. Let's take a closer look at battens. They serve two basic functions: ( 1 ) They stiffen the long, free trailing edge

of the mainsail to prevent it from curling or fluttering. (2) They support the fair curve of leech roach—the curve in the a f t edge of the sail that is cut beyond the straight line from head to clew. This leech stiffening and curvature support is important to a properly setting and performing main. A tight leech curls to windward and increases the draft in the after portion of the sail. This not only slows the boat and adds weather helm but also exerts an additional undesirable heeling and leewaymaking force. A loose, fluttering leech takes away aerodynamic curvature from the after portion of the sail, leaving an ineffective shape with disrupted flow patterns resulting in a less powerf u l sail. The wind should exit the sail as smoothly as possible. Proper roach, cut, and battening along the trailing edge can provide good leech control u t i l i z i n g mainsheet, leech line, clew outhaul, and boom vang. While all this seems to make theoretical sense, last year I witnessed an interesting practical experiment on two new wooden Man-O-War class 14' catrigged sailing dinghies. Boat A used a battened sail with modest roach; Boat B had a battenless sail. Both sails were made of new Dacron, cut by the same sailmaker, and both sails set well. Boat A decisively out-pointed, out-footed, and out-reached Boat B. Sails were switched and Boat B then similarly out-performed her sistership. These 64/WoodenBoat

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shaping the leech of your mainsail, keeping it flat, and smoothing the airflow off the leech. Take away the battens and you have to take away a lot of leech to achieve the same thing, and, even then, more often t h a n not the same clean shape is u n a t t a i n a b l e , leavsloop, NELLYROSE. Her 105-square- ing the sail w i t h a hooked leech. If you foot main is sprit-rigged. Besides being t h i n k the extra area in the roach can rather tired, the old sail was battenless; aggravate weather helm, I urge you to the new mainsail carries moderate consider the effect of a hooked leech." A good sailmaker can provide roach supported by three battens. The change in performance is astounding rugged, reinforced batten pockets and and delightful: the boat points higher, strong, light battens; a prudent skipper foots faster, and balances better. Bat- w i t h sensible care and sail-handling tens are no more a racing device than can minimize wear and damage. I are today's efficient, long-life bottom wonder how many performance-minded cruising skippers will want to trade paints. A mainsail provides both drive and a proper mainsail with moderate roach balance, the degree of each depending and f l a t leech for the risk-free, ineffion the design of a particular boat and cient no-battens approach. Simplicity is not always b e a u t i f u l . her sail plan. The chances are good that your boat was planned with a battened main. In the current climate of Postscript The troublesome t h i n g (for me) skinny, low-priority IOR mains and huge racing headsails, the effectiveness about the battenless main is that it is of a proper cruising mainsail is often recommended by a number of expeoverlooked. When necessary, it can be rienced cruising sailors whom I highly the only sail needed for sailing short- respect—Eric Hiscock, Hal Roth, and handed or maneuvering in a tight Arthur Beiser, among others. Fortuanchorage. An efficient main can make nately, these stalwarts are offset by Rod it unnecessary to change jibs frequent- Stephens and Don Street, both of ly as wind increases. Instead, j u s t tuck whom prefer a main w i t h battens and a reef in the main—a fairly easy job moderate roach. I suspect they have with a simple j i f f y - or slab-reefing used the battenless jobs enough to realarrangement. The cruising skipper ize their deficiencies, whereas maybe should f i n d this to his liking. He can the others haven't. I was surprised, however, that Hood start the day with a working jib and enjoy good performance in a 10-knot Sailmakers answered my query with a breeze, provided he has a powerful n i c e long letter f u l l of information main. If it pipes up to 20, performance about how they built both performance is still good using the jib with a reefed and durability into their cruising sails, main; reefing the main is easier for a and so on for several pages, and then small crew than switching headsails. said: "Your consideration of a battenSailmaker Tom Clark, Essex, Con- less main is a good one, and t h i s has necticut, has these thoughts: "To a worked out well on a number of cruissailmaker, the mainsail is a t r u l y ing mainsails we have built." No comwonderful opportunity to demonstrate ment at all as to what I would be comhis mastery of his art, for in no other- promising with such a sail. sail in the locker are so many features The epilogue to my mainsail story combined into a single package. This is t h a t the price of a new main for sail alone must do duty in all condi- TUMBLEWEED at current prices turned tions, and must be the last to fail. out to be much more than I could Unlike headsails, where a number may afford at the time (well over $1,000). So be provided even in a cruising boat, I ended up buying a used one from there is normally only one mainsail. It Bacon & Associates for $400. It was in goes up in the very lightest of summer excellent condition, very well conbreezes and does not come down u n t i l structed of nine-ounce soft Dacron, trysail time. It must be heavy enough with moderate room for battens, and the measurements were within a few for the strongest winds, but well thought out and designed so as to be of inches of what I wanted. It is a poweruse in the light stuff. A good main will f u l main that sets b e a u t i f u l l y , and I am have plenty of draft for light going and delighted with it. And it turned out to

trials were conducted over several weeks with winds varying from light to fresh. The results were always the same: The battened sail was the winner on all points of sail. I recently bought a new mainsail for my 35-year-old 17' Bequia whaling

sailing off the wind, but provision for f l a t t e n i n g out to keep the leech open

and the boat on her feet in a breeze. Battens play an important part in

be from Hood. Fritz Seyfarth has been cruising the Caribbean since 1966—chartering, writing, and

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The American Challenge, The New Film Company, Inc., 7 Mystic St., Suite 203, Arlington, MA 02174. 57 minutes. $75.00 plus $5.00 shipping. Rentals available.

"A

lone against the Atlantic...to conquer!" Thus the videotape The American Challenge begins a brilliant video-verite rendition of the 1984 OSTAR—the Observer Singlehanded Transatlantic Race. Held every four years, the previous race sank five boats, killed two men, and nearly half the fleet never f i n i s h e d . The race has always been a bitch, and Americans had, before this one, never finished in the money. This time it was different. The Americans swept all places, and of the 22 American boats entered, 6 sported fixed monitoring cameras, at the beck and command of their skippers— a marvelous feature. From their miles of generated images, this tape is edited and offered. It is splendid watching— really riveting in places—for this race turned out to be a bitch, too. Sailboat photography has always been in the "big waves and sunsets" category of entertainment. In most cases, it is one scene after another of boats just moving around this way and that, w i t h no inherent drama or spectacle. This tape is different. It is filled with the flesh and blood of arduous and dangerous solitary competition in many different types of boats (there were nearly 100 competitors), with the course giving considerable challenge to the whole notion that the Atlantic could in any way be "conquered." The tape's first-class editing begins by sensibly using the pre-race a f f a i r s as a forum, showing the comradeship of the competitors w i t h their debates about life rafts, jokes about how many ships have to be sighted before one sights you, and very insightful remarks by entries who had sailed to England, for the start of the race. Rory Nugent, for example, lost his m u l t i h u l l off the coast of Spain and casts serious sensibilities over the starting proceedings for the race, as do Warren Luhrs and Judy Lawson (the only woman ever to have started in the OSTAR), both of whom had had their confidence shaken by their ocean transits to the race. Save death, j u s t about everything that can happen in an ocean race happens in this one. Right at the start, Tom Grossman, f i f t h in the 1976 race and sailing the largest boat in this one, 38

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Phil Weld crossing the finish line to become the f i r s t American to win the OSTAR.

goes below to find his stopwatch and his boat collides with a Spanish entry, losing a day for repairs. There are a number of dismastings, a near-loss of a keel, all kinds of broken bones and spars, and various terrifying times, most of them associated with a midocean Force 10 storm that ripped through the fleet. But except for a couple of roiling sea shots and some spray blasting over the narrators in their cockpits, the pathos and excitement of all the tape's episodes comes from the principals speaking to their cameras j u s t before or soon after events, because we don't see the events themselves. This is not so much a story of the race as it is stories being told as they happen, by the participants. And the h u m a n i t y of this is positively gripping. For obvious reasons, the six boatmounted cameras yield six different characters and their stories. On reflection, it makes one wish that every entry had had a camera, but we can be glad the producers took even the risk they did. Phil Weld, the winner not only of the race itself, but also for the most graceful performance, we'll save for f i n a l remarks. Our other heroes include Francis Stokes in his family cruiser and Bill Homewood in his m u l t i h u l l — t w o old friends and veterans of the race, each committed to his own personal race with the other. Then there is Judy Lawson, whose unsuccessful struggle at the end against equipment failure makes her the pluckish and genuine heroine she claimed in misery not to be. Jerry Cartwright and Warren Luhrs, each in a monohull, f i n i s h out the half-dozen and provide some of the most philosophical and reflective monologues about what singlehanded competition can mean to

and for the people who undertake it. There are off-camera heroes as well. Certainly Dick Newick is one of them. Six entries, including the winner MOXIE, came off his drawing board. Walter Greene is another. He built several of the boats, including MOXIE, and was a pivotal person around whom the extraordinarily cooperative American campaign revolved, for there was a distinctly tacit team aspect to much of the American effort. Finally, Phil Steggall made many of the sails for the American entries, and like Greene, at considerable sacrifice. A few highlights: The buddies Stokes and Homewood regularly refer to one another as the race progresses, but the interesting thing is the contrast between them w i t h respect to the photo-environments in which we get to know them. Stokes we sec in the cockpit, via his above-board and shielded camera. So he always appears to be really fighting it out, a function of the nautical context of the pictures. Homewood, on the other hand, had a below-decks steering station, with the camera mounted below, so there is this almost spooky feeling, while he describes huge seas and nearly losing his boat in a capsize; he could as well be at home, talking through his hat in an hallucinatory f i t . But the passion that he brings to his narrative—"I swear to bloody God the sea-anchor saved the boat.... The boat should have gone over!!!"—is so lucid and v i t a l that a visual scene of the actual event would not have been nearly so effective. Stokes: "You have to do these things. You'll never know when you'll get your heart attack or cancer...." Weld: "You've got to think all the time...about as much chance as you'd have if you fell off the wing of a plane..." Luhrs, after a few days of worrying aloud about the wisdom of his involvement in the race weighed against his family responsibilities: "I've never been so bashed-up, bangedup, angry, discouraged...." Lawson: "...boat's so wet, I'll perish of hypothermia. I live in a swamp!" Stokes: "The sea finds out everything you haven't done right." Cartwright: "...most vexing, most vexing...makes you appreciate loved ones.... As Barney Google says, 'I'm going to try to do a little bit gooder when I get home....' " Lawson, after cutting away her broken mast: "God give me strength to get through this! I don't want to be a heroine; I just

want to keep alive!" Cartwright: "You've coped in these situations—

those experiences you can't buy. You've got to do them!" Phil Weld has his own show, entirely. His boat is tuned like a watch. He takes a 200-mile out-of-rhumb southerly course, thereby avoiding the storm that causes much of the fleet to lose two to three days. His narrative is relaxed throughout, almost a coastalcruising discipline, down to and including happy hours. We see him close to

being upset only twice: once when he was below, an intuitive feeling awakened him from a nap and sent him above to discover that another few seconds would have stove his boat up against a large metal sphere with

prongs on it (never explained further, leaving the viewer with the clear impression of a mine!), and again when he relates various radio conversations t h a t he's overheard between fishermen and competitors, close behind him. As a matter of fact, Steggall very nearly does trump him toward the end, using his big top-hamper to good advantage in the light air at the finish. In any case, watching Phil Weld's progress and performance in this tape has a special kind of satisfaction. It solidly confirms the effectiveness that experienced thought, thorough planning, and care in execution, all backed by completely adequate funding, can have. That he is in his 65th year during this race is frosting on the decades he has spent getting multihulls to reveal the potential they have had since the

Piver days. Here and there in the tape, we hear about other names, other boats, other nationalities and their efforts. This same film company offers another tape, The Ultimate Challenge, about the Round the World Singlehanded Race, with its own special strengths and using the same video-verite technique. But here, in The American Challenge, the American entries and the blasted Atlantic conspire to update— but never replace—Slocum, nine ways to Sunday: Judy Lawson, in SERTA PERFECT SLEEPER, Warren Luhrs, in TUESDAY'S CHILD; Walter Greene, in CHAUSETTES OLYMPIA; Francis Stokes,

in MOONSHINE; Bill Homewood, in THIRD TURTLE; Jerry Cartwright, in LE 1ST; Phil Steggall, in JEANS FOS-

TER; and Phil Weld, in M O X I E . Hooray! —George Putz George Putz is a free-lance writer, co-editor of the Mariner's Catalogs, and frequent contributor to WoodenBoat. He lives on Vinalhaven Island, Maine. 64/WoodenBoat

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P

erhaps the best way to write about a boat, particularly an old boat that has some history and tradition surrounding her, is to go aboard alone, sit, observe, and hope that some of the

lore and the old maritime passions may filter out of the woodwork and into your own sensibilities and subsequently onto a typewritten page. I tried that approach on a foggy morning not long ago when the sloop DYON lay moored in Tenants Harbor, Maine—

lay moored, I hasten to note, to the same granite rock she has graced for 60

years. To set the record straight, DYON is a 52' gaff-rigged sloop "designed and built," as the then-current Rudder magazine put it, "by the Luders Marine Construction Co. for Mr. Philip L. Smith of New York and Tenants Harbor, Maine." As fate would have it, P.L. Smith would turn out to be my

maternal grandfather, and as fate would further have it, DYON slipped down the ways in Stamford, Connecticut, almost 10 years to the day before I ever opened a blue eye on the daylight of this world. July 24, 1924, she first gathered water around her stern, and the next day with my grandfather at the helm and Luders himself aboard to see that everything went copacetically, she set out for Tenants Harbor, the port that would become her lifelong port of hail. There she has served the Smith family for 60 years as the very essence of

yacht, "one of various types of relatively small vessels, characteristically with sharp prow and graceful lines, and ordinarily used for pleasure." At the present time DYON is owned by three cousins of my generation, Philip, Stephen, and Dorsey Smith, and since they have spread their seeds liberally enough to produce among

them two males and two females, it appears that DYON may well sail through the reach of yet another Smith generation before her final nautical mile gets tallied up. All these thoughts and more pressed in on me as I rowed out to the boat for my maritime seance on that foggy morning I spoke of a moment ago. I think one of the reasons I sought her out on this sodden day was that she had not been visible that morning from

shore as she had been during the previous two weeks of fair weather. My house at the edge of Tenants Harbor is set at such an angle that when I awake each morning and look over the aft end of the bedstead, the first thing I see, framed in a pane of glass, is DYON. There she is, suffusing the thin line between my conscious and subconscious as she has done ever since I can remember. Ever since I began coming to this family compound, which my visionary grandfather created back in

the 1920s and '30s, that gaff-rigged sloop has been inextricably linked with

the place, inextricably linked for me

DYON is a 52' gaff sloop built more than 60 years ago. Her stemhead fitting (shown above) is, appropriately, a cast-bronze"dyon" head—an Indian word for hawk.

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and for innumerable others who have come here with what comprises summer on the Maine seacoast. Even in recent years, when for various reasons the yacht did not go overboard every season, late spring frequently called forth an anxious litany: "DYON going in this summer, Steve?" "No, not this year, I'm afraid." "Oh, sorry to hear that," and you were, too, for it meant that the vacation would be shy a very special component. The picture would not be quite complete. So I sit below in the main saloon and listen to the condensation drip off the huge sailcover onto the varnished

P.L. Smith preferred day sailing over cruising, so the former was DYON's primary use. But she was fitted out below with comfort in mind; her depth was substantial, allowing spreading-out room done up in understated luxury.

cabintop and observe, hoping the ghosts will surface. Everything is the original or an accurate replica of what once was: the dark blue velvet covers and cushions, the white raised paneling set against the dark-stained varnishwork, the handsome bronze ports, three to a side, and the neat brightwork of the old-fashioned skylight. There is a delightful symmetry at work down

quarter berths. In the brochures for modern yachts these would doubtless be advertised as ample for two people apiece, but we know that over the years they gave good rest to only the captain and the navigator. Between these berths the varnished companionway leads up five steep steps to the deck, for the here, everything on the port side match- depth of this vessel is very deceptive. ing exactly its counterpart on the star- When you look at the curve of her lines board side, and this subtle precision is from the water, she is far from a highvery soothing to the eye. sided thing—less than 3' of freeboard— I am astonished by the size of the but if you go aboard and go below,

42

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down down down, you understand what old mariners meant when they spoke of a deep vessel. Giants could live aboard this yacht in easy comfort. Not that my grandfather was a giant, not by a long shot. He stood a mere 5'4", but in my imagination he lowers well above that. And when he went to Luders with his idea for DYON in 1923, he was no Johnny-come-lately to the yachting scene. In the 1890s when still a student at Harvard, his father bought him a 45' gaff-rigged cutter, which in the style of the times carried a press of sail that would intimidate any average sailor today. Once married with a family underway, he acquired secondhand a 40' sloop, also gaff-rigged and also called DYON, which he sailed until he went off to war in 1917. What actually inspired the old man to build the second DYON, I cannot say for sure, but I suspect it was his innate love of sailing and the sea, coupled with a desire to garnish his summer property with an appropriate yacht that he could use to entertain his friends. By the mid-1920s, P.L. had secured sizable landholdings on Hart Neck along Tenants Harbor's southern shore, several miles of shorefront, and more than a dozen dwellings,

which he had built or bought from local farmers and fishermen. Though I was too young to experience it personally, I've always imagined this coastline compound as a sort of Gatsbian arrangement 100 miles north of Long Island. My grandfather might approach a friend on a cold New York street corner in February and say something like, "Harold, I've this place in Maine, and I'd enjoy having you stay in one of the cottages for a couple of weeks in August if you and Sally would like to come." There was no rental involved in this bargain, just the supposition that while they were there, Sally and Harold would do P.L.'s bidding: play on his tennis courts, admire his formal gardens, attend his parties, and sail on his yachts. And for those fortunate enough to be invited, there was more than a handf u l of boats to "mess around in," though I suppose they used other terms for it at the time. P.L.'s fleet included a number of powerful speed launches with names like NIP and TUCK, three North Haven sailing dinghies, and three Luders 16' Redwing sloops. Of that fleet DYON was unquestionably the queen, except during a handful of years when she was eclipsed by SKUNK, a 58' commuter that the old man had Luders build him in 1928. Powered by two 305-hp Sterling Dolphin engines, she ate up the miles and the gas, but at 20C a gallon, the latter didn't matter all that much. Though SKUNK passed out of the family shortly after the market fell flat on its face in '29,1 am happy to report a modern testament to her style and speed and durability: In the summer of 1973 she was picked up off

man of the New York Stock Exchange) and behind the old man's back commandeered DYON and her crew and bore away for Canada. There they ducked into St. Andrews and loaded up with contraband, which they smuggled back into the States. But, according to this uncle, slipping through the government patrols offshore was not half so worrisome as getting their illicit cargo ashore in Tenants Harbor. P.L. was a rigid teetotaler, and spirits in the compound were strictly forbidden. Ignominy aside, what astonishes me in reading the old logs and talking with the people who sailed with my grandfather in those heydays of Tenants Harbor yachting is how much the emphasis was on day trips. Though both DYON and SKUNK held commodious sleeping quarters for six or eight people apiece, the overnight cruise was the exception rather than the rule. In a

log covering SKUNK's passages from

when the boom sweeps low coming across), and you have all the ingredients of a seafaring infraction or a well-conceived drowning party. Indeed, of late years I have seen DYON sashay out the harbor with a crowd aboard which made me hope that all the Coast Guard personnel in Christendom were soaking up beer in an isolated pub somewhere, and pray that the Almighty keep the terrible swift sword of his meteorological wrath sheathed for the space of yet another summer's afternoon. Years back, when the old man ran his fiefdom with steely precision, there was a certain set pattern to the average DYON outing. The evening before, the old crank telephone that linked the cottages together would ring, and P.L.'s voice would come over the line announcing an outlook of fair weather for the morrow and the promise of a day's sail on his yacht. "Be at the dock at eight-thirty sharp." If you were wise, you were punctual, for the vessel embarked promptly, and should you be left standing with your picnic basket at dockside, your tardiness kindled dismay, and the renewal of your free summer cottage in the compound might stand in open jeopardy. Those who showed up on time could expect to find the yacht in along the wharf, Captain Pike and the steward, dressed in the approved uniform, at hand to help the women and children aboard, and then with a signal

1928-1929, I find only one instance when passengers stayed aboard, and that was on a dash down the coast to Amesbury on the Merrimack River with a return the following day. More typical was an afternoon coastwise voyage that began in Tenants Harbor at 1100, made stops and shoreside forays at North Haven, Northeast Harbor (lunch), Bar Harbor, back to Long Island in Seal Bay on Vinalhaven, North Haven again, with a return home by 1930 in the evening—a maritime gallop of more than 100 miles that would take the sensible cruising man in a sailing vessel a good week or more to complete. from the owner, the vessel would be Though DYON was not expected to away, bound out of the harbor for a cover this kind of ground, it is obvious long day—sometimes eight or ten

Matinicus Island in Maine hustling

t h a t she, too, was conceived more for

hours, sometimes longer—coursing

dope in the drug trade. I am not quite so happy to report that DYON herself in her early days indulged in some nefarious dealings, if the tales of P.L.'s oldest son are to be believed. He claims that during the height of Prohibition, he came to Maine w i t h several of his Harvard cronies (one of whom later became the chair-

single-day journeys than for long ocean hauls. Her cockpit, for instance, is enormous. You can spread 12 adults about in it this way and that and never for a minute feel cramped. Add to that the seeming acres of varnished surface on the cabintop, where 10 more passengers can stretch out (beware the tack lest you land in the cold Gulf of Maine

the lower reaches of Penobscot Bay. One cousin, now on the windward side of 80, attributes her cataracts to those endless hours as a youth spent squinting at sunlit waters aboard DYON. And there was not respite, either; P.L. did not believe in going ashore for lunch, even though he owned several offshore islands. You sat there for however 64/WoodenBoat

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Launching day at the Luders yard in 1924.

many hours and you conversed and admired the scenery and the boat and ate your lunch, and you damn well had a good time. If you were young, you behaved. If you didn't, as my mother did not one time, you were set on a bell buoy for a few hours, as she did, to cool your heels. In all this seafaring, P.L.'s wife, Belle, my grandmother, had little interest. She detested the water and seldom ventured out on it. When the old man was away, what she would do in lieu of actually going boating was to have the paid crew bring one of the yachts in along the dock and then she would invite her female friends aboard for lunch or high tea. This way she felt the seagoing staff earned their keep, and she could have her own kind of outing without passing the entire time in mortal terror. When the old man was in residence she suffered anguish

father with a chart in his hand." Another companion who had been in P.L.'s employ for many years and sailed with him alone a good deal, recalled bouncing off more than one Maine rock with f u l l way on. But as he

enough, however, for off he would go

on those long day jaunts with all the children and a host of others, and come late afternoon Belle would pace feverishly up and down the veranda of the seaside house staring vacantly eastward for any telltale sign of that huge

y the late 1930s, the Depression had eaten into P.L.'s yachting grandeur and his summer estate. Many of the boats had been sold away; black alder claimed the formal gardens and weeds grew between the tennis court lines. During World War II, the place

B

newly acquired relic after she had sat for six years unattended in Snow's Shipyard in Rockland. Daylight pierced almost every seam, and she lay three f u l l weeks swelling in her cradle while the men in the yard tried to cajole my uncle into selling the old thing for an

gaff-rigged sail.

lay absolutely fallow and Nazi sub-

antique. But like his father before him,

marines lurked beneath the waters that DYON and SKUNK had plied with such

H.W. was pigheaded and he hung on, and w i t h i n a year he had DYON sailing once more, out on those familiar waters of lower Penobscot Bay. Though the currents and the seascape along the Maine coast stay much

From all reports, my grandmother

war's end, the time came to divide up the estate. The boat passed into the hands of the youngest son, Horace Webster, who, following the preppy guidelines, had been nicknamed Bubble. (We also have a Nip, a Flip, a Tripp, a was quick to point out, "When we hit Tiff, and a B i f f in this family comlike t h a t , I never acted as if anything pound.) Of all the four of P.L.'s progeny, it had happened, and neither did he." My grandfather also had the repu- was appropriate that the vessel fall to tation of driving a boat hard and never him. (Actually, he bought it from the tying a reef into those 1,350 square feet estate.) Unlike the others, Bubble knew of Egyptian cotton. My father, then a the water well and appreciated intenseshiny new son-in-law, remembers dis- ly the way of a f i n e yacht. What began tinctly a terrifying beat up Eggemog- for him in 1947 was a love affair with gin Reach into the teeth of a 45-knot DYON that would endure with undilnorthwester. P.L. absolutely refused to uted vigor until the day he died in the shorten down; the jib blew away and summer of 1970. the metal spreader on the port side bent As one who had known the vessel double. The mast miraculously held, when she was under a paid captain's but they had to hobble into the Ben- constant surveillance and the lustre of jamin River for repairs. care was still upon her, it must have

did not worry without cause; the old man was a notoriously bad sailor. One

abandon a decade before. If there was

of the older generation who often sailed with him told me with unvarnished candor, "I never once saw your grand-

ever talk in these years of actually selling DYON, I do not know of it, but in 1943 the old man died, and at the

44

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been hard for H.W. to come to his

the same generation in and generation out, yacht owners and yachting styles

shared his yacht's joys with others, particularly his children, and they in turn

change. Now in the postwar years, the

came to respect the boat, not just as a

only concession that H.W. made to the grandeur of the 1920s was to take along, when he went cruising with his family and friends, the last retainer of P.L.'s estate, a Nova Scotian named Dowling who was a cross between Howard Blackburn and Leonardo da Vinci. Dowling went ostensibly as cook and deckhand, but spent most of his time working on the cranky engine, the chronic ailments of which had beset the yacht since her inception. (In four pages of a DYON log I discovered from 1924, the engine broke down five times while bringing the vessel from Connecticut to Maine.) If H.W. never attained the yachting opulence and style of his father, he far outstripped him as a sailor. There was in Bubble, or so it seems, a stern reaction to P.L.'s cavalier attitude towards seamanship, which stemmed no doubt from an incident that occurred in the '30s while tacking out of the St. George River. Bubble, then a young medical student, had the helm. He knew implicitly that they were closing fast on Jenks Ledge and implored the old man to let him bring the vessel over. "We'll tack," P.L. said, "when I say 'tack.' " Then they struck, with the hideous grinding of lead on granite as the vessel shelved out on the reef. Above the rumble the old man's voice came again. "All right, now tack." But it was six and one-half hours later before the order could be carried out. So H.W. became the cautious sensible mariner his father had never been. I seldom saw him underway without a chart at hand, and in all his 14 years of ownership he never set DYON aground. What is more, he came to know his boat much more intimately than P.L. had, for he did a great deal of the maintenance himself. Family folklore has it that he is the only person to have ever taken the boat out alone, an endeavor t h a t makes Hercules' toils in the Augean stables seem downright frolicsome. Like all men who dote on boats as surrogate mistresses, Bubble fancied

sailing yacht, but as a family heirloom, their link with both the family past and the sea. Under their father's tutelage all three became accomplished seamen, knowledgeable in the intricacies of their vessel and sensitive to the winsome nature of the Maine coast. Only once after an early mishap did this third generation ever bring this old vessel to woe, and that was not exactly their f a u l t . Under tow in Fox Islands Thorofare without wind and w i t h (yet again) a balky engine, the lobsterman pulling them skinned a mark and bounced DYON off a large stone near the North Haven shore. His response, typical of men who have little time for yachtsmen anyway, came over his shoulder to those on board: "Deep, ain't she?"

her almost to a f a u l t and lavished on

and 17 hands, lip forward, three Goli-

her gifts, some often tendered in a most roundabout manner. One year for Christmas, his wife Sallie received a brand-new electric bilge pump in her stocking with an unpretentious note attached: "Love and Merry Xmas; now you won't have to pump so often." Still, in all his passion for DYON, my uncle was not a selfish man. He

ath cousins of the fourth generation wrestled w i t h the halyards (thank God!), while I stayed aft and worked the winchless mainsheet (my God!). H.W.'s youngest son Steve had the helm and orchestrated the outing with considerable aplomb, considering the

In more recent times DYON has become even more firmly linked with the f a m i l y compound at Tenants Harbor. Not only does she swing to her familiar mooring off the south shore

between Memorial Day and Columbus Day, but also she now resides in winter on the estate in a long shed, known locally as "the shipyard," which P.L. built for a large vessel in 1930 but never used. Her launching each spring and her hauling each fall have become annual rites of passage that outline d e f i n i t i v e l y the summer yachting season in the community.

A

while after that foggy morning I pent aboard DYON trying to dredge up the past, I took two trips aboard the old boat in order to set some more matters in chronological line. There was an afternoon sail in late summer, then in mid-September a short cruise. It had been a while since I had done this sort of thing, as for a 20-year stretch I had owned a Concordia, and P.L.'s creation had been viewed most frequently across a patch of water, invariably from astern, desperately trying to keep up. For the afternoon junket we had a bright northwest day with puffs off the land in excess of 20 knots, and for a crew we were virtually undermanned, with one of the owners

Four generations in the life of DYON: (from

top) P.L. Smith, H. Webster (Bubble) Smith, Stephen Smith, and Justin Smith.

weight of his responsibilities. We flew east out the harbor, out 64/WoodenBoat

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46

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beyond the infamous bell buoy where my mother had spent that unpleasant time in remission of some long-forgotten seagoing sin. There we bore away to the south'ard, down by Hart Ledge toward Mosquito Island in front of the familiar coastline and the cottage veranda where my grandmother had paced out her anxious vigils. I stood by the mast, looked aft, and in my mind's eye flashed an old faded black-and-white photograph P.L. had taken on what must have been a day

much like this in these very same waters more than 50 years before. By

far the most arresting yarn came from

Maynard Bray. As it turned out, his professional life brought him to the study of old wooden boats, but as a young boy Maynard had simply been a kid growing up on the coast of Maine, by nature drawn to the water. During World War II, when DYON lay hibernating at Snow's Shipyard in Rockland (H.W. had taken his medical degree off to war, and P.L. lay dying of creeping cancer in Tenant's Harbor), Maynard's father took him to look the place over. In one of the big sheds they stumbled across DYON biding her time.

Maynard's words stuck in my mind: "I looked up at her in that shed, and she seemed huge to me w i t h that big, deep

keel. Her green bottom just went upward forever till it flared out toward the waterline. I remember my father. He pointed up and said, 'See that, you see that? That, my boy, is a yacht.' " George Carey spends as little time as possible professing English and Folklore at the University of Massachusetts in Amherst, and all the rest of his time living in Tenants Harbor, Maine, and wishing he had as much elan as his grandfather, P.L. Smith.

the look of it the wind is fresh, for there is a cant to the vessel. Captain Pike sits on the weather rail in his white

skipper's hat and tan windbreaker. Bubble, in his mid-teens, has the helm, flanked by my mother and his older sister, both dressed in dark sailor suits. A huge uncle in a tie reclines on the fantail, along with several other unidentifiable passengers. The mind's eye refocuses and clears away on the present: same scenery, different cast. No paid captain in evidence now, just Steve steering the yacht with

his young son Justin in his lap as the vessel bends to a 20-knot gust. They are flanked by a covey of cousins, the women revealing far more epidermis than their forebears. Long, brown willowy limbs taper away to painted toes and fingers. The men recline informally in green and yellow polo shirts. But the conversation that floats off to leeward no doubt has the ring of timelessness about it: The small boating mishap of two days before, the frightf u l tennis performance of that morn-

ing, the equally unaccountable shenanigans at a party two nights before, the peerless Maine day, and the surroundings—Matinicus out to sea, Monhegan ahead, the Camden Hills astern beneath their cumulus cover—and, of course, the yacht herself, this yacht DYON, which so handsomely draws all these sensibilities together. This was, I knew then, the indelible pattern of summer life. The cruise differed little in its impact, only now there were but three of us: Steve, myself, and Maynard Bray. We loosed a bright southwest scamper up Penobscot Bay along a coastline giving way to fall, and then alone at anchor by Barred Island we watched a long-spent yellow moon rise out of the sea to the east. Below by candlelight we told the tales all yachtsmen tell, and I know my grandfather and my uncle would have laughed and nodded approv ingly had they been listening in the darkness, which I knew they were. By 64/WoodenBoat

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Albert Strange I and the Canoe Yawl

n 1978 I wanted a yacht, not a workboat, and I wanted one from the great period of British yachting. But little yachts that one man could contend with were rare from that long-ago period, and my search for a proper yacht was a long one. What I eventually found was a bare hull with no interior and no spars to be seen. I had little idea of what she originally looked like or how she had been rigged, but the hull was sound, and she was situated in my home

SHEILA

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CHERUB II going over Blakeney Bar, painted by Albert Strange, who called this boat a "sea-cruising canoe yawl."

waters of the east coast of England. I found the owner, who had waited 10 years h i m s e l f to b u y her, and he showed me illustrations in the venerable British journal Yachting Monthly from the period of her youth. I saw my dream come to life. Here indeed was a l i t t l e yacht of the great days, of impeccable pedigree and undoubted beauty, an object worthy of complete restoration. She was SHEILA, designed by Albert Strange and built in 1905. In a week she was mine. At the time, I knew little of yachting history and nothing of Albert Strange, but what I read in the Yachting Monthly cruise reports written by SHEILA's original owner Robert Groves, an ornithologist and artist, fired me to read everything I could find. The writings of Albert Strange, R.T. McMullen, Claud Worth, and others from the turn of the century became my obsession. If nothing else, my earlier interest in antique automobile restoration had taught me t h a t an a r t i f a c t cannot be restored f a i t h f u l l y without a knowledge of the period that produced it— the techniques of design and building, and the philosophy then prevailing. I f i r m l y believe that in any restoration there is little merit in grafting on the idiom of later years, leaving you w i t h a piece of "no fixed address." Before you abandon what your grandfathers did, at least examine why they did it. So before I undertook the restoration of SHEILA, I tried to learn as much about Albert Strange and his era as I 50

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could. I soon discovered that SHEILA embodied the essence of Strange's interests, which were contrary to the thenprevailing mood of contemporary yachting. He was a proponent of singleand shorthanded sailing and economy of design in an era of extravagant yachts and extremely large crews. I also learned that Albert Strange was more than a yacht designer. He was an artist.

A

lbert Strange was born in Gravesend, on the Thames Estuary, in 1855, the son of a local greengrocer. Growing up so close to such a large commercial w a t e r w a y , he became friends with the barge- and bawleymen. When, out of the fishing season, they went skippering and crewing the great racing yachts, he went w i t h them. In his 17th year, he acquired a converted "peterboat"—a type of commercial craft used on the lower Thames. In it he went cruising in the Thames and Medway rivers and along the Kent coast, earning a reputation among the working boatmen for his skill and knowledge of the area. Strange's father would have liked him to study law; he toyed w i t h music, but settled for art. He followed his conventional studies with several years of teaching, then went sailing on an eight-month sketching trip, in 1881, along the English coast to France. Strange was 27 at the time, about to be married and to take up the position of head of the new Municipal School of Art at Scarborough, a small town on the exposed Yorkshire coast of north-

east England. He and his sailing companion, a poet of no sailing worth whatever, sailed home across the English Channel in March and arrived off the Kent coast in a well-documented storm. It was an instructive cruise and, as this quotation from an account of h i s ordeal attests, he took it to heart: When Youth, and Hope, and a Poet are one's shipmates, many shortcomings of the ship may be condoned. Even a "converted" boat may bring some measure of satisfaction, especially in fine weather and smooth water; for under such conditions almost anything will serve as a home. But when winter has come, and winds and seas are rough, then contentment dies a quick but p a i n f u l death, and the naked inadequacy of such a craft stands revealed in all its menacing hatefulness. In Strange's later writings, it is clear that this adventure fixed in his mind j u s t what a small boat should not be, hut it was not u n t i l he was quite well settled in Scarborough and after the birth of his first son that he designed and built his own boat. CHERUB, built in 1888, was a transom-sterned cutter of 21' by 7'3", w i t h a p l u m b stem. She was a marked improvement on his earlier converted boats, but she was still a conventional boat for the times. Scarborough is not far from the River Humber, however, and there Strange found just the focus he needed. In 1891, at the age of 36, he joined the Humber Yawl Club. The H.Y.C. is s t i l l very much alive, having been, over its 100 years, a considerable and welldocumented force in small boating. Its yearbooks were a powerful document of such activity u n t i l the successful appearance of The Yachting and Boating Monthly in 1906. In the 1890s, the H.Y.C. was a tiny group of canoe enthusiasts formed out of the dissolved rump of the Eastern Section of the Royal Canoe Club. The R.C.C. had essentially been involved w i t h the "Indian" type of paddling and sailing canoe as developed by John MacGregor into the ROB ROY and by Baden-Powell into the NAUTILI'S. MacGregor had performed wonderful feats in the ROB ROY, but no one could seriously consider this type of craft suitable for anyone less intrepid than he, and it was entirely unsuitable for the fast tides and boisterous weather of the Humber. So the members of the new Humber Yawl Club started from this base to design their own boats. These were canoes—but they were much beamier, heavier, and carried a h e f t y centerboard, quite a reasonable little deck, and a little battened lug-yawl rig that became known as the "Club" rig. These little boats started life on a local

lake but were soon well enough advanced to take to the Humber itself. They were fully capable of sailing the Humber estuary, taking the ground, being slept aboard, and sailed or rowed singlehandedly; they were also easily loaded aboard small steamers going to Holland and Germany, in which waters the Club made an early habit of holding cruises. These little cruising canoes were designed, and often built, by amateurs, the new breed of weekend yachtsmen for whom, with new levels of income and new railways to travel on, the new sport of "yachting" was possible. There were few boats in existence suitable for this new sport, and there were

no yacht designers available to this new, impecunious breed of sailors. Even should one suppose that he could afford the fees of those who designed for the racing rich, could such a designer know what sort of boat was required for such a pastime? Albert Strange, though, did knowabout small cruising boats, and on joining the H.Y.C. he recognized in the Humber yawl a boat type worth developing. He started immediately to design a new CHERUB, later called C H E R U B II. And it is here that we can begin to see that in Albert Strange there was a force for new ideas. Compared with the earlier work of the H.Y.C., the new C H E R U B is markedly heavier and finer, with a distinctly raked stem and sternpost. The design was called a Sea Cruising Canoe Yawl. Later, Strange wrote that he expressly set out to achieve "a boat that was fast, easy, and dry when running or reaching in disturbed water," and he "raked the stern to clear the following seas." Although he must have been familiar with the Club rig by sailing members' boats, he fitted CHERUB II with a gaff main and a foresail, set to a bowsprit and a mizzen. He seems to have regretted this, since after the first season he converted her to the Club rig "with some sacrifice of speed to windward but much improved handling and ease of use." This statement sets him apart as one who, willing to experiment, is ready to be proven wrong by direct experience.

Gravesend Regatta) to the Isle of Wight for the month-long British Canoe Association meet. From 1895 to 1903 (when he was 48), Strange took little part in Humber Yawl Club activities for personal reasons. It was left to his good friend George Holmes, a founder of the H.Y.C., to make the next logical step forward in the design of the Humber yawl with his own EEL, in 1896. EEL

was really no larger than the earlier boats, but she was beamier, heavier, had a f u l l cabin, and was quite capable of keeping the sea. The yachting press of England at this time was largely concerned with big boat and "rater" racing, so it was left to the Americans in the journal Forest and Stream, whose canoeing section was edited by W.P. Stephens, to recognize the evolution that EEL represented. For this very considerable piece Holmes drew a new set of lines and his friend Albert wrote the description, which made clear that the H.Y.C. had made a real step forward from the little "creek creepers" toward the full yacht.

Yet EEL still possessed a number of the limitations of the earlier boats; there was not enough space a f t to properly stay the mizzenmast, and she was still very shoal-draft and shortended. She was, though, powerful enough for Albert and George to make a "foreign" cruise in 1897 to Germany, shipping EEL Club-style by steamer across the North Sea. A report of this cruise gives high praise for EEL's

weatherliness and her capacity to leave all the working boats behind, indicating that this development of the canoe h u l l form had real advantages for small-boat cruising. This cruise was the last piece of serious sailing in small boats that Strange did, since his health was f a i l ing. He was happy, therefore, to accept holidays on friends' larger boats, cruising Irish and Scottish waters. He was doubly welcome, not merely as an accomplished sailor, but because his artist's eye for landscape enabled him to recognize landfalls accurately and to sketch them for later use. Certainly the sketches and "harbor maps" he made during these cruises would grace and clarify any modern chart. Also during this time he exhibited at the Royal Academy and other art societies and became so prolific a sketcher that he instituted 10-minute sketching classes to develop the same quickness of eye in his pupils. From 1900 until his death in 1917, he designed all the H.Y.C. yearbook covers. Albert Strange had, by 1903, developed unequivocal views on singlehanded sailing craft. He knew that if you are alone, you must have a vessel that will get you farthest for the least effort, work off a lee shore in a seaway, and look after you when you are

In 1894, at the age of 39, a married

man w i t h a family and a pillar of local society, Albert Strange sailed this little yawl alone from Scarborough to London, a distance of some 250 miles. CHERUB II's performance so impressed him at the time that he extended his experience by taking her from Gravesend (where, before setting out, he won

second place in a race against canoes at 64/WoodenBoat

51

the number of designs produced by Strange increased briskly, and his contributions to debate in the yachting press carried much weight. He entered and judged design competitions, and his opinions were sought by others.

The canoe stern, which was a trademark of his most successful designs, became known as "the Strange stern."

Among his notable commissions was a

exhausted. The blend of speed, ease of motion, handiness, weatherliness, and comfort that Strange developed in his later designs owes everything to his experience with CHERUB II, in which he recognized that he had achieved something new. In an age when cruis-

ing boats were slow and tiring, she was neither. She was faster in a sea than many boats much larger, and could be sailed alone all day, had comfortable space below for two to eat and sleep, and could keep the sea. In late 1903 one of Strange's pupils, Robert Groves, commissioned him to design a canoe yawl for the deep-draft waters of Scotland, which gave Strange the chance he needed to make the final step from "creek creeper" to f u l l yacht. Instead of just adding a keel to CHERUB 52

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II's lines, he developed the lines fully fore and aft and underwater. This new design, SHEILA, though still only 1 9 ½ long at waterline, was 25' overall and, even though tiny, clearly a proper yacht. SHEILA was built on the Isle of Man and sailed up to Scotland, this being the first significant sea passage made by a Club boat of this size. Her lines appeared in the 1904 H.Y.C. yearbook, and though no rig was shown, we know from photographs that she was fitted with a high-peaked gaff main, a jib set to a roller-reefing

gear at the end of a sprit, and a gunter mizzen. The mizzenmast, with the f u l l canoe-type counter stern that Strange developed for her, could be properly stayed. Following the success of SHEILA,

new dayboat class for use on the tricky waters of the Solway estuary. The requirements for this design were precise, and his solution, produced in 1908, reflects his exact understanding of the special conditions to which the boat would be subject. As Strange's reputation grew, so too did the size of yachts he was called on to design. For example, in 1910 a husband and wife commissioned him to design a 47 ½' cutter for shorthanded sailing. Later renamed TALLY-HO, this cutter won the 1927 Fastnet Race, the stormiest to date, being one of only two boats to finish. Before World War I, there was a multiplicity of yacht ratings and rules, but Strange only rarely designed to a rule. When he did, his designs were quite successful but did not show him at his best. He was much happier designing cruising boats, and CLOUD, his winning entry for the Yachting Monthly competition in 1908, shows this. I have spoken with a man who used to "two-hand" her from England to Spain and back, despite her being some 40' long. He told me three significant things: even after CLOUD was 40 years old, it was clear in his mind how beautiful she was; he said that she was very fast and could be kept up to speed with little effort; and he said that she really liked her mizzen which, contrary to modern thought, was the first sail set and the last to be handed, which feature alone would brand a boat as designed by Strange. These points show that Strange was able to create large boats that were just as good as his small ones, as I would have described SHEILA's style in exactly the same terms. In his 47th year, in 1902, Albert

Strange was made an honorary life member of the Humber Yawl Club in recognition of his particular part in providing for and teaching a new generation of sailors. In the H.Y.C. yearbook for 1901 he had written "To Singlehanders," which covers his attitude toward sailing exactly: Almost more important than even the possession of a first-rale craft is the knowledge of how to use the forces of nature to your own advantage. In coast cruising, the utilization of the tides is

of the greatest importance, and the cruiser should obtain all possible information about them. Start at night with

a fair tide rather than wait till daylight to work over a foul one. On long cruises, do not try to turn to windward

The Albert Strangedesigned cutter

over an adverse tide. Bring up and rest, for by turning the whole tide you will make but few miles on your way, and

ENTERPRISE, ex-PHANTOM,

you will be too tired to make the best of the fair tide when it does come. Keep

built in 1929 in

New York and now owned by

yourself in first-rate condition by getting a proper amount of rest and food. The tide gives you this chance. Do not drive your boat too hard. Press her to

Stan and Leonard Sinowitz.

gain a point, but don't press her all the time. Canvas and sail her with seamanlike judgment, and you will get as far as the man who drowns his craft and

wears himself out, while you will be fresh and dry and he will be well salted and very damp. Always "keep a bit in hand"—a bit on the weather side—a bit

of room to swing clear in harbor—a bit to spare when cutting things fine across shoal patches—a bit of cable to slack out if necessary. In fact, always have a bit to spare of everything you know you w i l l want the most.

In the days when Strange was cruising and writing, there was a healthy desire to know about boats, as opposed to today's desire for gadgetry. Vast sums of money did not ride upon the secrets of production, and merits of all types were the subject of discussion in the yachting press, with ample drawings with which to make comparisons. Strange was a tireless contributor, and many came to him for his designs, preferring the well-worked-out refinement of his gaff-rigged boats to the frailties of the then-new Bermudian

boat types, which, introduced into this series, made it one of great value. Albert Strange died in 1917, at the age of 62, and it is clear from the many obituaries that he had given much pleasure to many at a number of different levels.

M

any boats of Albert Strange's design still survive. For example, my own boat, SHEILA, and his own last boat, CHERUB III (now REDWING),

are in almost exactly the state in which they were built. Of course, in the case of SHEILA, considerable work had to be

rig, which at the time was frequently matched to unsuitable hulls. He is credited with 150 designs in 28 years— while running an art school, teaching at another, acting on the committees of many yacht clubs, painting, and sailing. His designs range from a 10' dinghy to a 70' yawl. His first love, the yawl, is entirely out of fashion now. Strange came from a school where the mizzen was the second sail. He never forgot that it had to be large if it were to be worth setting, large enough so that the boat would "fetch" without the main, and stiff enough to be set in a blow. Albert Strange was advised for reasons of health to give up sailing just before World War I, so he concentrated on teaching and putting his design experience into book form. Unfortunately, this was not to be, and a long series of articles, "The Design and Construction of the Small Cruising Yacht," published in Yachting Monthly, had to suffice. From his other writings, we know that he made a considerable study of early yacht and work64/WoodenBoat

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SHEILA sailing in her home waters following restoration by author Mike Burn. At the time she was purchased in 1978, the hull was virtually an empty shell. Now the boat has the air of the period in which she was built.

done on my part to get her there. SHEILA had been sailed extensively by her first owner, Robert Groves, who often cruised in her for as many as three months at a stretch. He sailed alone, in company with his wife, and often with three people. His favorite cruising grounds were up north in the Hebrides, where he sketched the land- and seascape as well as the people. In 1910, Groves wanted a larger boat, so he had Strange design him a 5' longer SHEILA II. In 1911 SHEILA went to Ireland,

where she was wrecked in Dublin Bay in 1914. Her new owner, Pat Walsh, ignored the insurance write-off and rebuilt her. She lived from the early 1930s to 1976 in Tarbert, devotedly owned by J.Y. Wilson, who also rebuilt her when she was badly burned in a fire during World War II. But despite these two horrors, almost every timber in the

h u l l itself dates from 1905, and the rest date from 1914; who can quarrel with that? SHEILA's hull was b u i l t from ¾" 54

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Pensacola pitch pine planking, laid on 2½"-square grown oak frames placed at each station. There are 1 3/8"-square oak minor frames between the major frames, and all are notched into the keel some 8" and fastened right through. The keel is elm, 13" deep and 14" wide, effectively taking the place of a keel batten and floors, and the garboards are rabbeted half their f u l l width into the top of it. The beam clamp is pine, ¾ x 3½", with a decorative double bead along it. There is no stringer. The

The SHEILA I bought back in 1978 was merely a shell, however, and I had a considerable amount of work ahead of me to restore her to the original configuration. Through the winter of 1978, I worked alone on the deck. This was the first serious tilt at the Jeremiahs, since all I had to work with was an empty h u l l and a head f u l l of dreams. Many weekends were spent bent double, raking seams and t h i n k i n g about Albert Strange. Though the deck had been under canvas for 40 years, it was

deck is 7/8" kauri pine. The deckbeams in remarkable condition. SHEILA is a

are 1 ½ x 1¾" pine, and the cabintop is 5/8" fir, canvas covered. The cabin sides and cockpit frame and trim pieces are ¾" teak. All this was still original when I bought SHEILA, and in remarkable condition, a tribute to her massive (and novel) construction, and to SHEILA's owners' devotion through the years. Her spars still included her crowning glory, a mainmast of tripletapered Norway spruce 5" in diameter at the deck, still flawless, amazingly s t i f f , and very light.

canoe, and the deck planks, barely 1 ¼" wide, are sprung to run parallel with

the covering board and are rabbeted in a herringbone pattern into teak kingp l a n k s — a l l the exotic charm of a great yacht in miniature. So 600' of blindnailed seams were raked out and regenerated. A f t e r the deck work, I got the yard going on SHEILA's interior. Like old houses, (he interiors of boats change to

suit their owners, and quite naturally after 75 years, nothing that might be

original remained in SHEILA. All had been stripped out, anyway, before I

cabintop is so low, but that juggling

have approved, especially as the boat's

has produced an arrangement where

original lead line is retained as a

bought her. I insisted that the yard strip every vestige of paint off every surface, however remote. It was well worth the expense—the timber sparkled, faultless, confirming all my hopes. The last coat of paint to come off was cream colored, so cream she is again. It is light and stylish, entirely lacking the anonymous glare of pure white so fashionable now, and largely contributes to her feeling of homeliness. The main frames were left varnished to accentuate her hull's lovely shape. Having achieved such style, then what? Her drawings contain no interior details, but mercifully before Groves sold her, he drew a picture from the cockpit of "SHEILA snug at night." All the essentials were there, down to his sketching materials and the whisky decanter on the table and the instruments on the bulkhead. A strip of decorated carpet graces the cabin sole, a tribute to the long stretches Groves spent on board. It took me over a year to find a pair of period instruments (clock and barometer) like the ones in the sketch, but it was worth it. As far as could be seen from the drawing, Groves had a Clyde cooker right across the hull behind the mast, but I decided that originality and Clyde cookers were two different things. The drawing was so unclear there that I quieted my conscience; by a subtle rearrangement, the interior looks the same, but the Taylor stove lies next to the cabin door to port with a matching space to starboard as a wet locker. The exact height and width of the bunks took much juggling, as the

you can sit erect. The design of a cabin table of stability and size, yet one that would disappear completely at sea and form a chart table, caused me heartburn. It was achieved, however, involving divergent thought by me and a splendid effort by the shipwright. The much-admired result will seat a party of four for dinner and looks exactly original. Strange spent much time writing to the press about the exact arrangements of small boats, and as I intended to do much living onboard with the minimum of unplanned inconvenience, I gave continuous thought to storage, with the proviso that all should look as it did in Groves's drawing, with every spot designed exactly for its function. Strange's own drawings often showed tiny details, like pipes and toothbrushes in racks. Inside the bunks, for example, there are hinged suitcases. Groves had a little oak water barrel on deck, and I still have this. But as it was likely to get pinched and would be unsuitable for the boat's new use as a weekender, I concealed plastic water tanks under the bunks and used hidden pipes to deliver water to the tap on the original barrel. A small detail that Groves did not need in the Hebrides but which I find essential on the east coast of England is an echo sounder, and I worried over the problem of how to keep it hidden but instantly available on demand, yet not interfere with the original full-length folding cabin doors. My own mental struggles, along with the efforts of a cabinetmaker, produced a marvel that conceals all, yet swings into full view

backup. After living in SHEILA's 9 x 6' interior for quite some time, I can say that the considerable effort involved in its re-creation was completely worthwhile. At the same time that the interior

when needed. I think Albert would

was receiving all this attention, the outside of the hull was stripped, showing beautiful planking that might have been hung yesterday except for a slight

lack of fairness due to the 1942 fire. SHEILA is plain white now to the waterline, with a cut gold covestripe, and she looks very smart, indeed. SHEILA's cockpit is not self-draining (there is only 16" freeboard at this point); it is neither provided with seats along the sides for the multitudes, nor is it crowded with winches and gadgets to stumble over or to corrode quietly away. It has a single seat that runs across the after end, placed at such a height that, sitting upright, you will find that the tiller rests under one arm, the coaming nestles under your other arm, and your feet rest on the sole at a natural angle. Tacking is simply a matter of putting the tiller down a little, releasing the lee jibsheet by just reaching forward to the lee cockpit side, and as she comes through, simply shifting your bottom across the seat and dealing the jib as it fills. Aboard SHEILA, you look naturally in the direction you are going when steering—

how admirable! There are cockpit lockers to instantly provide all the gear you might desire without a f r i g h t f u l hassle. And because the cockpit is not self-draining, there can be a large anchor stowed underneath it, easily accessed by lifting a section of the sole,

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yet keeping the weight of the anchors down low in the hull. If you consider cruising to be getting about with the least effort and maximum flexibility and maneuverability, yet maintaining good speed, then let us consider SHEILA's rig as it

pole reefing system speaks for itself. It was surprisingly big for a headsail of its day, and being set so far forward is also a splendid tool for steering, with f u l l control over its drive with the reefing line.

SHEILA is seen these days with some additional sails that Strange drew for a

was in 1905. Albert Strange took particular trouble with the mainsail. He felt it should peak high for best windward performance, yet have its center of effort as low as possible. He preferred to make his hulls easily driven and keep his sail plans moderate; in his day, his designs were thought to be undercanvased, and the fact that his boats would reach hull speed easily went unnoticed in that age when vast sail plans were all the rage and paid hands were cheap. SHEILA's mainsail is loose-footed, which definitely makes it easier to handle. I can carry the full main up to

Force 5 in the river and Force 4 in a sea; with help aboard, I carry the full main up to 5 at sea as well, but it is hardly worth It, as she will drive more comfortably at f u l l speed with a single reef under these conditions. Since she is so easily driven, she goes well in very light airs with a reef in; this enormous

tolerance to wind speed is a constant source of reassurance. Any gaff man knows that his boat will sail well on most points merely with proper trimming of the mainsheet. Pointing is a matter of blending sail plan with hull form, and Strange was an undoubted master here. His well-set high gaff sail plan coupled with a canoe hull provides a windward performance quite out of the ordinary, and SHEILA can beat most modern "cruising" boats to windward with ease, pointing just as high, but going forward, not sideways (for the theoretician, she tacks through 80 degrees). Albert Strange knew the value of a large, well-set mizzen, and after sailing SHEILA for several years, I find it difficult to imagine how anybody does

without one. (They merely motor, of course.) Contrary to popular belief, the mizzen aids the windward performance

considerably. It is large, well-stayed and cut flat, and is set well out of the draft of the main—a most important consideration. SHEILA's mizzen has a further advantage in that it is gunter rigged and therefore points well, yet the spar comes down with the sail

when reefed. A stiff Force 6 breeze is required before the mizzen must be reefed, however, and it stays f u l l y up long after the main has been reefed. Strange believed that a yawl should sail well without the main, and one of 56

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SHEILA ghosting along.

similar design some two years later—a boat that would do some occasional racing. A large balloon jib, a mizzen staysail, a "Club" topsail, and a spinnaker complete her inventory, and although these are great fun and add some speed in very light airs, they have nothing to do with Strange's original strategy for SHEILA. When I am sailing alone, I very rarely use the mizzen staysail, since SHEILA's performance with her plain sail plan is so satisfactory. So we have it—a moderate, wellorganized, and supremely simple sail plan that drives the boat fast in any direction with the absolute minimum

the joys of sailing SHEILA is the ability to let the mizzen brail go, let fly the jib tricing line, and start sailing. I often sail with jib and mizzen in a blow if the of fuss and no fancy gadgets whatsowind is at all free, and SHEILA will ever. What more could any sailor desire? close reach and achieve hull speed at SHEILA has not only the beauty of a about Force 5 with wind on the beam, function well performed, she is intrindoing it all with a sense of ease and sically a beautiful thing to look at. In comfort that is uncanny. While the this age of concrete, plastic, and the moderns are perched atop their high merely mediocre, she is an enduring plastic castles, trying to stop the enor- delight. She has a natural beauty of mous genoa from broaching the boat line and form that very few boats have (it's too much trouble to get the damn nowadays—a testament to Albert thing o f f ) , I sit tucked into my little Strange, the artist. I have no doubt that man-sized cockpit, well protected, speed- this is the main reason why two people ing along without a worry in the have rebuilt her so f a i t h f u l l y in years past when they might have bought world. As a maneuvering tool for crowded something new for their money. In the waters, the mizzen is magic. It makes modern world of the second-rate and possible maneuvers under sail that the passing fashion, SHEILA's presence have long been forgotten. My mooring says something very definitely worth is very close to two other boats and the saying about what is of value and what mud, yet getting off it and on it under is not. In today's rush, we have turned any conditions, and alone, is easily one of the finest activities from a relaxdone. SHEILA will sail herself on most ation and delight into a mere endupoints with suitable adjustments of the rance test; sailing SHEILA, I have come mizzen and tiller, so getting the main to know what so many sailors are missdown singlehandedly without having ing. I find that Albert Strange has to heave-to is easy. And since the jib taught me something of value that was and mizzen are both worked from the against my natural inclination. He has cockpit, the rest is rarely difficult. A pointed me in a direction that I would particular delight is that the mizzen, not have found another way. I find his being set on a boom and beyond the lesson admirable and his way of conrudder, will stay set with the wind dead veying it, through his beautiful designs, astern and shoot her up into the wind the best testament to his ideals. or around in a complete circle, if necesMike Burn is the Hon. Sec. of the Albert sary. I do most close maneuvering Strange Association (Tudor Cottage, Tudunder mizzen alone. denham, Ipswich, Suffolk, England). An Having a single headsail is also engineer, he has been running his own much more efficient than most people manufacturing company for the last 14 believe. Leaping around on that nar- years. He is writing a biography of Strange row foredeck is not a recipe for safety at and seeks any information concerning sea, and Strange gave all his small Strange, his designs, or boats. boats a single headsail for that reason. The author wishes to thank Peter Mother There is no forestay to tangle or chafe for his help in supplying research material the sail, and that the jib is set to a full for this article.

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QUICK STEPS TO SPRING PAINTING Part II

Above the Rail by Anne and Maynard Bray A staging set up around the hull allows one to work from a

comfortable standing position, yielding a better job in less time.

It's still spring, and you've painted the hull; you may even have launched the boat, in which case you won't have to worry about the planking drying out. The painting has taken only a couple of days so far; if you keep pushing, you can complete the job in a couple more. But, as with the h u l l work, they have to be good weather days. It's time now to attend to the deck and everything else above the rails.

The First Session's Work Keep an eye on the clock and on the work remaining to finish all sanding and scraping, if possible, by 4:00 p.m. on the first day. If you start at the bow and work toward the stern, someone can begin vacuuming and priming at the bow even earlier than 4:00 while the areas farther aft are still being prepared. If you realize by early afternoon that you

You should still keep in mind that we're talking about a

can't get everything sanded and scraped by 4:00, concen-

practical approach here. We're sacrificing a little perfection to hasten your commissioning day, feeling that it's better to get the boat thoroughly painted and sailing than to fuss meticulously in one area while ignoring the others, or to stretch the spring outfitting into summer. The main secret to working efficiently on deck is good programming—applying the paint early enough in the day for it to dry before the evening dew can settle on it and ruin its gloss. If you've decided to give this above-the-rail part of your spring o u t f i t t i n g two days of your time and no more, you'll generally be sanding, scraping, and priming on the first day, and priming (second coat) and applying the finish coats of paint and varnish on the second day.

trate on the varnish (which needs at least two coats under the f i n a l one). In any event, the prime coats should all be in

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place by 5:00.

How do you begin? By sanding and scraping everything— everything—that you intend to paint or varnish. For appearance as well as for surface protection, you should plan on recoating just about everything in sight; it's a rare coating that will survive on the exterior of a wooden boat "for more than a season. While the disc sander was indispensable for the topsides, you'll find little use for it here on deck, because there are so few flat surfaces and so many corners. There are some areas where a small vibrating sander might be useful, but generally you'll find that the

work goes faster and that it's quieter and more pleasant with simple hand-sanding. This is a time when you can use all the helping hands you can get. The sanding technique isn't d i f f i c u l t , but there are some basic rules for doing a good job. (See "Scraping and Sanding".) Places where the paint or varnish has flaked or lifted should be scraped and feathered rather than sanded (unless you're able to use a disc sander)—it's much faster. Scraping requires more skill, however, so take care who you put on the end of a scraper. You, for example, might choose to do all the scraping w h i l e others are at work with sandpaper.

Sand and

scrape everything on deck before you start any painting. Flaking paint should be feathered into the adjacent areas as shown.

do that next. Then clean up the dust (vacuum cleaner and tack rag—once again), and get your paint mixed and your brushes ready. This is a good t i m e — j u s t before painting, t h a t is—to apply filler over digs, gouges, and open seams. (See Part I, WB No. 63, for details regarding fillers.) This is also the time for giving the varnished areas a second, touchup coat. If the boat hasn't yet been launched and there's no staging set up around her, take this opportunity to set up staging that is high enough to allow good access to what's on deck. As w i t h the topsides, or any painting for that matter, make certain the surface is dry before you start to apply paint or varnish. Where to start? A precise answer depends, of course, on the particular boat, but generally you should begin with the cabintop structures like skylights and hatches, then the cockpit, the cabintop itself, the cabin sides and coamings, the rails, and, f i n a l l y , the deck. The idea is to plan things so you don't have to stretch across your freshly painted work and jeopardize it with dribbles and handprints. C u t t i n g in one color against another that hasn't yet dried—say, the deck paint against the freshly painted cabin sides—can be done if you're careful and use masking tape.

Run tape along the deck to control the overspread when Two people in a day should be able to completely sand and scrape everything above the rail on a typical 35' boat and prime-coat the bare places. Boats with teak decks or with oiled (instead of painted or varnished) surfaces should

painting the cabin sides, then strip off the tape. When you're ready to paint the deck, carefully cut in the paint to the base of the cabin sides using the end of the brush, as shown in the photo. A l i t t l e overlapping of the two colors is better than not having them meet, even if the color change

take even less time. Areas left bare of paint or varnish from either the sanding or scraping process can be marked with chalk (on the adjacent surface, not on the bare wood itself) to indicate they need to be prime-coated. You'll need at least one coat of paint and two of varnish as a primer over the bare spots before you apply a final f i n i s h . There won't be time to sand all the spots that have been primed, so the same self-leveling paint you'll be using for the finish coat, rather than high-build undercoater. works best here. Hasten the drying by adding about 10% accelerator/thinner, such as Interlux No. 216, to a small container of whatever paint or varnish you're using as a primer over bare wood. In summary: (a) Decide what you intend to accomplish before leaving home; make certain you bring the tools and materials with you. (A typical kit is shown in the photo in Part I of this article.) Time at the boatyard is precious; use it for scraping and painting, not for searching and shopping. (b) Pick a good-weather day and start early. (c) Scrape and sand everything on deck before starting to paint. (d) Clean up the dust by vacuuming, if possible; otherwise, give everything a very thorough sweeping and dusting. (e) Prime-coat all bare wood before you leave for the day—in time for it to dry before the dew falls. So endeth day number 1 (or weekend number 1, if your boat is a big one or one whose paintwork is u n u s u a l l y rough). The second session w i l l focus on painting and varnishing, on applying the f i n i s h coats; the objective here will be to have everything on deck finish-coated by, say. 4:00 p.m.

" Tacking down" follows vacuuming as the final step to eliminate dust before beginning to paint.

Two or more painters always speed the work along, but it takes some planning to avoid working across freshly painted surfaces or painting oneself into a corner.

This is how you hold the brush for cutting one color in against another.

The Second Session's Work Begin early in the day by wiping off the dew. If yesterday's primed areas need a bit of sanding to blend them in, Photos on these two pages by

Benjamin

Mendlowitz

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isn't as crisp as you'd like it; these joints and seams where a color change takes place are vulnerable to the weather, and it's important that they be protected with a fresh coat of paint or varnish each season. Almost any paint will need additives to make it spread well and/or dry quickly. (For details, see Part I, WB. No. 63.) Varnish occasionally needs this treatment as well. Remember that drying is faster (you'll lose the wet edge sooner) on horizontal surfaces like decks and cabintops, and that the paint for them has to be thinned more than for vertical areas, such as cabin sides.

Things to Think About As w i t h Part I of this article (which, incidentally, contains a number of techniques that apply to Part II and should be considered a part of it), we're talking about the use of traditional oil-based yacht paints—not the more sophisticated (and more expensive) ones. The newer paints are great on a stable surface, retaining their gloss for several years, even in the southern sunlight. But, generally, there's too much movement around the seams and joints of a traditional plank-on-frame wooden boat for these paints to adhere long enough to be worth their extra cost.

SCRAPING

I

f a f i l m of paint or varnish has peeled and lifted and lost its bond w i t h the wood, it can no longer protect (he surface. In fact, quite the reverse is true; moisture gets trapped underneath and tends to discolor and rot the wood. The only answer is to strip away the loosened areas of paint to expose the bare wood underneath, then build up a new f i l m of two or three or more coats. You'll find that dry scraping is the most effective way to strip away this peeled and lifted paint. Scrapers, even though used for rough work, are edge tools and must be kept sharp. Use a flat 8" or 10" mill file for sharpening, and use it frequently; your scraper w i l l give much better results with less effort (see photos for sharpening technique). Scraping is a two-step operation. Clawing off the old finish with heavy strokes is first, then comes the feathering and smoothing, using lighter, more focused strokes. The objective of the second step is to blend the surface of the adjacent intact paintwork into the exposed area of bare wood in a smooth, tapered transition. The bare wood itself may need some careful scraping as well, either to make it smooth or to remove black water stains if it is to be varnished. Rough scraping is best done with a fairly narrow (1 ½" or 2") Red Devil-type scraper so that you can build up some pressure, even though these scrapers sometimes chatter and leave telltale ridges behind. You can, w i t h care and a delicate touch, use this same tool for fairing and tapering, but a f l a t plate cabinet scraper with a rolled edge will give you more control (see photos). If you're not completely satisfied with the results of scraping, you can follow it up with a block-sanding, starting

The basic scraping tools are a hook-type scraper, 1½ or so wide, a flat-plate cabinet

scraper, about 2½" in width, and an 8" mill f i l e f o r keeping their edges sharp. A burnishing tool should be added if you want to roll the cabinet scraper's edge to make it cut better.

With the hooktype scraper resting on a firm surface, it is

sharpened by stroking diagonally downward with a f i l e until its cutting edge is brought to a point that reflects no light. The edge bevel is 30°-45° and, after sharpening, the two corners should be rounded a bit to keep them from digging in. Cabinet scrapers

are sharpened like hook-type scrapers, but their edges can be rolled to form a liny hook, which makes them easier

to control and more effective for finish scraping. Use a burnisher

with heavy strokes to do the edgerolling, starting at the angle shown and gradually bringing the strokes to a horizontal position.

w i t h about No. 80-grit paper and work-

ing through the numbers up to No. 120 or No. 150. The rest of the on-deck areas where the paint is still well stuck should be sanded; scraping is not needed. If you're Photos on these two pages by Anne Bray

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To get your boat painted and sailing in a short time with minimum effort has been our goal. Our focus in this article has been on protecting the worn-out finish and the exposed wood with a fresh coating of paint or varnish, being practical rather than fussy. Not fussing, however, isn't the same as working without standards. When you paint or varnish, see that there aren't "holidays" or runs; when you sand, do it thoroughly; when you cut one color in against another, take care to get a crisp, fair line; when you apply filler, keep it within the boundaries of the area being filled. You're trying to hold

your boat's condition at status quo with an annual painting; this is routine maintenance that should be repeated each season. Projects for the purpose of upgrading, such as the wholesale stripping of paint, refastening the hull planking, and recanvasing the deck, are best planned separately, with additional time set aside for accomplishing them. Taking care of a wooden boat needn't be frustrating or time-consuming, if you develop an understanding of how to go about it effectively. Keep searching for a balance between speed and quality that suits you best.

AND SANDING careful, you can use a disc sander (see Part I for details) on flat areas, such as the deck; generally speaking, though, hand-sanding is quickest and most effective—better even than using a

Fold a halfsheet of sandpaper as shown on the left if you plan on using no

palm-sized orbital sander. Use a halfsheet of production paper, folded as

For fairing

shown in the photo, and perhaps a softbut-firm backing pad—say, a piece of Ensolite cut to size or a piece of corrugated cardboard cut and folded as shown. Number 120 production paper is a good grit to start with for paintWork, but for rough surfaces, you may have to go to a coarser grit—No. 100 or even No. 80. Varnish work should be sanded with a finer grit so the scratches don't show—say, No. 150. If you do use coarser papers to knock down a surface, go over it with progressively finer grits u n t i l No. 120 is reached for paint and No. 150 for varnish. Sand in the grooves; don't sand on the ridges—all as shown in the photos. Sand with the grain of the wood, not across it; that way, any scratches left behind aren't as obvious. The main reason for sanding is to clean and smooth a painted or varnished surface so the new paint will go on evenly and

block or pad. and feathering an

uneven surface, a wooden block (center photo) is helpful; for more effective sanding, a pad of cardboard or Ensolite (right photo) works well.

Sand in the grooves and inside corners where varnish tends to build up and dirt tends to collect.

adhere well. You don't need to sand through to the bare wood to achieve this. Remember, every place you break through has to be prime-coated, so don't be too heavy-handed. As soon as last year's sheen has been dulled by sanding in one area, you can move on to the next. This is where you can use a whole army of helpers; just make sure you've made them aware of the above guidelines. Finally, clean up all the sanding dust, or you'll end up with a non-skid finish, whether you want it or not, and with brushes so f u l l of dust that they'll be useless for gloss work again. A sweep-down followed by a vacuuming followed by a tack-rag rubdown (just before the final coat), and you're ready for painting.

Exterior corners should not be sanded; they get worn down enough naturally and need all the buildup

they can get.

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ABOUT VARNISH

H

ere's a practical approach to taking care of your varnishwork. Because it's a high-gloss f i n i s h , it needs more of a buildup over bare wood than do most paints—at least two coats underneath the final one for the standards we're talking about here. Touching up the bare spots with the first coat of "primer" (varnish cut w i t h 10% accelerator /thinner) comes at the end of the first session, along w i t h all the other touching up. That coat will have dried enough for sanding early the next day (you always have to gently sand the first coat to knock down the wood fuzz that comes through), after which a second prime coat can be applied. Both these buildup layers can be laced w i t h the accelerator or drier (accelerator lor the first one, which w i l l also t h i n it for good penetration, and Japan drier— which won't d i l u t e it—for the second coat), so they'll set up quickly; in touching up small areas, there's generally no "wet edge" to worry about— thus, a quick setup time is not a disadvantage. You should, however, try to taper the touchup coats and blend them into the existing varnishwork to some extent, so the f i n a l coat w i l l he reasonably smooth if it has to be applied w i t h o u t sanding. Don't t h i n the v a r nish for the second touchup or the final coat; you're after maximum buildup.

Two-inch badger-Hair brushes have extra-fine bristles and are best for varnishing, in spite of their extra cost.

Store your varnish brush submerged in a small can of raw linseed oil. Wipe out the excess oil on the edge of the can and flush out the rest of it in turpentine before each use. Reverse the procedure when going from use to storage.

pick up less dust that way, and the cleaning process is ever so much easier.

t h a t w h i c h has evaporated so the bristles always stay f u l l y submerged. It's also a good idea to suspend the brush, rather t h a n let it rest on its bristles. Although we've only allotted time for a single finish coat of varnish, a second finish coat applied right over the first one (after the first has dried, of course) is a great idea if there's time. Don't sand between coats unless you need to get rid of dust (shame, shame!) or smooth up areas t h a t are too rough for a good shine. As mentioned earlier, there's no sense in sanding away one bit more than you have to of the varnish you've worked so hard to apply; we're after a good buildup for maximum protection. Natural spar varnish, which is the only kind we're talking about here, is a flexible coating, which, if thick enough, is q u i t e durable. Because it is flexible, it will generally expand and contract with the wood and stay in place after other,

Flush the linseed oil out of the brush

less resilient coatings have cracked.

w i t h t u r p e n t i n e (work the brush back and forth in a small can of it, then slat off the excess) before each use. Give it

Varnish has enough body to act as its own filler to some extent. Varnish is also an effective moisture barrier, and a good buildup will stabilize the wood

For the same reason, don't sand excessively— hardly at all, in f a c t — j u s t l i g h t l y after the first touchup and generally not at all after the second, since that coat probably won't be dry enough. The technique for brushing on the f i n a l coat of v a r n i s h is much like t h a t

for paint, w h i c h was described in the last issue. You're after a uniform film thickness, as thick as you can get it w i t h o u t the wet varnish sagging from its own weight. You're also after a dustfree job, so vacuuming and tacking are important, as arc clean brushes and clean varnish. Unlike paint, varnish used for the f i n i s h coat can generally be used w i t h o u t additives.

Getting an even layer without sags or runs is much easier if you use a finebristled brush. Badger-hair brushes are

the standard for varnishwork, although they're expensive. Unless your boat has vast, unbroken areas of brightwork, you can get by with smaller-sized

brushes than for painting—say, a 2"wide brush for general use, and a 1" brush for t i g h t places. By its nature,

varnish will level itself of brushmarks before it starts to dry; your a t t e n t i o n should be directed toward applying it q u i c k l y and brushing it out to an even

and substantial f i l m thickness—one 62

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t h a t is t h i c k enough to shine, yet thin

enough not to sag. Varnish brushes are best stored with their bristles f u l l y immersed in raw linseed oil, rather than put away dry. They

another turpentine rinse after you've finished v a r n i s h i n g so t h a t you don't contaminate the linseed oil with the

varnish still contained in the brush. (Otherwise, you'll get a skin of dried varnish on the top of the non-drying oil and risk c o n t a m i n a t i n g the brush w i t h

it.) That's all there is to varnish brush care, except t h a t you'll have to add linseed oil every few months to replace

underneath and eliminate much of the

s k r i n k i n g and swelling that would otherwise take place with changes in temperature and h u m i d i t y . Failures

come from two sources: from not keeping a fresh topcoat, and from moisture

that gets underneath the f i l m (oftentimesat joints in the wood), freezes, and fractures the varnish-to-wood bond.

OILED FINISHES

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here are several coatings that f a l l into this category; the theory behind all of them is that they penetrate the wood surface, at least to some degree, and therefore don't depend on surface adhesion to keep them in place. For this reason, oil-type finishes don't lift and peel like paints and varnishes. Most oils darken the wood considerably more than varnish, and some, like linseed oil, become almost black in a few years. Their finish is matte or flat, rather than high gloss, so you don't have to fuss as much with the preparation or application. Tung oil, linseed oil (often mixed with pine tar and turpentine), Deks Olje, and Watco are some of the more common oils in use today for wood trimwork on boats. Oiled finishes keep out moisture by b u l k i n g the wood fibers near the surface with their water-repellent properties, while varnishes and paints give protection by sealing the surface with a moisture barrier-type coating. While both finishes have their strengths and weaknesses, there has to be a sufficient number of coats of either to give adequate protection and a good appearance. You can apply oil-type finishes with almost any kind of brush, and for small areas, even a rag w i l l work. A smooth surface under the final coat isn't vital because high gloss isn't an objective. Some oils, like Deks Olje No. 1 and Watco, are very thin and require repeated coats for an adequate protective buildup. Either boiled or raw linseed oil will work as the main ingredient of a homemade oil-type finish. Boiled oil is thicker than raw oil and dries—at least to some extent—in a reasonable length of time. Raw oil penetrates more deeply because it is thin, and is very slow to dry; but by adding a little turpentine, boiled oil can be made to penetrate about as well as raw oil—and the mixture w i l l be reasonably dry in a few days. Pine tar (a good coating, although probably too gummy by itself for pleasure-boat use) added to the linseed oil mixture increases its durability and darkens it to a more even tone. One part pine tar, one part turpentine, and four parts boiled linseed oil is a good mixture for a general-purpose homemade oil-type mix, but these proportions are not critical.

CANVAS-COVERED DECKS

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f your deck is canvas covered and painted, go easy on the heavy scrap-

ing to avoid tearing it. Give it a good sanding instead, using, say, No. 80 paper and a block or pad, or you can perhaps use a disc sander in open areas. If there's a heavy buildup of paint that has cracked, f i l l those cracks with seam compound after sanding and vacuuming. (Deck paint, by itself, will eventually f i l l cracks in canvas, but you won't be giving the deck enough coats of it this year for that to happen.) Although the technique of stripping paint from deck canvas is beyond the scope of this article, be aware that it can be done, often eliminating—or at least delaying— the need to recanvas. Torn places in deck canvas can be repaired, usually by gluing the flaps back down to the deck (with epoxy or white glue) and filling over the area w i t h a mixture of glue and sawdust until it's flush. Sometimes a patch under the tear to back it up is a good approach, and at least one boatyard uses t h i n aircraft-type fabric over tears as reinforcement, gluing such patches into place, then fairing in the result with trowel cement. Just keep in mind that if you're going to fuss w i t h tears and cracked paint, you'll need more time than the two sessions we've allotted for the work above the rail.

QUARTERSAWN Douglas-Fir, Western Red-Cedar. Sitka Spruce $2,000 Canadian (approx. $1,500 U.S.) per m Yellow Cedar $2,500 Canadian (approx. $1,875 U.S.) per m Discounts— 1 %/m, 20% maximum No duty on rough lumber over U.S./Can. Border Overseas & carload orders welcomed Prices may change without notice

Quartersawn Forest Products Fulford Harbour, B.C.

Canada V0S 1C0 Phone 604-537-4352

TEAK DECK CARE

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n theory, laid teak decks require l i t tle maintenance. Fixing leaks is beyond our scope (see WB Nos. 11 and 25 for some ideas on how to cure them), so what we're concerned about here is what, if anything, to coat teak decks with and how to apply it. Teak is a wonderfully stable wood because of the natural oil it contains; it doesn't shrink much in the hot sun or swell when it gets rained on. A protective coating is not necessary, and if a teak deck is treated with anything, it is usually for the purpose of cleaning and bleaching—appearance considerations only. Scrubbed and bleached teak looks great, but can be overdone, abrading the surface away, and the deck e v e n t u a l l y becomes so thin that the fastenings begin to stick up and the caulking no longer stays in the seams of the thinneddown planks. Some bleaches are so strong that they chemically damage the seam fillers and perhaps even the surrounding paintwork. An occasional scrubbing with warm, soapy water may be the best treatment in the long run. In any event, if you have teak decks that don't leak, their care can be minimal if you're w i l l i n g to forego a bit of elegance. Anne Bray is WoodenBoat's Research Manager, and her husband Maynard is our Technical Editor.

6 4 / W o o d e n B o a t 63

Building the Belles of the

Western Rivers by Jack Custer

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ankind's most artful creations gain that quality by virtue of their craftsmanship. Many of them are handcrafted objects whose making is neither learned from nor described in books or drawings. No powered loom can duplicate the ineffable and incomparable beauty of a Herez, Nain, or Isfahan rug, because the handcrafting of such a rug is what makes it a work of art. Steamboats of the western rivers— built by hand without reference to the written word or a measured drawing— embody the same spirit. Western river steamboats constitute a void in our historical records. The first of these packets left Pittsburgh in 1811 and the last packet went up in flames in late 1942. During the packet era, there were somewhere between 16,000 and 20,000 steamboats on the western rivers. In the 1850s and 1860s steamboats were the only viable means of transportation in many areas. There were hundreds of them, and they were

exist, and scholars have been able to learn much from them. Since wooden steamboats were generally built without plans, it has been d i f f i c u l t to study their architecture. In the past three decades, however, photogrammetric techniques have beer developed for studying and duplicating steamboat lines via photographs. Researchers can now draw lines for steamboats not built from lines in the first place. As a result, some impressively accurate steamboat models have been built in the past 15 years. The combined efforts of architectural scholars, steamboat researchers, and painstaking model builders have resurrected an art, in scaled-down form, that was lost for decades. Even so, much remains to be learned. Photography first captured steamboats in 1848, 37 years after the first steamboat came down the Ohio and Mississippi Rivers. During that period, the essential characteristics of the westtaken for granted. Instead of being ern river steamboat—a purely Americonsidered picturesque, romantic, nos- can model—evolved. The early steamtalgic, and colorful—as most movie- boat builders came to Pittsburgh from makers and fiction writers now portray the East Coast. As a result, early steamthem—they were seen as objects of boats had many deep-sea influences in everyday life. They were beautiful, but their design and construction. Soon, they were so ubiquitous as to be com- however, the characteristics of the mon at the same time. For this reason, western rivers were found to require few visual records of them exist. Even certain adaptations. One of these was many famous steamboats built in the the shape of the hull. 1860s to the 1880s, an era otherwise Before the U.S. Engineers began well-documented in photographs, man- damming the Ohio River in 1885, the aged to elude photographers. In fact, it free-flowing Ohio tended to rise three was not until 1975 that a steamboat or four times annually, then nearly dry researcher finally found a photo of a up during the summer. As a result, a steamboat that Samuel L. Clemens was deep-draft hull was a poor choice for a pilot aboard during his four years on western river steamboating. Instead, the Mississippi. Nevertheless, numer- the solution lay in the shallow-draft, ous photographs of steamboats do flat-bottomed hull, which subsequently 64

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became standard, one that is still in use on modern riverboats. Researchers who have done extensive study concur that steamboat building is an imprecise art, whereby there are no set formulae. Instead, there are variable limits to a good design. The individual perfection of these lines resulted not from naval architects w i t h formal training, but from carpenters and other craftsmen. They inevitably achieved incomparable aesthetics and

symmetry in every line of a steamboat. What is amazing about wooden steamboats is that their uneducated builders, who had no formal training in art and architecture, somehow knew and used the same fundamentals that the Greeks used in making the Parthenon's proportions so nearly perfect. For example, as in the Parthenon, all vertical lines on a steamboat tended to slope inward 1/8" to the foot. This entasis is characteristic of all the vertical lines throughout a steamboat's superstructure. On a steamboat there were usually only four flat surfaces—the sides of the pilothouse. It alone was constructed perpendicular to the steamboat's flatbottomed hull. The long sheers of decks, the hull, and the roofs added to a wooden steamboat's intrinsic gracefulness and f l u i d i t y in every line. The decks also had a lateral crown for ready drainage of water. The combined threedimensionality of crowns and sheers requires intense study of century-old

photographs to understand how steamboat lines were formed. Sometimes it seems impossible to duplicate these lines; for this reason, steamboat researchers use photographs of a boat from every possible angle to gain a stereo-

The undisputed greatest of the greats on the Mississippi was the J.M. WHITE of 1878. Her length was 321' overall, and her massive smokestacks rose some 80' above her hurricane deck. Some notion of her enormity can be gathered by comparing her with the ant-like people alongside her on the river bank. While many boats of this size were built by the Howard Yard above Louisville, they were too big to be finished at the Jeffersonville yard. The WHITE, like many others of the era, had to be built partly at Jeffersonville, then sent down over the flooded-out f a l l s of the Ohio River at Louisville as a hull and

scopic idea of how some lines were

generated. One intriguing talent of steamboat builders was knowing how to make a

massive steamboat look much smaller than it actually was, and consequently more in proportion to its surroundings. Somehow the largest steamboats (321' + in overall length) never seem that large. It is only after you compare the size of people on board with the vessel itself that you can appreciate this design subtlety which allows a steamboat to appear considerably smaller than its football-field length. All photos courtesy of the author

then completed at New Albany, Indiana. A boat the size of the WHITE was too big for the small Louisville and Portland Canal around the jails, as well as too big to get under the 14th Street railroad bridge crossing the Ohio at Louisville. Despite her massive size, the WHITE could move along at a surprisingly fast clip . She was the last word in steamboat elegance and was built to handle cotton on the lower Mississippi. While she was the epitome of all that was steamboating, she came along too late and was not a financial success. She went up in flames in 1886.

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any look on western river steamboats as being the epitome of "old-fashioned." On the contrary, in their day, those steamboats represented the last word in modernity. They rode

the lead waves of taste and fashion and were trend setters. When a new steamboat embarked on her maiden voyage, it was a big event for the communities along the rivers and an occasion of pride for the owner.

In its heydey, from 1866 to 1886, steamboating was a bastion of the male

ego. A big, fancy side-wheeler was a

steamboat man's vicarious mistress. The big side-wheelers were sleek, elegant, curvaceous, and noticeably feminine. Each steamboat magnate sought to make certain that his was the most elegant and the fastest. Accordingly, she was exceedingly popular: everyone sought her attention and favor. When his boat went by, every head turned in admiration and unspoken envy. She was a seductress. She was the last word in elegance, taste, and style. These floating feminine entities were loved dearly. From the lofty master and his lordly clerks down to the 64/WoodenBoat

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Above—An incredible amount of lumber went into the hull and superstructure of a steamboat. This photo shows only part of the lumber stocks at the Howard Yard. Just visible over the bank is the largest stern-wheel towboat of all time, the SPRAGUE. The date is ca. 1904-1906. On the grade above the SPRAGUE, two steamboats are under construction. The wooden hull was standard for decades; however, by 1910 wooden hull maintenance had become so costly that steel hulls were used instead, while superstructures continued to be built from wood for years.

Left—At f i r s t glance, this medium-sized cotton packet is quite far along in her construction not to be fully planked. Look again, and you'll note that the bright sun is shining down through the outrakers that will support the guards. What appear to be unplanked frames are actually the shadows of the outrakers. Note how the sheer of the superstructure follows the sheer of the hull.

lowliest roustabout, those feminine creations were attended to devotedly. Regardless of one's duties aboard, it was a mark of one's success and station in life to be associated with the finest steamboat. A coal passer on the fastest and most elegant steamboat had a lofty status amongst his colleagues on other less notable steamboats. But pride of ownership and social status weren't the only reasons for steamboat stylishness. Public relations and smart marketing were just as important. The fundamental issue was that the most elegant steamboat would 66

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attract the best business. It was a matter of pride to travel and ship one's goods aboard the most lavishly appointed steamboat of the day. And when the most elegant steamboat was also the fastest on the river, that meant a lot of business for the owner. There were many boatbuilding yards along the Ohio River. The most prolific builder of steamboats was the Howard Ship Yard and Dock Company. The company began in 1834 and did business in various locations until settling permanently in Jeffersonville, Indiana, in the late 1840s. The Howard

Yard was mainly a hull-building operation; it generally subcontracted the rest of the work. Hillerich and Bradsby, the maker of the famous "Louisville Slugger" baseball bat, got its start in business by subcontracting steamboat cabin construction for the Howards. While there are perhaps two dozen extant photos taken at the other 19thcentury boatbuilding yards along the Ohio River between Pittsburgh and Cairo, Illinois, there are hundreds of photos of Howard steamboats under construction. The reason is that James E. Howard, a member of the family

that owned the yard, was a photographer. Jim Howard received a camera kit in the late 1880s and began serious steamboat construction photography about 1889. He enjoyed taking photos and had an eye for interesting construction photos that no one else was concerned with at that time. Many Howard glass plate negatives from the 1880s to the 1920s still exist. Since steamboat construction was a trade that was taught and learned through apprenticeship and not otherwise recorded, the extant Howard photos provide an abundant source of information in an area that is almost bereft of other photographic documentation. Steamboat men thronged to Jeffersonville, Indiana, to visit the Howard Yard and contract for their steamboats

from the 1840s through the 1890s. Interestingly enough, getting one of these floating palaces was remarkably

simple and uncomplicated. There was

Above—The longer you study this photograph, the more you see. In the foreground two hulls are being framed up; alongside them are two dump scows being built in tandem; in the background is a steamboat being fitted with her boiler deck and hogchain posts. Judging by this photograph, the stem and keel mere positioned f i r s t , followed by the built-up frames and floor timbers. The frameheads will not be trimmed to the sheerline until after the sheer plank and clamp are in place. The hull has been set up on keel blocks, so prior to launching the boat will be raised, the blocks removed, and launching ways built underneath.

Above— The steamboat LIBERTY under construction in a yard in Middleport, Ohio, in 1900. This is the only known photograph showing the after framing of a side-wheeler. Whereas stern-wheelers had relatively flat after sections rising gently

to a transom, side-wheelers had counter sterns.

no concept of written contracts, specifications, or federal regulations (except for boilers). What was needed was discussed with the yard owner, and the matter settled with a handshake. Furthermore, if a prospective buyer did not have all his cash up front, the builder would usually claim a certain portion of the boat and retain title until the amount was paid off. From that point on, the builder went to work. He based his design and construction decisions on what the steamboat would have to do, what trade she

would run in, and typical cargoes she would carry, and the waters in which she would ply her trade. The Howards knew the rivers and how to custom-build a steamboat for each of them. For example, if cotton bales were to be handled on the lower Mississippi, then a steamboat would be built with huge flaring cotton guards. Some vessels were designed to handle an incredible 8,000 bales of cotton on 7-10' of draft. Mind you, cotton bales weighed anywhere from 480 to 520 pounds each. Conversely, if a boat were to be used on the upper Cumberland in seasonal freight trades, in shallow water, then the hull would be suitably wide and shallow. Big or small, opulent or humble, the steamboats the Howards b u i l t were commensurate with the owner's needs and pocketbook. There is no better source of information on steamboat construction details than the photographs from the Howard Yard. These pictorial records show that the western river wooden steamboat was an incomparable creation, a marvel of design, aesthetics, symmetry, architecture, and execution. 64/WoodenBoat

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Left—A painting crew on the accommodation deck of the ROBERT E. LEE

of 1898. This is the third boat of that name, in this case in honor of a steamboat man of the Memphis Lee Line. The famous racer ROBT. E. LEE of 1866, named for the Confederate general, was built a short distance from the Howard Yard at New Albany, Indiana. Each door leads to a passenger cabin, which in turn has another door leading to the outside deck. The transoms above the doors and clerestories above them provide ventilation. While some may marvel at the elegance of this interior cabin, it should be understood that by the turn of the century steamboat elegance was in its waning days. Compared to earlier steamboats, this joinerwork is quite plain. Right—This photo may date back to 1871. The large side-wheeler under construction could be the Anchor Line's CITY OF HELENA. Her launch should be a spectacular affair. In the foreground are numerous inclines used to pull logs up from the river and into the sawmills within the buildings at the upper righthand corner of this picture. The Howard Yard was not noted for innovative labor-saving devices. Most of the work was done by hand. Heavy machinery and equipment were moved about by teams of oxen.

Above—Launching day for the side-wheel steamboat INDIANA, built by the Howard Yard in 1900. The hull is 285' long and 46' wide. The side wheels hang alongside the hull and turn in recesses cut in the main deck. Whereas most small vessels would be adequately served by two launching ways, a big side-wheeler such as the INDIANA needs four ways, two on each side. The two inside ways support crosspieces running under the bow and the stern. The two outer ways carry longer timbers that run from one side of the hull to the

other at the widest points. The outside ways and the timbers supported by them will probably carry 75% of the steamboat's weight as she slides down the ways. Notice that the ways are supported by cribbing and are securely braced from side to side. The vertical lips on each way seme as guides. Two of the men here have buckets of grease for greasing the ways. 68

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Left—In the previous photo of the INDIANA, we saw her from aft, viewed from some distance down the ways. Here, the photographer (presumably Jim Howard) has carried his bulky camera alongside the INDIANA and has captured for posterity a scene that is incomparable. The big INDIANA has been jacked up and set on heavy timbers running underneath her hull. Her stern is supported on the first two sets of timbers, which run across the inside pair of ways. The other heavy timbers run the f u l l width of this hull. By using jackscrews and muscle power, this big steamboat was lifted up nearly 6' so that the crosspieces could be set under her and support her during the launch. Her bottom has not been painted. Below —The launch of the ROBERT E. LEE of 1898. Her sheer is exaggerated here and the hull appears twisted because her stern is afloat while her bow is still coming down the inclined ways. The smoke at her bow is from the launching grease, which is heated by the immense friction of the timbers sliding down the ways. Jack E. Custer is a free-lance writer, researcher, and consultant on western river steamboats. He's written exclusively on steamboats and has built four models of river craft far museums. He lives in Louisville, Kentucky, three blocks from the Ohio River.

Photos by Marly Loken

This customer not only wanted to discuss what he had in mind for a boat; he had to draw pictures as well. He was an engineer and a capable draftsman, so we drew on napkins, scratch paper, and the tablecloth. For models of the various accoutrements and their placement, we used glasses, forks, my watch cap, and a Brooks running shoe. The craft I was to build revealed itself to be so complex that I became convinced Mr. Jones was an intelligence agent and my boat would end up in the waters off Central America. It was to be a light car-topper and a good rowboat. Yet a massive Johnson 10-horse was to be the power unit.

When I commented on this, further 72

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down the line, Mr. Jones agreed to purchase a 7-horse. This was like replacing a Clydesdale with a Percheron. The boat was to have a red (I could have guessed) canvas tent with real glass windows. The windows were to have their own carrying case, and as a point in fact, so was everything else. There would be a stereo, a fathometer, a searchlight, and a small gooseneck lamp for tying flies at night under the tent, though the need for an altimeter has always baffled me. Of course,

there was the liquor cabinet; what well-appointed yacht would be without one? Ours was designed to accommodate the diverse shapes of three specific

brands of scotch, rum and gin, as well as a built-in ice chest. Yes, I could have guessed Pat was no ordinary wooden boater. Beyond his predictable choice of Port Orford cedar for planking, his imagination was like the aurora borealis on a night w i t h energetic ionic disturbance. My own inventiveness was kept quite occupied in pursuit of wild subatomic particles. Under the Honduras mahogany foredeck I was to construct two crawfish-type traps that contained two 12volt marine batteries. This tonnage of

lead and acid was to power electrical circuitry more complex than that of the space shuttle. Even the compass

had its own light and switch. The six-gallon gas can would have its own custom platform. This was oval in shape and routed to receive the

foot rim of the tank. Next to this was a swivel chair, the specs of which indicated it could withstand a marlin attack. There were drawers, many many drawers. Some were very thin and housed a thread-and-feather copy of every species of flying insect, whether extinct or currently evolving, that has ever fluttered in warm air. Other drawers were large enough for foulweather gear, and some were medium-small and corralled tapes for the Blaupunkt.

Pat wanted drawers, lots of drawers, a liquor cabinet, carrying boxes, instrumentation, intricacies within intricacies. He had spent 11 years sitting on a hard thwart in the driving rain, and now he knew what the ideal craft should be.

All of these drawers, gadgets, and amenities were built into cabinets. The customer required these to be made of oak. I decided that if the boat were ever to be lifted atop a jeep, as many as possible of the accoutrements had to be removable. Therefore, all of the cabinetry required carrying boxes, and all of these boxes had to be of predetermined dimensions so they would f i t neatly into the extant custom trailer, w h i c h resembled a black, square Conestoga. Still, there were intricacies w i t h i n intricacies, details of details too convoluted to relate in mere print. It became apparent that Pat was a sober and analytical thinker. It was I who had to overcome my prejudice as to how one proceeds with a proper boat. As Pat informed me, he had sat on hard thwart in the rain for 11 years, and he had spent that time thinking about the ideal craft for his needs. Among the rigors of pursuing the game fish, he had endured boats that refused to be rowed and oars better suited for firewood. The necessity of each harmless item was presented with flawless logic, yet I suspected we were missing the general

concept as we strove to f i t everything into an 11' boat. I described this dilemma of comfort vs. practicality to Land Washburn, a trusted expert and one of the proprietors of the Wooden Boat Shop in Seattle. Across a plate of cheap nachos, Land said, "And you call yourself an honest man?" It is a definite problem to respect a customer's wishes and yet produce a viable product.

Everything has its place. A lead ball, used as a temporary stern anchor while the owner pursues the trout, lies in a specially hollowed tray.

The hull was designed to be burdensome yet l i g h t l y planked and framed. Port Orford cedar, a pleasant wood to work, would not have been my first choice for planking, especially when weight was a factor. I used Sikaflex caulk as both an adhesive and a seam compound. In the former capaci t y I used Sika to hold the sheerstrake in place so that I could hold off fastening it until after the ribs were installed. These fastenings were countersunk rivets, driven through the frameheads. Raised clench nailheads would have allowed the varnish to lift, whereas the rivet bores were bunged over and thus a smooth surface was achieved. The Oregon white oak we used for ribs bent 64/WoodenBoat

73

The boat was to have a red canvas top with windows and ours to supplement the

horsepower outboard.

easily and uniformly, but I think var- ular shape so it would f i t snugly against nished oak has a very limited lifespan the ribs. Producing drawers for a stanunless the boat is scrupulously cared dard rectilinear container is enough of for. a chore, but making drawers that would The h u l l was supposed to weigh in accommodate themselves to a section at no more than 150 pounds. TROUT of a cone is far worse. In the case of the UNLIMITED, as we called the chubby main tackle box, the tiny drawers lay boat, sat at 150 pounds when we took behind four cork-covered doors. One of her to the city scales. Then we took the the doors of another unit, a stereo corpulent bugger to Northwest Pipe cabinet, actually had to have a depresand Steel, and again the figure was 150 sion worked into it for holding a cockpounds. This was close but acceptable. tail glass. Even though the tape deck radio The cabinetry was a much more complicated problem. Each u n i t had had a digital clock, this cabinet conto have enough integrity to stand on its tained another one (with a conventional own, yet each required a different irreg- dial face), as well as a matching baromTROUT UNLIMITED at 150 pounds can be cartopped with acceptable ease. The drawers and

boxes and equipment are hauled behind Pat's Jeep in a specially modified trailer.

eter and thermometer. There was also a plug for an electric razor on the same panel. The t h r o u g h - h u l l transducer, plugs, wiring, lights, and switches were less than sheer joy to install. Most of all, however, I liked the challenge of manipulating the batteries in and out of their crawfish traps beneath the foredeck. The oars were supposed to have joints fashioned into them so they could be taken apart for easy storage, just like a fishing pole. I suggested carrying them in an oarlock arrangement instead, and this alternative was accepted, sparing me the ultimate design horror. Three women, Jeannie, Janis, and Sally of the Canvas Company in Seattle, produced a tent that Bathsheba would have been pleased to ride under. Such unique items, however, are not achieved without some complications. There were a couple of very late-night phone calls, and at a critical point near the deadline for completion I had to lure the stitching trio down to Tacoma w i t h the promise of homemade pizza. They willingly came, made the lastminute adjustments, and placed the snaps on the hull. Afterwards we all found solace in coarse Italian wine. Like rowing, complaining is good for aerobic development; and like the former, it is only a sport and not an end in itself. We can rave about an object being a dream or decry it as a nightmare, yet it is the product that has the final say regardless of our projected impressions. If I set my pedagogy aside for a bit, I might even say that I like the chrome spotlight as it is reflected in the flamefigured grain of the mahogany foredeck and that the chubby boat does have a certain pugnacious appeal. On a day when clean white clouds sailed in a warm sky, Mr. Jones swept down the dusty alley behind the shop in his Darth Vader vehicle with the black Conestoga in tow. He had come to claim TROUT UNLIMITED and her wagonload of accessories. Like the others, the massive tackle box was contained in its own plywood carrying case. This was the largest and

the last item to be loaded. As we shuffled along in the gravel, each with a tight grip on the rope handles, Mr. Jones said, slightly out of breath, "Fly fishing...the lightweight sport." Peter Lentini is a resident of Seattle. There he enjoys the rain and builds boats, furniture, and sundry other objects. 74

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Dennis Holland with his Baltimore clipper PILGRIM a building project that look 11 years more than planned.

D

ennis and Betty Holland went sailing last summer—more of an accomplishment when you consider that they waited over 13 years, spent $250,000, and withstood the pressure of

A clever facade she's not. PILGRIM, and around his home in Costa Mesa. named for the ship t h a t Richard Henry His summers were spent crewing Dana celebrated in Two Years Before aboard yachts and helping carpenters the Mast, is a replica of the Baltimore perform repairs. After completing high clippers popular during the late 18th school, Holland entered an apprentice

friends, peers, family, and the comm u n i t y , to f i n i s h the project they

and early 19th centuries for their speed,

program at the Sea Boat Company of

maneuverability, and grace. At 110 tons, she is 110' overall, has 10' draft, 26' beam, and carries 6,000 square feet of canvas. Unlike facades and facsimiles, PILGRIM has been constructed with the same care, eye for detail, and concern for longevity that her predecessors enjoyed. Dennis Holland, possessed with the sea and sailing since the age of five, began building boats as a teenager. His first project was an 18' outrigger he used to cruise the coastal waters near

Costa Mesa. "I still remember it as probably the worst six years of my life," he says. "The boss, I'm convinced, took lessons in employee relations from Captain Bligh. But I endured, and I learned. I knew I'd never be satisfied doing anything else but building ships, and probably for no

believed would carry them to the ends of the earth: their clipper, PILGRIM. The craft had seemed curiously out of place resting in dry dock—owner/ builder Holland's front yard in suburban Costa Mesa, California. Nestled among condominiums and tract homes nearly two f u l l leagues from deep water in Newport Harbor, PILGRIM assumed the role of a minor tourist attraction or landmark, sort of a miniature Disneyland. 76

WoodenBoat/64

one else but myself."

Holland earned his journeyman papers, married his sweetheart, Betty, and struggled through a variety of employments, always dreaming of the

My sledge and anvil lie declined My bellows too have lost their wind My fire's extinct, my forge decayed, And in the Dust my Vise is laid My coals are spent, my irons gone My Nails are Drove, My Work is done. —anonymous English blacksmith

day he'd have the freedom and the money for his own projects. "I worked for a time for the Guggenheims (of Guggenheim Foundation fame) caring for their two wooden-hulled yachts," Holland says. "I continued to hone my skills—lofting, joining, framing, planking, and finishing. I saved enough to buy a 30-footer and refurbish her for sale in my spare time. That little project took almost a year, but I sold her for a hefty profit. I guess that's when I started to plan, to make a reality

abandoned techniques and materials. I wanted a monument to the hand-built tradition, not a production model." At a cost of over 50,000 personal man-

hours and $250,000 in out-of-pocket expenses, PILGRIM is no production model, and not your typical backyard boat project.

Holland's relentless pursuit of plans detailed enough for construction f i n a l l y reached an approving and helpf u l mentor via his nagging correspondence. The late Howard Chapelle, then Curator of Transportation at the Smithsonian Institution, responded with a lengthy letter.

Above—PILGRIM gets underway shortly after her launching and fitting out. Her halyards aren't set up taut here, probably to avoid stretching her new sails. Below—A schooner under construction in suburban Costa Mesa is a unique and improbable sight. Keeping the curious away was a major problem for builder Ho/land.

of my dream for PILGRIM."

"We had talked about Dennis's obsession before, during, and after the marriage," says Betty. "His dream became my dream. I entered the partnership with f u l l knowledge of my commitment. He compromised a little and I gave a little, which led to us buying a large piece of land in Costa Mesa (a little over one and a half acres) with a small red bungalow on it. That made me happy, and Dennis had enough room for his project." An obsession, a calling, manifested itself in a shared desire. Holland's plans were for a large sailing craft, wooden hulled, with enough room for a family to sail and live aboard comfortably. His fascination for things old and hand-crafted spurred him to write to maritime museums all over the world inquiring about available plans for proven designs. "I wasn't really interested in experimental or innovative designs," he says. "I wanted something I knew would float and sail. The excitement, the challenge for me, was the construction and re-creation utilizing long64 WoodenBoat

77

The main saloon—the Holland's living room, dining room, playroom, and lounge for nine years. The furnishings were chosen to add authenticity to the vessel herself.

"I spent quite a lot of time, or as m u c h time as I could, sailing aboard different kinds of boats and had basically decided that a schooner was what I was after," says Holland. "They were fast and agile. But there are hundreds of variations of the schooner design, and deciding on one particular design and then tracking down comprehensive plans was one helluva job. Chapelle pushed the Baltimore clipper. I spent months writing back and forth w i t h him discussing the pros and cons of design and construction. He finally convinced me that the Baltimore was the way to go, based on my criteria of fairly complete plans, sailing qualities, and cost of construction." Chapelle reproduced the plans he had collected for the Smithsonian's archives from several 18th-century builders for Holland—at cost. Holland set to the task of securing enough capital to begin PILGRIM. The initial $5,000 (he had budgeted a total of $25,000), profits from his first two rebuilding jobs and a first mortgage on his home, purchased the first load of lumber. His budget and his time line (he thought he could complete PILG R I M in two years) were based on care78

WoodenBoat/64

f u l calculations utilizing cost-saving but lacked the subtle aesthetic details measures, such as dealing w i t h mills Holland needed for f i n i s h work. Hardand other suppliers directly to save ware, for example, was only alluded to, middlemen's expenses. He arranged, and no specifics concerning materials for example, to buy the Douglas-fir or construction were given. More intended for planking, decking, and research was needed. "They say a picsome of the PILGRIM'S framing from ture is worth a thousand words," Holthe R.D. Tucker Mill in Langeloise, land says. "So I studied paintings, Oregon. The wood was cut and cured sketches, and other renderings done directly at the mill, saving Holland during the period when these ships nearly 50 percent of retail cost. He were quite common, as well as reconemployed similar cost-saving measures structions sailing today, for much of w i t h a trip to a small Arkansas mill for the decorative information. I drew my red and white oak. There he found own plans for many of the brass and lumber that had been carefully air other metal decorative pieces I wanted. dried for at least 10 years. "The selec- But some fittings that required authention of the vessel's primary lumber was tic detailing posed real problems. As critical," he says. "The frequent travel- fate would have it, I caught wind of a ing may have been a pain, but it more foundry in England, still in business than made up for my time and trouble after 200 years, that still had patterns because I was able to get exactly what I for some of the major pieces I needed. needed at a good price." The lumber They graciously agreed to furnish castwas delivered to his yard for another ings. I made wooden patterns for other year of seasoning. The more exotic pieces myself and had them custom woods, such as teak and mahogany, cast. In some cases I simply acquiesced needed in much smaller quantities, and used what was available, even were purchased through local outlets. though not authentic." Inflation, a perpetual nemesis, The keel was laid in May, 1970. forced Holland to seek outside work to The plans Chapelle had supplied meet spiraling expenses and provide were complete in basic structural detail for his growing family. Even with

Dennis Holland's attention to detail makes PILGRIM comfortable and "shippy." (Left) Passage leading to the main companionway. (Right) The after cabin, which semes as the owner's stateroom.

Betty working, funds were running out. The budget had tripled. Estimates, worked out at 1969 prices, were outdated. His family had grown by two (daughters Amy and J u l i e ) . As a partial solution, Holland moved his family aboard the nearly completed h u l l and rented the bunglow for extra income. "Living aboard is all my daughters knew," says Betty. "They had never lived in a real house. Housekeeping for me was a challenge in such small quarters, but I wouldn't have had it any other way." Holland, a fiercely independent sort, turned to traditional houses of finance for needed assistance. He was turned down flat everywhere he applied. "Most of the bankers thought I was crazy," Holland says with a laugh.

evidence and experience to award a loan, even if it had to be a smallbusiness loan." Undaunted, Holland continued to work on PILGRIM when time and money permitted. He cut costs where he could and learned to be ingenious. He salvaged a diesel truck motor and rebuilt it to marine specifications. Friends would gather on Saturday afternoons for large jobs, such as hanging the rudder, for beer and hot dogs. Delapidated restaurant fixtures were converted to ship's refrigerator and freezer. An antique pump organ was refinished and placed in the main saloon. The partially completed ship attracted media attention, and Holland

"Rejections were based on some sort of

movie rights that enabled him to keep working on the project. "Paint jumped from $12 a gallon to $37 (straight enamel, no undercoating)—that's an example of the kinds of problems time and inflation brought to light," he says. "The movie deal seemed like a partial solution. Little did I know how business is conducted in Hollywood, and nothing ever came from the deal. But nothing ventured, nothing gained."

Catch-22," he says more somberly. "No loan if the hull's incomplete; when the hull's done, the rules have changed; no loans on unapproved structures (landlocked ships included); no loans on land with unapproved structure.... It's enough to make a man loathe bankers. There seems to be little faith in hard work and what I consider bankable knowledge. I felt there was sufficient

was able to negotiate an advance on the

He still hopes Hollywood will come calling when it needs an authentic prop. Media attention did, however, prove valuable in other ways. Artisans and craftsmen, attracted to Holland's commitment to the old methods, would show up and volunteer their services. The legendary Tom Smith, 80 years old and one of the few gifted caulkers left on the West Coast, brought his crew over and caulked the hull and the

deck for a modest fee. Joe Soames, a retired Navy rigger, did the rigging. Another field trip netted Holland the two trees that would eventually become his two-story masts. The Copper's Company in Oroville, Califor-

nia, prepared the two masts for Holland, who then sought out a shipsmith to make up the mast bands, deadeyes, chainplates, and other f i t t i n g s he

would need to complete the rigging and other details. The search was long and difficult, as shipsmiths are a rare breed (see WB No. 50, "The Shipsmith's Art"). He managed to talk a local smith into doing the work under his supervision for 10 times the cost of

the materials.

Holland pursued a sailmaker with 64/WoodenBoat

79

the same rigorous demands. He wanted

Once to the sea, only one yard in

a product that reflected the meticulous craftsmanship already invested in PILG R I M . Sailmaker Nathaniel Wilson of East Boothbay, Maine, was his choice to make the hand-finished Vivitex canvas sails. "Wilson also bid to deliver the canvas personally and help us bend the sails on," says Holland. "How

Newport could handle the launch of such a large boat. "The Lido Shipyard agreed to launch her and gave me a bid," says Holland. "They did a great job and actually came in under their bid, saving me a few bucks." Of course, the question of where to

could I turn down an offer like that?" Holland also learned a few lessons on the dark side of celebrity. Gawkers gathered day and night, freely invading Holland's privacy, stalking the grounds, and inviting themselves aboard. Thieves and vandals carted off anything that wasn't nailed down and wrecked what they couldn't carry off. Holland arranged for tighter security ( t w o Dutch keeshond hounds) and weathered this problem in his typically good-humored way: "There's bound to be two sides to every situation. You live w i t h it as best you can, that's all." Holland's attention to detail remained constant through the years he spent building PILGRIM. The evidence is obvious on inspection: The ship's wheel is custom made of mahogany and oak; the main saloon has quarters for 28; adjacent to the saloon are a chartroom, bath, and shower with handlaid ceramic tile; and the captain's quarters is alive with fine scrollwork and a working wood-burning stove and a hand pump attached to freshwater tanks below. The fo'c's'le boasts reasonably spacious quarters for four permanent crew. Holland took no shortcuts. A turn of fate provided Holland with enough operating capital to f i n ish the craft, launch her, and o u t f i t her in early 1984. A reacquaintance with

put such a large craft once she was launched was a tough one. Dock space in Newport Harbor is at a premium. At $18 and up per foot, private dock space for PILGRIM could have ruined Holland in a matter of months while he

rigged and outfitted the boat. After a few hassles with the local authorities over a tie-up at the public wharf, Holland struck an agreement with Art's Landing, a local wharf, for dock space while the masts were stepped and the vessel was rigged. Later, he moved the P I L G R I M to a mooring in the turning basin in Newport Harbor where 15 tons of lead ballast were added. The shakedown cruise in May, 1984,

couldn't have been smoother. "She

The move alone cost Holland $5,000. The job was done by B & Y, a company that specializes in moving

handled exactly the way I was told she would," beams Holland. "She rode a l i t t l e high in the water, but another 10 tons of ballast solved that problem. She didn't even leak as much as expected as she took up." Since the shakedown, Holland has been booking short charters to the Channel Islands and Mexico, and has plans for longer cruises when he's sorted through and complied with Coast Guard standards for crewed charters. On weekends he's busy sailing, and during the week he keeps up with the monumental chore of maintenance and repair. "You can't imagine how much care and time a wooden boat takes," he mock-complains. He's still awaiting the topsails, and constant public attention in the harbor has hampered progress. "Two boats have come a l i t t l e too close and crashed into me," he says, pointing to broken and splintered wood along the transom and the topsides forward. "I think their owners were a little drunk." Yet another daughter, Heidi, has

houses and other large structures. Two

come along and added pressure to

trailers were constructed under the hull, and two diesel tractors pulled the big load along a predetermined route. Special considerations complicated the matter. "Trailered, the boat was exactly 17'9" high," says Holland. "Electrical

make PILGRIM begin paying the bills. The family has moved ashore ("A real

an old high school chum led to a development deal on his properly ( i n f l a t i o n turned a nice favor this round) that put enough money in Holland's pocket to move the boat from his

yard to the sea.

and phone lines, by code, should be 18'

high in California. They are not. The utility company wanted to charge me to the tune of $3,000 for l i f t i n g lines. I said, no way. I simply moved the boat on the sly in the wee hours of the morning and lifted the lines myself." 80

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house!" shouts Betty), and Holland is

still unsatisfied. "I really love sailing, but I'm already looking for another building project," he says half-apologetically. "Maybe next time around it won't take so long." Peter Johnson is a free-lance writer from Whittier, California. He has been sailing for most of his life, and Dennis Holland is a friend.

During the past fifteen years,  YDI  Schools has become a

leader in the field of yacht design  education.  We've gained insight into the needs of people who take our courses as well  as those of  the  small  craft  design  industry that  has led to some  valuable  conclusions:

•  Yacht  design  blends  proven  traditional  methods  with current technology. •  The  successful  designer  combines  a  sound

background in engineering fundamentals,  and practical aesthetics with  the  ability  to  provide  intelligent solutions  to complex  design  requirements. •  Interests  in  design  range  from  recreational  to  voca­ tional  and require differing types and  levels of instruction to prevent frustration  or  boredom. As a result,  we've developed  new programs and revamped  our existing  instructional  material.  We  use  stand­ ard  reference  books where  they  best apply and  have writ­ ten  over  850  additional  pages  to  fill  in  the  gaps and  record those  "tricks of the trade" that aren't in any readily

available  text.  We  have  emphasized  first  principles and problem  solving  and  have  eliminated  punitive  busy work. Our modular program  structure  allows  credit for  previous

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82

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G

ULL is a sophisticated skiff. John Marples has designed her to meet multiple requirements, including rowing, sailing, towing, and cartopping. She is pleasing, but humble, being distinguished by features she does not have, like frames. But also, there are no chines, flats, or re-curves in her hull; she harbors no surprises for the water or the eye. Her bottom's not too bilgy; she's just stiff enough to carry a lowslung sail and perhaps a little outboard. She has enough stability, maybe, to keep her on her feet in case a bloke should blunder into the bow alone. It is this lack of buxomness, rare for hard-service dinghies, that lets her really move; with these slackish bilges, and two rowing positions for balancing the load fore and a f t , GULL will fairly "schoon" along before the blades. GULL's construction, on the other hand, exemplifies the state of a new

art—streamlined cold molding with stock compound curves. She is built by the Constant Camber method, using a v a c u u m bag, b u t this does not imply

the high costs and technical demands of ultramodern "composite" boatbuilding. Also avoided are the advanced skills and labor-intensiveness required by traditional methods. To be sure, when anything is avoided, something interesting may be lost. But with Constant Camber, something interesting is also gained. The project requires a discovery stage,

b u i l d i n g a simple mold and learning how it works. A f t e r that, the new "CC"

builder is often amazed at how quickly he can produce q u a l i t y laminated panels, and how easily those panels become sleek, sturdy boats. If you've done some wood-epoxy work before, and don't get bogged down with perfection, your first GULL 64/WoodenBoat

83

Strip-planked CC mold for single-hulled boats from 10' to 14' l o n g , complete with wheels for rolling out into the sun to accelerate cure.

and 10 station formers, identical to each other, are made from sheet plywood or particleboard to the dimensions in the plans (see diagrams, pages 88-89). One half of one sidewall is lofted, and then stacked with the other three halves so that all four pieces are cut at once. After the halves are buttjoined, eyeball and fair the big radius carefully while both sidewalls are clamped together, then cut the notches to receive the formers. The station formers are made the same way, by clamping a stack of rectangular blanks together and cutting from GULL's mold. These variations them on a sharp bandsaw (or cutting can range from a 10' "one-man model" them individually with a sabersaw and trimaran to a big, barge-like pram. then clamping them in a stack and fairConstant Camber design is not ading all the curves together). Be sure to dressed in this article, but it too is an draw the Reference (REF) line and the interesting discipline. Working in triPrime Meridian (PM) line on the umvirate, the authors have, in the last curved edges of the stack, before unsix years, designed CC vessels varying clamping. After unclamping, draw a from less than 10' long to over 60'. We REF line on the faces of all formers. have successfully transferred this techSnug f i t s in the notches are nice, nology to neophyte backyard builders, but not absolutely necessary, because to skilled Filipino furniture makers, to the formers and sidewalls all get glued Polynesian fishermen, and to African and nailed together, right away. But tribesmen-trainees with whom we PHASE I first, attach ten 2 x 4 stiffeners to the could not speak. Even professional straight edges of the sidewalls. yacht-builders have picked up the skill! MOLD CONSTRUCTION To assemble the mold, position the In this how-to article on GULL we sidewalls with their stiffeners and butt are disclosing, with some trepidation, Framing the Mold Because most of the parts for this straps facing each other. Slip the recent developments in CC geometry that make the method appear applica- mold are alike, its framework is a lot formers into their notches, and drive a ble to series production, in wood, of simpler to build than the setup and toenail at each notch. Right here is single-hulled craft. Can such vessels be framing for a conventional hull. (This where the basic fairing takes place. produced at a profit? hull doesn't have any permanent fram- Actually, it is self-fairing. Adjust each Of course, much depends on the ing.) Two sidewalls, of the same shape, former in its notch so that the REF line comes exactly even with the top curve market, but we feel the best chance for of the sidewall—presto! The formers CC may rest w i t h small entrepreneurs, have to describe a pervasive, fair, Conwho can serve a diverse market with stant Cambered surface. Such a surface— "short runs" of an easily customized and here's the whole point—can be product. This is where the technology cold molded w i t h all-identical shapes. appears to offer unique capabilities, We will see that this feature opens the and where we would prefer that it finds way to several others, which accumuits yachting niche, if indeed there is late toward expediency in a kind of one.

should consume about 40 hours' labor time; after repeat familiarity with the process, you should be able to reduce the time to 30 hours. Yet the attractiveness of this method is not just for ease of construction. Just as appealing is the single, sophisticated structure that an individual can create on his own. He can also re-create it, in numbers, and in various configurations, all with a minimum investment of money, tools, and time. Several more designs, measuring from 10' to 14' in length, can be built

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If the reader would contemplate dabbling in this new art, GULL is a good place to start. She's a serious boat, rugged enough to withstand serious service, yet she is lithe. Her construction is simple enough for any artisan to achieve pleasing results, from scratch, or from "store-bought" CC panels. Concurrently, this project can put the builder well up on the learning curve of a skill that few others possess. If you sell your prototype GULL, you can keep your mold. Working as a licensed manufacturer,* you can produce and sell raw panels, or finished boats. Compared to conventional cold molding, labor savings are probably sufficient to give these boats a leg-up in the marketplace—and, we hope, to help put the small boatshop in business. Your start-up investment in equipment and materials for the first boat should be somewhere around $500. Construction is described below in three phases: Mold Construction, Panel Making, and Boat Assembly from Panels.

geometric progression.

Check the entire mold framework for squareness and fairness, then smear filled epoxy glue into the notched joints. The bottom edges of the sidewalls don't have to be level, but they should be parallel and straight, and the tops of all the formers should describe

a fair curve everywhere. Check this fairness with a full-length batten laid over the PM lines on the formers, and see that the batten describes a straight, vertical plane down through the length of the model. Check this and make any adjustments before the glue sets. Planking the Mold Now, "strip plank" the mold surface with ½"-thick strips of clear, workable wood. Notice that the strips are of two widths, ½" wide on the "tightcurve" side of the mold, and 1" wide on the "easy-curve" side. This division between the two strip sizes becomes a visible indicator of the PM position, which we will be using later in lofting panel layouts. It's not a bad idea to "paint" the corners of the first small strip-plank with a fat felt-tipped marker to permanently locate the PM, even on the underside of the mold—you'll see why later. Glue and nail the strips at each former. Sand the resulting mold surface fair and smooth, after planing down any high spots. Before concerning yourself with any low spots in your mold, mix a loose batch of epoxy putty and smear it thoroughly into the gaps and cracks between the strips with a squeegee to seal up the entire surface. Remember, we're going to be using vacuum on this mold, so the thing is going to have to be airtight. Fill the cracks all the way through as best you can. Now, if there are any serious low spots in your mold surface (they are very visible at night with a flashlight), apply another batch of epoxy in these lows, extended with a sandable filler, and fair the surface a second time. We're not after perfection here, only a mold surface that will produce nice, fair panels, ones that will themselves be receiving a light sanding to remove imperfections. If your mold comes out really rough, or if it starts giving trouble after a long production run, you can always cover it with a layer of veneer. When you're almost but not quite satisfied with its surface, push on by applying three thin coats of epoxy resin, for a final seal. With three really thin coats, there won't be any sags to sand and fair again. Your surface is now ready. 64/WoodenBoat

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But there's another side to this

Top—The vacuum bag likes to rest on its own custom wall rack, to minimize damage from handling. Gathers and wrinkles in the bag remain f i l l e d with Dum-Dum.

Above—To achieve a vacuum seal, simply press the bag into the Dum-Dum, and f i l l the wrinkles with Dum-Dum. Note the window-screen "airway" under the bag. Right—Old "fridge" compressor, scavenged for free, proudly pulls 15" Hg vacuum—more than enough. Note where vacuum tube leads into the bag; Dum-Dum has been packed around here to seal.

86

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mold business, the underside. It, too, should be made absolutely airtight. When you're making panels, staples will be driven into the mold from the top side, especially around the edges, to temporarily hold each plank in position. Some of these staples will enter the cracks between the strips, and if the mold isn't sealed from underneath, you've got a vacuum leak—no great catastrophe, because it usually can be located by its hissing sound and patched with a dab of mastic. But to avoid the nasty job of chasing leaks underneath the mold, turn the whole thing over right now and seal up its underside. You can extend the epoxy with fillers, so it doesn't take as much of it; work it around the formers and into the cracks with a squeegee. For readers with mold-building experience who might not think of this tool as a mold, you're right. It is not really a "mold" in the contemporary sense of the word, as in "polished female mold" for a production run of all-identical fiberglass boats. This is actually a strip-planked, male "plug" which, because of its same-all-over curvature, is relatively a cinch to make. The "parts" that come off this plug, the CC panels, are not pre-finished as in fiberglass molding, but they are wonderfully fair and easy to finish individually. This is because most of the finish sanding and epoxy coating is done before these parts are assembled into a hull. You are working "on the flat," with them, and gravity is on your side. The surfaces are completely accessible with a power sander, and uninterrupted by structural nooks and crannies. Best of all, this mold is not locked into producing a single hull size or shape. As we will see, it is the panel's perimeter layout that determines the hull's size and shape, allowing many variations from a single "mold." That's a real advantage to a manufacturer; he's not confined to making identical "mass production" models.

Vacuum Bagging Explained Remembering our own aversion to getting into vacuum bagging, and seeing that same hesitation even in master craftsmen, we have aimed these words to give you confidence. Vacuum, as a shop process, is no big deal. To prove it to yourself, especially now that you have a vacuum

mold, read through these simple steps until you get the idea, then dive in and make yourself a panel. The vacuum pump and accessories are inexpensive and uncomplicated, the warm-up exper-

vacuum technique. But if the mold of

iments are engaging, and we promise

ble, and then press the rest of it down to

that your ego will not altogether

the Dum-Dum. The large gathers that

the bag should develop a leak, the air-

disappear, even on the first try. Start by removing any epoxy residue, then wash the mold with plenty of plain water—just swish it down with a sopping-wet towel, rinse out, wring out, and wipe dry. The greasy film likes water, and will "jump right off," but if you leave it on the mold, or on the boat, nothing else will stick to it, not even more epoxy. After the mold is bone dry, apply the "vacuum tape." There are fancyproducts used in the industry that go by this name, but for our purposes we can use something like Mortite®, a hardware-store item that comes in a roll like cord but feels like modeling clay. It is widely used for household weatherstripping and caulking. You might find an equivalent at the autoparts store, known generically as DumDum, which is what we'll call the stuff hereafter. From either source, it's cheap. If you can't find Mortite® or DumDum, ask for weatherstripping at a mobile home supply store, or look for "hydraulic pump sealant" or commercial "vacuum tape." Whatever you use, it must have the right tackiness to stick to both the mold and the polyfilm. Use whatever works. Lay a double bead of it all around the perimeter of your mold and press it down. Then cover the entire mold with a layer of four-mil, common polyfilm, also a hardware store item. Pull the film tight along the PM axis and allow it to hang about 6" beyond the DumD u m a l l around, like an apron. Press it into the Dum-Dum so it doesn't slide around. The flat-sheet polyfilm will, when applied to the compound-curved mold, develop pleats, which have to be tailored to make the polyfilm fit. Cut darts in the film every 2' or so, starting up near the PM and going down all the way to the edges. Allow the film to overlap at the darts, and tape it back together with wide cellophane tape. Most of the wrinkles will disappear, but not all of them. No matter; the main purpose of this first layer of film is to keep the panels from getting glued to the mold; epoxy won't stick to polyfilm. It also serves another important function—protecting the Dum-Dum from dust accumulation so it doesn't lose its stickiness. The bag itself? Well, that's just another layer of polyfilm, but this one is not tailored like the first. Remove the first one for now, and drape the second one over the mold and pull the pleats up into as few, large gathers as possi-

stand up must now be sealed with Dum-Dum. Open the gathers and insert a single bead all the way from the fold at the top of the gather to the bottom, joining with the Dum-Dum on the edge of the mold. Squash it thoroughly from the outside; you can see any gaps right through the polyfilm. This method is preferred to cutting and taping darts for this layer because the tape may leak. The first layer you made doesn't have to be airtight; it's just a parting film, but it shouldn't have any big gathers in it that could bunch up underneath the veneer. The second f i l m , the bag, is the one that really gets sealed down to the DumDum on the mold. When you handle this bag, try to preserve the gathers in their sealed condition. Now you have two complete polyfilm "garments" for your mold, one tailored and one

way screen provides a lateral escape pathway all over, and will "bleed off" the leak to the pump, thus avoiding a local loss of squeezing pressure on your glue joints. As a consequence of sucking out all the air, the panel-to-be gets squashed down, absolutely smack-plastered, against the mold by atmospheric pressure. All we have to do is keep the air out for about three hours while the glue sets. The squeezing gives us very tight glue joints in the panel without using much glue, and without having to pepper the poor thing w i t h thousands of staples, then go to all the work of pulling them out afterwards and filling the holes, as in conventional cold

gathered. Here's how they will be used: After you have laid up a bunch of gluey veneer on the mold, on top of the first layer of film, the protruding apron of that first "garment" is folded up onto the veneer and held there with patches of masking tape—just to hold it up out of the way. The idea is to expose the Dum-Dum to the top layer of film, which is the fabled "vacuum bag." This bag is then applied over the top of everything, sandwiching the gluey veneer between the "bag" and the mold, with a Dum-Dum seal all around the edges. At this point we're going to suck the air out! If you want to get professional, you can put in an "airway" by tailoring a smaller garment for your mold, this one made of plastic window screen. Cut it small, to f i t well inside the DumDum. It goes just underneath the bag, but don't let it contact the panel directly or you'll have a screened-in boat. To prevent this, throw in still another layer of polyfilm—we call this the "underwear"—just to cover up however much of the panel is still exposed after the first film is folded up around the edges of the panel. So, between the folded-up first film, the airway, and the underwear, your panel is well buried before the bag finally covers everything. That's good; all that padding will protect the bag from being punctured by the sharp edges of the panel. The purpose of the airway is to provide a route for the air to escape from between all these layers of stuff. It is not strictly necessary in this smallsized mold, and can be dispensed with if you're not interested in sophisticated

molding. So now let's get on with the job and put two layers of film on the mold. The first layer is tailored, and adhered to the Dum-Dum; the second layer, the bag itself, has its pleats sealed with Dum-Dum and then it is carefully set aside, preferably on its own, long, custom wall rack, where it can live by itself, rolled up lengthwise into a long sausage to minimize the chance of damage from handling.

Vacuum Pump Before making a dry run at vacuum bagging, let's look at the vacuum pump itself. There is a variety of sources for pumps that suck air, from those you can build yourself to off-the-shelf models you can buy. At the expensive end, a vane pump of about one-sixth horsepower would be great for serious production work on this size mold. Such vacuum pumps are available The two molded halves of the hull, before they were joined together.

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from industrial supply houses like W.W. Granger or a Cast distributor, and cost about 1200. Somewhat less fancy, but suitable, are old milking machines and refrigerator compressors, which are sometimes available from commercial refrigeration repair shops. These old pumps usually sell for under $50, and can be tested with a vacuum gauge. (A simple gauge can be found at the auto-parts store. Buy at least one of them and install it in your system near the pump to help in detecting leaks.) Household refrigerators with usable pumps are often discarded, and are available free.

The prototype GULL shown here was laid up using just such a unit, scavenged from an ancient fridge, and has since been used to make dozens of other panels. Some paint-sprayer compressors

can be reworked to become vacuum pumps; their piston rings must be installed in reverse order and upside down. An oiler may have to be installed at the intake of a piston-type pump— just a pipe cleaner, stuck in a sealed jar of compressor oil that's mounted in the line at the intake, will probably suffice; the pipe cleaner carries oil from this reservoir into the intake line like a wick. For your vacuum pump, you could even use an old refrigerator "all standing." Leave the cooling line intact, but disconnect the vacuum line and run it via a flexible hose extension right to the mold. Re-wire the pump to a switch. Now you can store epoxy

reserves inside the old box; fix the light so it stays on, and replace the bulb with one of larger wattage to keep the epoxy at a nice working temperature. For laminating with these thin veneers, on this small mold, we do not need a "hard" vacuum or a lot of pump capacity. The only reason to buy a big pump is to keep up with a big leak if it should develop in the mold or the bag, and a big leak will get you into trouble eventually, anyway. So, any pump of any type that will pull a vacuum of 15" of mercury is plenty, but it must be reliable. If you go into production, you'll want a back-up unit, because if your only pump gets hot and crumps out in the middle of a three-hour squeeze, you may blow a panel, whose materials are worth a lot more than the time it would have taken to run your whole rig through a three-hour test. Some vacuum pumps are noisy; it helps to locate them, or any other steadily running noisy equipment, for that matter, far away from the mold, even in another room, to facilitate lis88

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tening for vacuum leaks. And some pumps discharge oil vapor, which you definitely do not want in the shop. But these are easy things to handle. Consider the versatility and simplicity of this tool. To repeat, vacuum is no big deal, and you can use it for all sorts of operations—spar work, decorative overlays, sandwich coring—limited only by your own imagination and performed by nothing more than manipulated air. However, vacuum does ask of you a bit of finesse. Unlike air pressure, with which you can get hundreds or even thousands of pounds per square inch, with vacuum all you can get is 14 pounds. Leaks amount to a large per-

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centage of the total suction available. However, for laminating with epoxy, all we need is six or eight pounds per square inch. You can almost get that much with a vacuum cleaner! (See WB No. 44 for more vacuum bagging details.)

finally, a balanced panel.

When this arrangement is applied to compound-curve panels, the physical properties that result are fantastic. The inherent strength of a balanced layup, when combined with the rigidity of the eggshell shape, gives a structure that is amazingly self-supporting. GULL weighs only about 80 pounds, PHASE II. but she is so stiff and puncture resistant that she needs absolutely nothing in MAKING PANELS the way of a skeleton to support her Veneer ¼"-thick hull. Considering all three The chronology of this project factors of weight, strength, and cost, actually begins here. Order your veneer this may well represent the most effibefore beginning work on the mold. It cient method yet of permanently enclosmay take time to find a source, and it ing space. And with a renewable matetakes time for shipping. rial! (We don't have to use premium Lightweight woods are best for this wood on the larger structures.) That's project, with western red-cedar at the why we think CC is interesting, and top of the list. We like to go all the way worthy of your attention. on materials, especially for "learning So much for plywood theory; it is curve" projects, where the challenge of included to explain why we recomhandling inferior stuff can throw the mend you place your order for about student for a loop. Therefore, we recom- 500 square feet of 1/16" red-cedar, plenty mend you use a premium-grade veneer; for a four-lamination GULL. That plan to make four layers of 1/16" thick- amount allows 40% for scrap, because ness, since we want this boat to be this stuff is vulnerable to splitting in almost bomb-proof. shipment and shop handling. If you Four laminations give us a fabu- try the Dean Company, of Gresham, lous CC panel. Not the cheapest or the Oregon, ask for short lengths; if they've quickest to build, but the easiest to got them, they're cheaper. build, w i t h the least difficulty in bendDo you believe in Murphy's Law— ing, the least "springback," and the t h a t if anything can go wrong, it will? best puncture-resistance. The extra What if you make the classic blunder— time it takes to apply one more layer is, inescapable at some point in your CC with Constant Camber®, not much career—of forgetting to reverse the time at all, as the two center lamina- layup, and the layout, between panels? tions can be done together. As in building two starboard panels. The two laminations in the center Or as in building one panel with its of the panel are laid with their grain surface laminations running the wrong running the same way, but on the way—that is, not perpendicular to the opposite diagonal from the inner and stem. Or building the other panel with outer surface laminations. That means its "easy-curve" edge toward the sheer the two surface laminations run the instead of toward the keel. Or perhaps same way, too, which they would not you have cut the transom rake the do if our four-lamination layup had wrong way. Come to think of it, we've each lamination alternating direction probably made all those mistakes in from the other. So, the double inner- the same boat. Maybe you'd better order 750 square lamination produces what is called, a "balanced panel"—that is, a panel feet of veneer, just in case you have to with the same amount of wood run- make one and a half GULLs. If you ning on both axes, and both surface don't build another boat, any extra laminations running on the same axis. veneer can probably be sold with your This is standard practice for marine- mold. grade, flat-sheet plywood, except that most flat panels have an odd number of Jim Brown, the inventor of Constant laminations. So does our four-lamina- Camber, is best known to the West Coast tion panel, if we consider the two cen- yachtsmen as the source of Searunner cruising trimarans. ter laminations as one! John Marples recently completed a twoThose two center laminations can year cruise through the South Pacific be applied to the mold without the islands and currently operates a yacht problems of trying to bend a single, design office in Port Orchard, Washington. thick layer over the curve of this mold. Dick Newtek, designer of the very sucWhat's more, those two perform as a cessful catamarans ROGUE WAVE and single layer, one that is twice as thick as MOXIE, is a partner of the Kamberwood each surface lamination, yielding, International Services, Inc. trio. 90       

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Retired at last from an engineering career, J.L. Meriam realized a longtime ambition when he began building his own 23' cruising boat MELE KAI. Part I of this article, which appeared in our last issue, tells the story of lofting the boat, setting up the backbone, pouring the ballast, and framing her up. Planking is next on

the agenda. I had placed an order for clear, vertical-grained 1 x 10" Port Orford cedar for planking, but the mill could only provide 4" and 6" widths, which I

accepted with some uncertainty about the amount of edge-set that would be required. Before committing myself, I had made a calculation of the edgewise deflection at the end of a 4" board 1" thick, clamped at its center and loaded by a single force applied at each end. From this calculation, I concluded that the edge-set forces that would be required were well within manageable limits. The alternative, probably one preferred by many professionals, was to use shorter but wider boards and

splice them with butt blocks. But for planks showing at the bow and stern. It me the pleasure of using full-length also gave a 2½" plank width at the bow planks took precedence. The cedar and stern rabbets, which was sufficient planking was air dried; I had stacked it to take two No. 12 screws and still leave carefully on the north side of the house plenty of wood. under the eaves and out of the sun and The first plank to be fitted was the rain, with spacers between each of the garboard, wider than the others at close to 6" and whose shape along the curved boards to provide air circulation. Planking is certainly the most portion of the rabbet was obtained by important part of the structure of a first making a cardboard template for wooden boat, and I must admit that the rabbet. The hood end was rounded this phase of the project was under- in order to avoid the use of sharp taken with some fear of the unknown. corners for the nibbed ends. Next came the sheer plank, whose To take advantage of the full-length planks and yet accommodate the lim- shape was determined by spiling in the itations of 4" and 6" widths, I devised a usual way. The resulting measurements procedure for determining the shape of indicated the need for a 10"-wide board all planks above the garboard and for from which to cut a plank that could be anticipating the amount of edge-set f i t t e d w i t h o u t edge-set. But I was required. Observations of good-looking limited to 6" widths, so the problem planking jobs on double-enders indi- was how to generate the shape of a cated about twice as many planks plank cut from a 6" board which, after showing above the waterline at bow edge-set, would conform properly to and stern as at amidships. With a the desired shape. Figure 1 with a plank width of about 3¾" amidships compressed horizontal scale shows how at Station 5 where the girth was great- the shape was generated for the sheer est, there were 18 planks required. This plank. With the plank modeled by a division resulted in seven planks above cantilever beam clamped at its center the waterline at Station 5 and fourteen and loaded by a force at its end, the All photos courtesy of the author

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deflection y corresponding to various values of x was calculated from wellknown beam theory so as to match the necessary deflection of 4" at Station 0. The resulting deflected curve showed the need for an additional inch of deflection so that the curve of the plank would f i t within the boundary of the 6" available width. Thus, the corrected deflection y for various values of x was calculated using the 5" value at Station 0. The after end of the plank was treated in like fashion. A similar procedure was followed for successive planks, and when put into place it was found that their deflected positions matched those of their adjacent planks with a minimum of additional wedging. The edge-set diminished progressively and was essentially zero for the fourth and f i f t h planks down. Then it reversed itself for the remaining planks. For the garboard and sheer planks and for several others where large edge-set was required, 6" boards were used. At least half of the planks, however, could be cut from 4" boards where the edge-set was minimal. Plank widths were determined by dividing the distances from sheer to

top edge of the garboard at each section by 18 - 1 = 17. These values were plotted against the length of the boat and resulted in a smooth curve. After establishing the shape of one edge of each plank from the y'-deflection data, the other edge was then determined from

a contour gauge laid against the frame and then transferred to the plank. Hollowing the planks was done with an old plane whose blade was ground to a slight curvature and whose wooden sole was also rounded. The recommended technique of transferring edge the plotted curve. (The validity of this bevels to a bevel board and then to the procedure was established when I came plank edge was followed, and a miniato the shutter plank and found that the ture bevel gauge was made for this widths required to f i l l the gap coin- purpose. Above the shutter, the top cided almost exactly with the widths edges of the planks were beveled, and indicated by the plotted curve.) below the shutter the bottom edges Using wide planking lumber to were beveled. avoid edge-set is expensive (and it was I knew in advance that the pleasure unobtainable in my case) and results in of full-length planks on a doublethe grain running out of the plank ender would introduce the complicaedge where curvature is appreciable. I tion of producing accurate fits for both believe the continuity of grain along ends of the planks in the rabbet. To the length of the plank permitted by meet this problem, each plank was first edge-set is more of an asset than a lia- lightly clamped in its approximate bility, as long as a strong backbone and position and its forward end tapped u n t i l its after end fitted properly in the good fastenings are used. With all this planning, I felt more sternpost rabbet. The plank was then confident in committing a precious clamped and screwed into place, workplank to the blades of my saw and ing progressively forward to within a plane. A 26' length of clear vertical- foot or so of the stem rabbet where it grained Port Orford cedar deserves a was then sawed o f f , with a small excess lot of reverence. in length. This excess was removed The hollow of the inside face of each with a small block plane until the plank at each frame was measured with hood end fitted properly in the rabbet

MULE KAI underway off Santa Barbara. According to the author, she shows a good turn of speed on and off the wind, is well balanced and dry, and behaves like a boat larger than her 23' length.

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as the last clamps and screws brought it into position. All planks were fastened with 1½" No. 12 silicon-bronze screws, two to a frame, and were clamped and wedged so that a 0.007" feeler gauge would not pass between the mating edges. The shutter plank was the toughest one for me to handle, as it had to f i t on both edges and could not be clamped to the open frames as were the rest of the planks. After several unsuccessful attempts to force it into place with shores from the outside, I decided to draw it into position with ¼" carriage bolts, one per frame, followed by a bronze screw. Starting with the stern and working forward frame by frame, each temporary bolt was removed and replaced by a ¼" bronze carriage bolt and a wood screw. In this way, the f i t of the shutter plank was as tight as that of the

others. If I were to build another boat of similar design, I would avoid the d i f f i culty of fitting the shutter plank by starting with the garboard and working up progressively, with the sheer plank last. Careful preplanning of the position and shape of the planks would permit this procedure. One h i n t from a professional builder came too late. He said that he always removed the garboard plank after it had been fitted, so as to allow chips and sawdust to drop out the bottom. I should have thought of this expedient! Although completion of the planking of M E L E KAI marked a major step in her construction, I knew I was really only one-third of the way through and was eager to push ahead. 94

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feel that the added strength they provide to the hull is well worth their inclusion. I cut solid oak deckbeams with a modest crown of 3½" at the after end of the cabin. Each beam was tapered from its center depth to something less than 2½" at its ends, in keeping with the fact that a simple beam requires greater strength at its center than at its ends. Major beams at deck openings were 2" wide, while more minor beams were 1 ½" wide. The crown of deckbeams forward of the cabin was measured so Before removing the molds, several that the fore-and-aft centerline of the 2 x 3" cross spalls were bolted to the deck would be a straight line in the tops of the oak frames to prevent any fore-and-aft vertical plane—a condiundue deflection. With molds out of tion favorable to bending the plywood the way, the bare hull looked from the deck later on. The beams were cut inside like some many-ribbed prehis- slightly short of the planking (1/16" or toric sea creature! Three bilge stringers less) so that any working of the beams were set in place on each side of the would not put pressure on the sheerh u l l at the turn of the bilge. Each plank fastenings. stringer was fashioned from cedar The main carlins along the house planking stock of about the same were cut from 2" oak and steam-bent dimensions as a typical plank. The before being placed in the boat. Each ends were allowed to find their natural j o i n t between a transverse and longipositions on the frames and were ter- tudinal deck member was mortised, minated a couple of frames short of the screwed, and set with epoxy glue. A stem and sternpost. Struts inside the pattern was made for each joint to h u l l were used to force the stringers ensure a close f i t . against the frames for fastening. W i t h the deckbeams in place, the Although some designers and builders shelf and clamp were installed. This omit such stringers as unessential, I sequence seemed preferable, at least After trying unsuccessfully to force the shutter plank into position with shores, the author turned to ¼" carriage bolts to draw the plank against the frames. When the job was done, the shutter was fastened to each frame with a bronze carriage bolt and a bronze screw.

for the shelf, as it could be fitted and fastened more securely with the deckbeams in place. The clamps were made from 1 1/8" cedar, 3 ¾ wide at the center

and tapering to about 3" at the ends. They were wedged and clamped into place, then fastened by ¼" bronze carriage bolts through each frame and the planking. Every other bolt was placed in the sheer plank, and alternate bolts ran through the next plank down. Each shelf was made from three pieces of cedar, 1 x 1 ¼ , bolted through the clamp and deckbeams. Breasthooks from 2" oak were fitted at each end of the h u l l and through-bolted to the stem and stern timbers. Before the hull was closed in any

more, it seemed wise to turn my attention to installing the engine. The engine bed stringers, white oak notched and beveled to f i t over the floors and planking, were secured to the floors and keel timber with threaded bronze driftbolts. Thrust blocks were fitted between the floors at the forward ends

The mast was glued up with 10 separate pieces of Sitka spruce. All scarfs were 8:1. On gluing day several friends assisted in fitting and uniformly tightening the 48 mast clamps.

of the bed to help transmit the thrust load more evenly to the keel timber. The engine, a two-cylinder Volvo Penta diesel, went in place easily with the help of my tractor's front-end loader, which enabled us to hoist the engine to the level of the forward deckbeams. From there, we slid it easily on planks down to a position directly over the mounting brackets, and then gently lowered it into place. As far as possible, the cabin interior was completed before the deck and cabin structure above deck were built, taking advantage at this point of maximum accessibility. Accommodations were simple: the galley was located adjacent to the main hatch, with space for the battery compartment and portable head opposite. Forward of these two items and separated by a partial bulkhead was the ice chest, which consisted of a stainless steel box surrounded with 2" of insulation. The two bunks were a f u l l 6'6" long with the usual lockers underneath, and under the forward ends of the bunks was fitted a stainless steel tank holding 16 gallons of fresh water. Forward of the bunks was space for two sail lockers and two anchors. The cabinet bulkheads were laid out using the "joggle stick"

method (see WB No. 39), a simple and accurate procedure for determining contours of plane surfaces. All surfaces of the cabinets and bunks were covered with Formica before being trimmed with mahogany; this treatment obviated the necessity for striking a good hand-painted line next to varnished trim. I had thought about

flat enamel and three coats of gloss, prior to being laid down. The deck was made from ½" marine out of this—Formica could easily plywood, which was fastened to deckentrap moisture and lead to rotting of beams and sheerstrake with 1 ½" bronze the deck. So instead, the underside of ring nails. A hole was drilled for each the deck was painted w i t h four coats of nail, which was then set with a special punch. Rather than glue the deck to

using Formica on the underside of the deck to produce a prefinished and lasting treatment. Fortunately, I was talked

The collapsible cabin table is jilted against the mast at one end to make it more secure. Here it is in the collapsed position.

the structure, I set it in Dolfinite to allow some w o r k i n g of the j o i n t between the deck and sheerstrake. This j o i n t is undoubtedly one of the most critical ones in the boat, as it must remain tight. To ensure a good joint, the top edge of the sheer plank and the adjoining deckbeams were first dressed carefully with a very sharp plane, and a flexible metal yardstick was used as a batten to check for hard spots and cont i n u i t y of surface. In preparation for laying the deck, I made a map of the deckbeams and recorded the locations of screws and bolt heads so that the deck nails could be driven without interfering with other fastenings. To ensure a tight joint along the sheerstrake, I made a special rig consisting of a bucket loaded with about 100 pounds of lead hanging on the end of a long wooden lever arm to double the force holding the deck against the top edge of the sheerstrake. This rig was moved progressively along the edge of the deck as nails were driven and set, and an extremely tight joint resulted— one that, after trimming, sanding, and priming, was almost invisible for its entire length. Transverse joints between

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was necessary to compensate for springback. Clearly, the greater the number of laminates, the smaller will be the springback. All beams were made with the same curvature to avoid the necessity of constructing a separate form for each beam, and also to produce a surface to which the plywood would more easily accommodate itself when being bent. The beams were screwed and

glued into their notches in the upper

screwed to plywood blocks let into the beams, as shown in Figure 2. This technique results in a joint that is fair

and cannot be seen from the underside

member along the cabin sides, and when in place, they were capped on their underside with a thin strip of mahogany to enhance their appearance. I fabricated the four cabin knees by laminating 18 pieces of 3/16" oak in strips 1 ¼" wide for each knee. The finished knees were carefully fitted, varnished, and bolted into place. The cabintop was made from a single 5 x 8 ' piece of ½" marine-grade plywood. The curvature of the cabintop required more bending effort than did the main deck, but again the clamping rig I've described was used and produced a tight f i t along all edges as they were screwed into place.

contour of the deck. To maintain the required shape with only minimum bending turned out to be one of the

most difficult fitting jobs on the boat. The outside face of the bulwarks was a fair continuation of the hull section, and the bottom surface was hollowed out slightly to prevent any rocking of the bulwark when fastened (Figure 2). Bronze lag bolts secured the bulwarks to each deckbeam end and, in between, to the sheer plank. The top of the bulwark was planed parallel to the deck.

The deck and cabintop received

The curved cockpit coaming was

their final surfaces of one layer of Yellow Jacket cloth and one layer of fiberglass window screen, both set in several the carlins with ¼" bronze carriage coats of Arabol lagging compound. The companionway sill, jambs, and bolts spaced every 6". In order to retain a fair shape to the sides, holes for the sides were cut from solid teak and ports were not cut until after the cabin secured in position with plenty of Dolfinite. Slides were bolted in place. The structure had been completed. Cabin beams were laminated from bulwarks were made in four sections three pieces of oak to form a section on each side of the boat. Each section 1 3/8" deep by 1 ½" wide. By experi- was laminated from two pieces of 2 x 6" menting, I found that a 10% overbend Port Orford cedar and cut to match the

laminated from oak strips, each of which had been steam-bent before gluing. Considerable overbending was necessary to compensate for springback. Railcaps, grabrail, and cabin trim were made from teak, and the hatch covers were made from Honduras mahogany secured with oak splines and inlaid with strips of African walnut between the planks. The forward hatch was designed with a deep double lip and gutter to discourage any invasion of the cabin by Father Neptune. The rudder took a full week to build. Since the backstay is secured to the rudderhead at a point on the extension of the hinge axis, the rudder had to be extra strong. Planks of 2 x 12"

of the deck. Cabin sides and ends were made from a single sheet of 1" marine plywood. These pieces were bolted through

All surfaces

of the galley joinerwork

were covered with Formica before being trimmed with mahogany. The turned post was made from the last remaining camphor wood timber of the Chinese junk NING PO, which had been burned and sunk in Catalina Harbor on Catalina Island off the California Coast.

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were used with cheeks of 1" ash. A special jig was designed for drilling for the five ½" bronze bolts that fasten the sections together. Cast-bronze straps were secured to the sides of the rudder for additional stiffening. The rudderhead is solid to prevent any dry rot from forming in the tiller socket. The tiller was made of ash; it handles freely enough to permit steering when the helmsman is standing. To prepare for caulking, a specially ground tool steel bit fitted with a wooden handle was prepared and drawn through the seams to finish them to a uniform size. I felt this technique was better than forcing the seams open with a dumming iron. One strand of cotton wicking was all that was required in most of the seams. A coat of

thinned flat white paint was squirted

weeks daily lists were getting longer

into the seams with a pressurized oilcan after the cotton was set, and then

rather than shorter as new tasks were thought of at a greater rate than existing tasks could be completed. My wife Julia and my daughter Mary Ellen christened the boat with one bottle-breaking swing, and after a three-year, four-month gestation period, and a few labor pains, MELE KAI was born. The following day, MELE KAI was rigged and ready for her maiden voyage under sail. Her initial performance was h i g h l y g r a t i f y i n g — s h e showed a good turn of speed both on mast was solid from the heel to about 2' and off the wind, she was well balanced above the cabintop and in the vicinity and dry, behaving like a much larger of the spreader and masthead fittings. boat. As I lay on the cockpit seat nudgAfter cutting the glued-up mast timber ing the tiller in a gentle breeze and to a tapered square, then to an octago- watching my English-made sails drawnal and finally a 16-sided pole, final ing nicely above me, I experienced a

the old standby of 50% white lead and 50% linseed oil with some whiting to thicken it was forced into the seams. Three or four applications of this putty were needed to fill out the seams above waterline, and after the boat has been in the water for six months or a year, the topsides will need to be resurfaced

since the putty will protrude a bit as the planks swell. Five coats of Z-Spar white undercoat were applied to the topsides, then two final coats of semigloss enamel were brushed on. The last major job was making the spars. Planks of Sitka spruce 18' long had been seasoning for over two years. My longtime friend Norman Schwartz came to the rescue with 48 mast clamps, which he had made and loaned to various boatbuilders over the years, and a

team of friends responded to the call for help in gluing the mast. Roughhollowing of the planks was started with a router and finished by working with a hand gouge, then sanding. The mast was made of 10 separate pieces with 8:1 scarfs. Plastic resin glue was

used. Except for a small hole for the antenna cable and masthead lights, the

rounding was easily accomplished with a sanding belt turned inside-out and powered with a rubber-lined drum turned by my 3/8" electric drill (Figure 3). The final phase of putting MELE

KAI together seemed to drag on and on, with a multitude of miscellaneous tasks to accomplish, including machining the bronze castings for the mast and deck hardware. The launching date was f i n a l l y set, and for the last two

great feeling of pleasure and relaxation. This one moment alone was worth all of the toil of the past three years. MELE KAI was in her element,

and I felt very much a part of her. J.L. Meriam is a visiting professor of Mechanical Engineering at the University of California, Santa Barbara. In 7955 he sailed the predecessor to MELE KAI, the MARY LEE, from San Francisco to Hawaii, and won first place in the Honolulu-toKauai race that year.

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A Form of Therapy Commentary by William Garden

A

ll rigs—cutter, schooner, ketch, or whatever—that are matched in form or style with the traditional hull once associated with it, seem to afford more than average interest to the sailor with a traditional streak in his makeup. The small cutters illustrated here, gleaned from my files as an interesting and relaxing project, are presented here for no other purpose than the pleasure of daydreaming. To those whose love is with the smallest-possible ships, I'll dedicate these little fellows, a group of cutters that have given much pleasure in their original planning and in their present assembly. From a designer's viewpoint, the designing of small yachts of this sort is a rather spontaneous development process when compared to the usual effort involved in a larger sail- or powerboat design. Larger craft require a methodical and detailed process, involving dozens of sheets of drawings and a regular book of specifications, bid conditions, and contract documents. By contrast I think of these little craft as a form of therapy—both for the designer and the owner. As I write this I wonder if, rather than building one large yacht requiring paid hands and much upkeep, it wouldn't be more satisfactory for an owner to build instead, a whole fleet of little ones. Sail a different one each day of the week, or have a personal squadron cruise with six or a dozen cutters involved. I recall reading about an Irishman having something of this sort in a fleet of apprenticemanned boats about 100 years ago. A great approach!

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Today we were working on the design of a ketch that will take about 150,000 man-hours to build. This evening we could convert the 150,000 man-hours into about six dozen little ones of endless variety, assuming an average of about 1,000 to 3,000 manhours building time for each of the small ones that we are discussing here.... But it's late, and I digress. For those who have missed Claud Worth's books on yacht cruising, design, and maintenance, I can recommend no more absorbing reading for an instructive evening of how things were. My introduction to Worth was in the mid-1930s when the fourth edition of Yacht Cruising came my way. This is a nice, fat volume with some 500 pages of cruising and technical lore, peopled as I recall by shipmates named "Green" and "Dalrymple" and a waterman named "Damp." FOAM in particular, one of Worth's small early cutter-

yachts, caught my fancy, since a flushdecker then seemed the ultimate ship. FOAM's deep model and great deadrise somehow seemed to be perfection compared to a flat-floored ship's boat conversion, especially when one's own boat had only 36" headroom under a tiny cuddy cabin. She also brought into focus an earlier hull we had discovered on the bottom of the ship canal and had tried to salvage. As I recall, the hull or hulk was about 18' long, narrow, with fair deadrise. The ballast was poured-in concrete. From our survey through 6' of water it appeared that she had once been some kind of a sailboat, so a salvage operation, kid f a s h i o n , was attempted with a couple of oil drums. We raised her to an awash condition and began the tow to home port. But alas, the drums lifted off the rotted deck, and the weed-encrusted hull was lost in mid-channel. Thinking back on it, we had bad luck trying to salvage more than one little cutter. The next one was an interesting 13-footer that must have been built by someone with recollections of the model of various small British shore-fishing boats. The 13' Itchen sailing punt shown in Dixon Kemp's 1884 edition of A Manual of Yacht and Boat Sailing and the Dover punt ARGONAUT as illustrated in Edgar March's Inshore Craft of Britain in the Days of Sail and Oar are close to her model. We found her in 1940 someplace along the harbor, and a couple of ex-school friends fixed her up as a miniature cruising cutter, the work being accomplished alongside a boatshop I had at the time. They had a great time patching her up from the last stages of neglect. Finally the fellows shoved off on an inaugural cruise down the Sound, though she still needed a coat of copper paint. The tide being on the ebb, they rowed and drifted north along the shore about five miles, where they found a broad, sandy beach and f l a t calm. They put her ashore in the

then, and the little AFRICA built at the time of KELPIE had a flush deck amidships and well decks fore and aft. This one I framed and planked too lightly and had no end of trouble with leaking, but she was a nice model. Old and honored shipmate John Adams had her for years and cruised w i t h her on quiet sunny morning to copper. With the Sound and on British Columbia the tide out, the hull was wheeled right waters. The lines of the two KELPIEs and and left for painting, but the flood tide in the afternoon brought a hard north- AFRICA are followed by what I'll call westerly with it. The beach was a dead Number 4, as an indication of a form lee shore, f l a t and hard, and with all t h a t might be closer to right. She inside ballast the cutter hammered her would have two skins of western redtired old bottom out before they could cedar, hard glued over a light longitudget her afloat. I can still see the two of inal frame. Her scantlings throughout them a day later looking apprehen- would be trimmed down for a light, sively through the shop door prior to strong structure with a low center of gravity that would allow her to carry a confessing the loss. One of the next c u t t e r s I was big rig. With a jackyard topsail, she involved with was not a salvage job but would be a great daysailer. The four a full-fledged design. The K E L P I E was models shown are all of about the same designed for Gavin Stevenson, who size and afford an interesting comb u i l t her in a corner of the shop as a parison. Based on this theme, I developed a spare-time project while he was going to college. Actually, that was KELPIE Number 2. KELPIE Number 1 was my design Number 5. In my y o u t h f u l enthusiasm, I estimated she could be built, in the 1937 economy, for 26 of the then-big dollars. A model of her hangs by the office door, worked up at the time from some red-cedar lifts. The drawings were done on tissue paper, so I've overlaid and hardened them in for the plans illustrated. This first KELPIE was to be a wellballasted centerboarder on the cutter theme, but w i t h more moderate draft. (The board wasn't fitted in the first d r a f t . ) I didn't have $26 in 1937, so the yawl PELICAN, an ex-ship's boat, prevailed for another two years to be replaced by the schooner GLEAM. But I've always thought about that first little cutter. I guess that Gavin's KELPIE (Number 2) inherited her name from the not-built cutter, although long before our time a larger cutter-yacht KELPIE was one of the major yachts on the Sound. Our KELPIE Number 2 was i n f l u enced by too m u c h education and the wave line theory of sine and trochoid wave form. This resulted in an excessively hollow bow and a fat midsection, which was incorporated as a nod without judgment to science. Flushdeckers were our idea of a real ship

32-footer w h i c h was built in the 1950s by Roily Kalayjian to his excellent standards and moored for years in Newport Beach. Another 32-footer (WB No. 60) was built for a later owner and is a development of Rolly's original. She's a nice model w i t h an appealing round stern. So after several others designed over the years, we're back full circle to Claud Worth's FOAM. I've always wanted to build something of this sort, so herewith is a more modern version that would be an interesting fast cruising yacht on somewhat the old-time theme. The cost of ballast required will be a shock, but the inside ballast of the old FOAM model would be nearly as costly, since it would still have to be lead in order to get the weight in with a reasonably low cabin sole. For a name, we'll call the new cutter CROW in honor of one of our daily lunch companions who sits outside the window of the island office and checks the menu for handouts.

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You will notice that CROW has a slimmer underbody than Worth's FOAM, with a more practical interior layout, but she is cramped again in comparison with some of today's highsided, beamy, racing/cruising designs. Nevertheless she is an interesting thing to sail and to be on board. Decks on the new version are double, w i t h diagonal red-cedar glued to beams plus a fore-and-aft layer, which is hard glued and edge butted without caulking seams as an overlay for wear and finish. The deck weights are kept low for stability. On deck the cuddy cabin companionway can be sheltered by a pram hood dodger. Around the covering board is a low toerail to take the stanchions and keep things on board. Good lifelines will give her a big advantage over the older sister; these and a roomy cockpit will provide some shelter at the helm. Spars are hollow and light in the interest of stability. The rig is traditional in appearance, but with a pole mast without the old-time fidded topmast. Gaff main and topsail track extensions are from John Powell in England, who carries some neat extrusions. The topsail can be taken in quickly to shorten sail, rather than having to pull down a reef in the main. On the wind, a topsail takes some adjustment. You will note the high lead to the peak halyards to keep the gaff from sagging off and the sail reasonably f l a t . While the halyards cut into the topsail on the port tack, the avoidance of twist in the main-andtopsail combination is worthwhile. On a quiet morning when a big jackyard topsail picks up an air coming in over the treetops and CROW starts to gurgle along, the advantage of the rig will become clear. Below decks I would varnish CROW

throughout, and give her some bright cushions. On deck, paint would be perhaps a sand color, with bright coamings and rail, dove gray or black topsides, a gold cove stripe along the sheerstrake, a broad white boottop, and copper bottom paint. To quote from Worth: "Can anything equal the delight of trying a new boat and finding her good—better than a n y t h i n g one has known before? FOAM's long, sharp bow rose and fell gently, cutting through the crests of the seas with a swish, swish, swish, swish. Of course, there was a good bit of spray f l y i n g about, but what matters when one is young?" Something like CROW will be another great step ahead with excellent performance under most any conditions. Yachts have improved 100

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in many ways since the days of the "plank-on-edge" cutter, but Yacht Cruising by Worth shouldn't be missed. The last cutter is about the size of

topmast, and a big jackyard topsail. This topsail rides up high where it will pick up the lightest draft of air to waft

and from more nearly the era of the old

her along in the lightest weather, but admittedly it will sometimes be a real

FOAM, but with a round stern, fidded

handful of cloth and sticks to set or to

retrieve. The drawing of the sketch CROW

plan for this cutter filled a short break from some involved and rather uninteresting acoustical specifications for another job of mine. DECIBEL would be an appropriate name for the boat,

but we've named her CAPTAIN WALRUS after my sometime island hand and crack-racing helmsman. With a deck length of 28'6", this one is 23'6" long on the water, has 7'6" breadth on deck and 6' draft, and displaces 16,954 lbs (about the same as CROW), of which 8,500 lbs is in the outside lead. Sail area in the three lowers is 503 sq f t ; 104 sq ft is added by the jib topsail and 131 sq ft by the jackyard topsail, giving her 738 sq ft total sail area. William Garden is a naval architect who lives in Victoria, British Columbia. He is also the author of the book Yacht Designs, published by International Marine.

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An Antique-Shop Sandbagger Commentary by Steve Redmond

A

fter I'd drawn out the lifts and profile of the sandbagger half model (discussed in the last column), I made some guesses about the boat it represented. These guesses were based on measurements of things like station spacing and lift thickness—numbers and abstractions, really—yet they gave me a few insights into both the solid object before me, and the intentions of the man who once carved it. I wanted to learn more if I could, and the best way I knew to do that was to work out a few design coefficients. A numerical approach to tradition may seem like an odd way to go about things. After all, this model was presumably shaped by a builder who had no interest in prismatic coefficients or curves of areas. Times certainly havechanged. A contemporary designer wouldn't consider relying on his carving skills to produce an acceptable hull shape. Such opposite preferences are based more on personal experience with one method or another than on any inherent Tightness. Both have produced wonderful boats. But like many such viewpoints in boating, they've been taken to extremes. Occasionally you'll hear a boat described as if it were a simple machine, its lines determined through a pure process of modern numerical analysis. Or the opposite— an a n i m a t e being, framed without recourse to even simple arithmetic, by a "good eye"—presumably stuck somewhere in the head of its lucky designer. My own feeling is that you need to exercise both a good eye and a good mind if you really want to appreciate the shape of a hull. Certainly a strong visual sense of proportion is essential

to any designer, whether he carves out a half model, or pens his lines on Mylar. But so is a strong analytical curiosity, and an understanding of physical quantity and dimension. By tracing the l i f t s of the model, I

had a builder's view of the hull transferred to paper—a view in which the lines were oriented to the keel. I then set about translating that view into the load waterline-oriented view favored in contemporary practice. This turned 102

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out to be an interesting, if nontrivial, exercise in projection, taking about

two days to complete. In the process, I was also retracing the historical transition of design methods from designerbuilder to designer-draftsman. Originally, there were 24 stations lightly marked in pencil along the top and back of the model. These stations were set up on 1" centers (1' centers, at f u l l scale), except at the bow and stern, where allowances had apparently been made for the cutwater and transom planking. The stations had been set up at right angles to the lifts (or waterlines). I'd originally thought that they were perpendicular to the keel, too. B u t on c a r e f u l measurement, t h i s turned out not to be so. The keel l i f t had been gradually thinned toward the bow; the taper amounted to about an inch on the full-scale boat. The difference is unusual, and I am not sure just why it was done. Normal keel drag on a boat like this sandbagger would have amounted to between 8" and 1', so it was not the drag that was being represented. The model seemed too carefully made for the taper to have been an error—it may be related to the similar 1" adjustment in the sheer l i f t , as mentioned in this column in the last issue. Generally, an older half model's

lifts are located parallel to the keel. A builder at the turn of the century would have constructed a vessel from such a model in the following fashion. The stations would have been measured from the model's waterline lifts and laid down (or lofted) at f u l l size. Patterns for the sawn frames would be "picked up" from the lofting, and the frames themselves, once made, would then have been set up at right angles to the keel; then, construction would proceed. It is important to keep in mind the fact that the lift waterlines are not related in any way to the boat's actual load waterline (LWL). The true load waterline of a boat when afloat is not usually parallel with the bottom of the

keel, which on almost all traditional working boats angles downward toward the stern. This is commonly called keel drag, and its various purposes are to

properly distribute the area of the keel for good sailing balance, to protect and support the rudder, and to reduce the area of the boat's forefoot for better maneuverability. Unfortunately, there were no marks to indicate a load waterline on the half model. I had to estimate its location. I looked carefully at the hull form. Therewere plenty of clues. Generally, the LWL of a sandbagger would be expected to pass near the apex of the transom. At the stem, it would be located high enough to yield a moderately deep forefoot. If the waterline were drawn properly, the sheer should dip to its lowest point at about two-thirds the overall hull length abaft the bow. Looking at the sections, the hard t u r n of the sandbagger's bilge

should probably begin just about at the LWL at mid-length on the hull. Squinting with the best eye I could muster, I drew a line on the profileview which I thought best satisfied these conditions. I'd settled on a waterline that yielded a draft of 24", 10" of keel drag, and 14" of immersed forefoot. This, of course, was only a guess. But then, a lot of naval architecture is a matter of estimate, rather than verity. The man who carved this model guessed at the way she'd float if built at full size. I did, too, and after a little more sketching and squinting, I committed my guesses to ink. New waterlines were projected at 6" intervals and drawn out in plan view (as if seen from overhead) on a new sheet of paper. A new hull profile (side view) was drawn showing the boat at proper floating attitude, and station lines were struck. Contemporary naval

architects favor setting up an even number of equally spaced stations to facilitate figuring displacements by a mathematical method of integration called Simpson's Rule. Another method, called the Trapezoidal Rule, can be used where station spacing varies or an odd number of stations are required.

The half model had originally been penciled to indicate 24 stations on 12" (to scale) centers. These likely represented frame spacing on a full-sized boat. For my purposes, 10 stations were

sufficient, and much more convenient than 24. The waterlines, sections, and buttock lines were all drawn in and faired up. The new drawing was quite different from the first tracing, as can be seen by comparing the lines in this column with those in the last. The LWLoriented projection altered the shapes of both waterlines and sections while presenting a more realistic view. The sections showed a hull with strongly vee-ed flat floors and a high, hard bilge. The midsection had almost 20 degrees of deadrise and a correspondingly deep fairbody draft, notable for so wide and shallow a boat. Clearly the designer had intended that this hull have a generous displacement, when compared with the New York working smacks from which the type originally derived. The widest part of the hull was at Station 6, well aft of mid-length. The widest part of each waterline, starting with WL-6", was located progressively farther aft, yielding what is called a

raking midsection. The rake was practically linear, so I drew in a dotted line to indicate it. Generally, a raking midsection encourages a narrow waterline forward and a long, flat run aft in a shoal-draft hull, at the expense of good dynamic balance. The buttock lines did indeed show a run that was long but with a fair degree of curvature. I was interested by the depth of midsection, its location well a f t of center, and the fullness of the run. The volume of the hull was shifted well to the stern. I thought of the shifting ballast concentrated in a sandbagger's cockpit, and I began to appreciate the reason for such a hull shape. I expected that the rearward shift of displacement would show up in the location of the hull's center of buoyancy and curve of areas. In order to find out, I had to take the boat's displacement. A little work with a planimeter yielded a figure of almost 8,000 pounds for the boat floating on the lines I'd drawn. This sandbagger was presum-

ably modeled to the inside of planking, and the keel and external stempieces weren't represented, so the actual displacement would have been somewhat higher. At first, I thought 8,500 pounds might be a little much for an open shoal-draft boat of this length. But after considering her beam of nearly 11', the probably enormous size of her rig (say 800 square feet of sail, with a 36' mast, 30' boom, 6' boomkin, 18' jibboom, and a 12' bowsprit), the weight of the sandbags she carried, and the size of the crew required to handle a man-killer like this, I decided the figure was just plausible. The center of buoyancy (CB) worked out at about 9" behind Station 5, a moderate distance aft. If I'd redrawn the boat with more drag to the keel and a shallower forefoot, the rearward shift of the CB would have been more pronounced. I next drew a curve of areas.

This is a graphic representation of the distribution of displacement along the h u l l . It is drawn by making a mark at a distance out along each station line

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proportionate to the underwater area of its section. These marks are then connected by a smooth curve yielding a picture of the concentration of underwater volume along the length of the hull. This curve of areas has value only in a relative sort of way. There is no one "right" shape for the curve, but it is useful for comparison with curves of area for other similar boats. Different kinds of boats show different kinds of curves, just as different kinds of hulls show different sets of lines. A canoe and a catboat require different hull shapes, and different characteristic curves of area. The entry and exit of the curve for this sandbagger both show some hollow. This is quite usual, but the degree of hollow at the stern is pronounced. I interpret this as the combined result of the hull's hollow garboard in sectional view a f t of Station 8, and an increasingly rapid upturn of the buttock lines in profile aft of Station 9.1 believe that a flatter curve of areas aft might have been an advantage on a boat as heavily canvased as a sandbagger, as I think it

would reduce wave-making resistance when a boat is sailing in anything but light airs. The entry is slightly hollow, but I wouldn't change it; it looks very fine, w i t h o u t having been pinched in. A narrow entry without excessive hollow is an admirable feat on a wide boat with a plumb stem. The even quality of the entry is visible on both the curve of areas and the forward waterlines. I think the entry is my favorite feature of this h u l l — i t looks good on the model, it looks good in the lines, and it looks

each waterline intersection previously marked in Step 2. Transfer it to the corresponding perpendicular drawn in Step 3. 5) Draw a fair curve through these marks, and you have a properly projected section. The method is similar to t h a t used to project a f l a t , raking transom in conventional lofting. Repeat until all sections are drawn. 6) On a new sheet of drafting paper or f i l m , lay out a conventional three-view station and LWL grid. Transfer the h u l l profile to the new drawing. 7) Trace the sections from the old drawing onto the body plan grid. Make sure that the centerline and LWL are lined up for all sections. The old l i f t waterlines will no longer be in registration and should not be traced. 8) Strike new waterlines on the

of a hull shape, I decided to figure the hull's prismatic coefficient—a number that expresses the degree to which a hull has been fined at the ends. It is determined by comparing the underwater volume of the hull with that of a solid having a uniform section equal to the hull's midsection below the waterline, and a length equal to the LWL. In this case, it worked out to .55, a relatively high figure. A figure of .55 means that the hull is full ended with displacement distributed toward both the stem and stern, a fact that is also apparent in the lines and the curve of areas. Recently, prismatic coefficients have been related to average hull speeds. There have been a lot of attempts to figure the "ideal" prismatic coefficient for specific velocities. Unfortunately, almost every source of such information has varied in its recommendations when it comes down to actual figures, and there seems to be some confusion about whether the area of a sailing hull's keel should be figured in when determining a specific coefficient. I prefer to view the prismatic coefficient as a relative tool for comparing one boat to another rather than an absolute one. I don't think there is one right figure for a particular boat; rather, there is a range that is appropriate to any particular type. Generally, a high prismatic coefficient works out best for highly powered boats, like the sandbagger, sailing in the higher speed ranges. In addition, it's my own feeling that an increase in prismatic coefficient in a shoal-draft design encourages an increase in initial hull stability. The figure of .55 is consistent with the requirements of a sandbagger; the range for other sailboats may reach to a low of .49. There are a lot of other calculations which could be applied to the sandbagger—waterplane coefficients, stability curves, wetted surface, and others which I haven't had time yet to explore. While it is unusual to treat older hulls to this kind of scrutiny, I think it can

new body plan you've j u s t created at

provide insights into designs of the

convenient intervals. With dividers, take their half-breadths at each station and layout the waterlines on the plan view. 9) Strike buttock lines in plan and body plan, and project onto the profile. Fair the lines with diagonals where necessary. A check against the original drawing can be made by comparing buttock lines in profile. They should correspond exactly

19th century at least as well as it does for those of the 20th. I know such an approach won't interfere with my appreciation for the traditional skills that shaped the refined model that hangs on the wall before

good as a plotted volume. It is interesting to note that the curve of areas peaks near Station 6, about 2' abaft the midsection, while the center of buoyancy is located only

9" a f t of center. This difference is a result of the ease and length of the curve's entry, and the combined shortness and hollow of the exit. They tend to confirm that displacement is concentrated somewhat a f t of center but drops off rapidly before reaching the stern, while it is well distributed forward of Station 5. As a final excursion into the math

Reorienting a Lines Plan Older half models, like the sandbagger, were often fashioned with the lifts parallel to the keel. While this poses no particular problem for a builder using traditional methods to construct a hull, a load waterlineoriented rather than keel-oriented set of lines is helpful when studying a design, calculating coefficients, or comparing one boat with another. Unfortunately, I've never seen an explanation in print of a method to convert a set of lines. For those interested, I've worked out the following procedure: 1) Draw a straight line on the original profile to indicate the estimated load waterline. Erect stations perpendicular to it at a convenient spacing. These will cross the old l i f t waterlines at an angle (rather than perpendicularly). 2) Project the intersections of l i f t waterlines and new stations in profile down onto the plan view. Mark each intersection on its corresponding plan-view waterline.

3) To draw the sections, lay each one out individually atop the profile view, using its station line as the centerline. In other words, lay out Section 1 on Station 1, Section 2 on Station 2, etc. Erect perpendiculars to each station line where the lift waterlines cross it in the profile view. 4) Go to the plan view and, with dividers, take the half-breadths of 104

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when the hull profiles are in registration.

me. Though the character of a boat

afloat is f u l l y constrained by neither prior calculation nor intuition, the best understanding we can have is composed of a good measure of both. Steve Redmond is a designer of small rowing and sailing craft in Burlington, Vermont.

Finishing, by Walter J. Simmons. Ducktrap Woodworking, Lincolnville Beach, Maine 04849, 1984. 97 pages, indexed. $20.00.

"F

inishing is an acquired skill that requires knowledge of the subject, attention to detail, patience, and a fair measure of persistence," Walt Simmons writes in the introduction to his new book. He then goes on to describe his experiences in finishing the many boats he's b u i l t , giving the brand names of the paints, varnishes, oils, brushes, etc., that he's used successfully in his own shop. The result is a useful reference book, vinyl bound and styled like a notebook (printed on one side of each page), with wide margins on either side of the text for the user's own notes. In one of the first chapters, Simmons introduces us to the tools of the t r a d e — b r u s h e s , scrapers, sanders, masks and respirators, and brush spinners. The essentials of cleaning and trimming brushes as well as sharpening scrapers are covered. First-time finish work over bare wood is a strong theme in the book. The outlined preparation is geared toward new construction, stressing such things as the removal of pencil marks and water stains from the wood before finishing bright. Sanding with a progression of finer grits and paper, getting into tight spots, hand sanding vs. power sanding, and recycling your paper are discussed, as well as sealers, fillers, and putties—their strengths and weaknesses, and their proper application. Simmons then takes a look at undercoatings, of which there are a good many to choose from; but he narrows them down to the undercoating he has found the best (and I tend to agree with h i m ) . He gives brand names for his preferences, from the undercoat to the finish coat, but if it's a high-gloss, mirror-finish look you're after, you'll not find it here. Mr. Simmons stands by his practical semigloss finish—tried and true. His description of paint application and brushing technique seems to be well thought out and clearly written, but it would be further enhanced by some illustrations. Basic thinners and their role in painting are out lined, but I get the impression that Simmons uses as few as possible, perhaps because he does his painting inside a shop,

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away from the bothersome elements of sun, wind, humidity, and dust, to name a few. Simmons discusses cutting-in and masking techniques, but here again I t h i n k a few more illustrations would complement the descriptions. Varnishing is given a chapter of its own. Cleanliness and good lighting

are stressed, as well they should be. Simmons is a strong advocate for clear sealers as an undercoat for varnish. There is a nice chapter on gold leafing, and it covers the different types of leaf, sizing, application, and burnishing. Oiling your boat? Both n a t u r a l and synthetic oils are talked about. In the end, there was no doubt in my mind that the old-fashioned natural oil treatment is what I would use, but you're

given the pros and cons and left to

One Day Celestial Navigation, by Otis S. Brown. Liberty Publishing, Cockeysville. MD 20770. 133 pp. $6.95. A simplified explanation for beginners. The Essential Knot Book, by Colin Jarman. I n t e r n a t i o n a l Marine Publishing Company, Camden, ME 04843. $6.95. Knots, bends, hitches, whippings, and splicings in diagrams and photos, w i t h emphasis on modern synthetic rope. Cajuns of Louisiana Bayous, by Josef [Joseph L. Killeen, Jr.]. Authentic American Art, 1055 St. Charles Ave., New Orleans, LA 70130. 55 pp. Photo album of life along the bayous, including

much about the watercraft. Fine Woodworking Techniques 6. The Taunton Press, New-town. CT 06470. 231 pp. $16.95. Anthology of practical articles from Fine Wood-

working magazine, issues 32-37. A Scratch Modeler's Log, by Henry Bridenbecker and A. Richard Lansir. Aero Publishers, Fallbrook. CA 92028. 112 pp. $17,95. Text and photos of 17 models b u i l t by Bridenbecker. Basic Sailing, by M.B. George. Hearst Marine Books. 100 Madison Ave., New York, NY 10016. 112 pp. $8.95. Revised edition. Islands, by B i l l Robinson. Dodd, Mead, 79 Madison Ave., New York, NY 10016. 228 pp.

make up your own mind. The book includes a chapter on boat maintenance and repair; this cov- $22.95. The romance of islands through the eyes ers storage, cleaning, touch-ups, and of a cruising man. At/antic Circle, by Kathryn Lasky Knight. trouble spots such as fastenings and Norton, 500 F i f t h Ave., New York, NY seams. Simmons touches briefly on W.W. 10110. 222 pp. $ 16.95. Cruising story of a different paint and varnish removal, and dis- stripe—that is to say. well written. cusses using the propane torch, the Fine Woodworking on Proven Shop Tips; electric burner, and the not-so-unfamil- d i t t o on The Small Workshop; ditto on Woodiar disc sander. Simmons reserves chem- working Machines; ditto on Boxes, Carcasses, and Drawers; ditto on Bending Wood; ditto on ical stripper for all the little tight spots Making Period Furniture; ditto on Joinery; ditto that resist other methods. While the on Planes and Chisels. The Taunton Press, Newbook is strong on finishing techniques town. CT 06470. Each approx. 100 pp. Each for new, small boats, it is somewhat $6.95. Each a selection of articles from d i t t o . The Razor Edge Book of Sharpening, by John lacking in direction for the general J u r a n i t c h . Warner Books. 666 F i f t h Ave., Newproblems one encounters trying to turn York, N Y 10103. 145 pp. Sharpening edge tools, a backyard derelict into a princess. I including the adze (where have you seen that wish there were more information on covered before?). Table Saw Techniques, by Roger W. Cliffe. refinishing. Sterling, 2 Park Ave., New York, NY 10016. There are some interesting short 352 pp. $14.95. Complex work from a simple sections on caulking, finishing canvas, machine. Sailing the Annapolis Way, by Capt. Ernie and scribing waterlines, the latter being Stackpole Books, Harrisburg. PA 17105. accompanied by a very clear illustra- Barta. 160 pp. $9.95. Basic how-to by the director of the

tion. And last but not least, the author

discusses bottom paints. All in all, I enjoyed this book on painting and finishing. It has been well thought out and is clearly written by someone with experience. Walt Simmons offers his experience to the reader, and it's a far better way to learn than by trial and error. —Kathy Bray Kathy Bray first worked as a professional painter at the Mystic Shipyard in West Mystic, Connecticut. After a couple of seasons there, she became a finish painter for the shipyard at Mystic Seaport Museum.

Books Received "Grog Ho!", by Barbara F. Dyer. CourierGazette, Rockland, ME. 181 pp. $29.00. "The history of wooden vessel building in Camden. Maine."

The Worst Journey in the Midlands, by Sam Llewellyn. William Heinemann, North Pomfret, V T 05053. 192 pp. A cruise by row-boat along English canals and rivers; if this is the worst

journey possible, the best must be fabulous. Practical Boating, by Tom Bottomley. Tab Books, Blue Ridge Summit, PA 17214. 172 pp. $10.25. Navigation in sight of land. A Seaman's Guide to the Rule of the Road. N a v a l I n s t i t u t e Press, Annapolis, MD 21402. 466 pp. $13.95. Self-teaching text on the 1972 international regulations as amended to June, 1983. Wake of the Coasters, by John F. Leavitt. Mys-

tic Seaport Museum. Mystic, CT. 208 pp. Paperback reprint of one of the most enjoyable (and accurate), personable histories of the northeast's coasting fleet. Sailing on a Micro Budget, by Larry Brown. Seven Seas Press, Newport, RI 02840. 163 pp. $14.95. "Here's my advice: It's the underlying premise of this book: Think m i n i m u m . " The Story of the Century, by William G. Wittig. Century Boat Company, Manistee, MI 49660.

176 pp. History of a company that produced speedboats, pure and simple. Little Ships & Shoal Waters, by Maurice Grif-

fiths. Conway Maritime Press, 24 Bride Lane, Fleet Street, London, England. 188 pp. £8.95. Designs for and cruises in boats intended for thin water; G r i f f i t h s evokes an ethos. The Annapolis Book of Seamanship, by John Rousmaniere. Simon & Schuster, 1230 Avenue of the Americas. New York, NY 10020. 347 pp. $24.95. Sailing seamanship in encyclopedic form.

Annapolis Sailing School. Coastal Navigation for the Small Boat Sailor, by Jeff Markel. Tab Books, Blue Ridge Summit. PA 17214. 250 pp. $15.50. Navigation in sight of land. Yachting Signal Book, by J.R. Collier. Cornell M a r i t i m e Press, Centreville. MD 21617. 118 pp. $17.50. Flag and radio signals for pleasure craft as opposed to commercial and naval vessels. Battleships in Transition: The Creation of the Steam Battlefleet 1815-1860, by Andrew Lambert. Naval I n s t i t u t e Press, Annapolis, MD. 160 pp. $18.95. A hitherto ignored facet of naval history examined in detail. The Sailboard Book, by Jake Grubb. WAV. Norton, 500 Fifth Ave., New York, N Y 10110. 21 Opp. $15.95. Legend, lore, how-to on a madcap sport, w i t h lots of all-stops-pulled-out color photography. The Cruise of the KATE, by E.E. Middleton. Sheridan House, 145 Palisade St., Dobbs Ferry,

N Y 10522. 165 pp. $9.95. Cruise around England, singlehanded, in a 23-footer in 1869. 64/WoodenBoat

107

THE YEOMAN OAK PART I As a brief departure from the usual question-answer format, this column and the next are devoted to several dilemmas and questions that pop up regularly when boatbuilders discuss the ubiquitous oak.

Britain has only two native oaks, the sessile oak (Quercus petraea) and the pedunculate oak (Quercus robur). During the height of the great shipbuilding era, the sessile oaks predominated in lowland England while the pedunculate species was limited primarily to the North and Scotland. When a boatbuilder ordered a load of oak, he had only to be certain that he was getting heartwood—the choice of species was understood. Thus, when the colonists arrived in America, they had a good sense of what "oak" meant in terms of wood properties. What they could not anticipate was the huge diversity of oaks to be found in the New World. ' E.L. Little's Checklist of United

States Trees (USDA Handbook No. 541) lists 58 native tree species in the oak, or Quercus, genus (not counting at least nine varieties and ten shrubs). It is, by far, the largest group of closely related species in the country. Oaks grow in a wide variety of habitats, from subtropical to north-temperate and on very dry to very wet sites. It is not surprising, therefore, that the wood properties of these different species could vary considerably. One might say that the variability of the American oaks mirrors the great diversity of the American immigrant—neatly pigeonholing either one is a difficult task. Red or White? As more than 10 years have passed since WoodenBoat published an article comparing red and white oaks, it may be appropriate to recapitulate and update some of that information. Most boatbuilders recognize that the oaks are often divided into two basic groups—the red oaks and the white oaks. The principal species of each group are listed in the table. 108

WoodenBoat/64

Two questions arise: ( 1 ) Is it possible to validly separate the red oaks from the white oaks based on wood identification features? (2) Are the wood properties of the species w i t h i n each group consistent enough, and are the two groups d i f f e r e n t enough from one another, that we can make meaningful utilization decisions based on choosing white versus red? The answer to the first question is yes, but the method is not as simple as is usually portrayed. The answer to the second question is a qualified yes (which, of course, also makes it a qualified no). We will sort out the identification question first and deal with the

second question in the nest issue. As the name suggests, red oak (wood) often has a reddish tinge; white oak is usually a rich light brown. This color difference is subtle, sometimes nonexistent, and never applies to the sapwood, which is creamy-white for both groups. Color should not be relied on as a definitive character difference. White oaks usually have a frothy substance in the large early-wood pores in a growth ring, as seen on smoothly shaved end grain (see drawing). This substance, tyloses, is often absent or poorly developed in red oak. However, some white oaks fail to develop tyloses to any degree, and red oaks, especially

diseased or stressed trees, commonly develop tyloses. So this distinction is no better than color as a definitive distinguishing feature. The most reliable, consistent feature is the shape, and to a lesser degree size and number, of the late-wood pores (see drawings). In order to see these pores, you must caref u l l y smooth the end-grain surface w i t h a very sharp knife or razor blade, and use a hand lens of at least 10 x magnification. White oaks will have very tiny and numerous late-wood pores and these will be angular, or irregular, in shape. Red oaks will have larger and fewer late-wood pores and they will be round, or oval, in shape. Also, the transition in size from large early-wood pores to small late-wood pores will usually be more gradual in red oaks than in white oaks. Of course, if you can be on the spot when the trees are cut, the separation of white from red oak is considerably easier (unless you are winter logging). The leaves of red oak have one or more bristle (or, hair) tips; leaves of white oak lack these sharp-pointed tips. For many oaks the leaves are deeply lobed, and in these cases the distinction is quite clear. For species that lack lobed leaves, one must look more carefully for the presence or absence of the bristle tips. The drawings indicate some of the variation for both groups. Live oak and some other southern and western

oaks retain at least some of their leaves throughout the year and, therefore, are clearly distinguishable even in winter. Being able to identify oaks to a particular species in the forest is not only quite possible (with any handy tree identification book) but could be of considerable value if you have access to your lumber at the source—the forest. For instance, chestnut oak (Q. prinus) is a white oak with a high average decay resistance, while swamp white oak (Q. bicolor) is only marginally better than some red oaks. Similarly, among the red oaks, southern red oak (Q. falcata) is notoriously weak compared to the other red oak species and, hence, should be avoided if possible. But more of this variability in the next issue. The oak, symbol of yeoman strength since Pliny's time—hence the

Latin robur or "strength" in the specific name for the English pedunculate oak, and the corruption into Roble, the common name for oak in Mexico and Central America—is also the symbol of yeoman service; and it's in this role that we w i l l next examine the oaks as boatbuilding woods. Richard Jagels 64/WoodenBoat

109

WoodenBoat A Classic Restored

SMALL YACHTS: Their Design and Construction by C.P. Kunhardt Nearly 100 years ago, C.P. Kunhardt, editor of Forest and Stream magazine's yachting section, put together this first major American study in yacht design. Of considerable significance, this book is preeminently an examination of the evolution of the whole range of types of small yachts. This new edition, with its scores of plans and illustrations, makes available again a neglected, but important, work that will add to the modern reader's understanding of the history of yacht design in America. The illustrations alone are worth more than the price of this book. Material from the original edition relating to the processes of yacht design and construction and to other areas of pleasure boating, less germane to the evolution of specific types, has been omitted. A WoodenBoat Book. 288 p., 150 illus. Cloth-bound edition: $30.00. Soft cover edition: $20.00.

BOATOWNER'S GUIDE TO MODERN MAINTENANCE by John Duffet At last, here is a complete reworking and updating of the author's earlier Modern Marine Maintenance, a book that has been called "the most useful single-volume book on boat maintenance for the amateur owner." Although the book covers "other" materials as well, a very significant portion is devoted to wooden boats. There is much new information on modern sealants, paint systems, the wood epoxy-saturation technique, and cold molding, and how to repair every type of wooden boat. The book briefly discusses the fundamentals of construction (although this is not a "how-to-build-a-boat" book), the repair of both minor and major defects, the tools to use (and not to use), provides shortcuts to sound repair, tells how to inspect for damage and wear, which routines to follow to prevent trouble, and what to do when trouble occurs. 208 pp. Illus. $19.95

At last it's done!

THE RIGGER'S APPRENTICE by Brian Toss Illustrated by Robert Shetterly This may just be the best "how-to" book yet published for the sailor who wants to learn how to work on his own rigging. Although the knots a sailor needs are all here, this is not another knot book. And it is not a mere survey of rigs; it is a complete "apprenticeship" in the art of rigging. This book is for the sailor who wants the satisfaction and good, hard-cash savings (that can be measured in thousands of dollars) of stepping his own mast, inspecting and maintaining his rig, and turning his own tailsplices and wire eyesplices. It is for the boatowner who wants to replace an entire gang of rigging himself—measuring, choosing appropriate wire, turning soft eyes, leathering, and serving. And it is for the cruiser and blue-water voyager who needs to feel secure in the knowledge that, should a shroud suddenly carry away at sea, he will be able to repair it. It's all here, presented with great clarity, thoroughness, and good humor, along with an abundance of accurate, and often whimsical, drawings. Finally, for dessert, there is a chapter on tricks and puzzles; Brion Toss just couldn't resist!

240pp. 600 illus.

WoodenBoat Ten-Year Index The new, comprehensive index to WoodenBoat magazine throughout its first ten years. With the TEN-YEAR INDEX you will have at your fingertips an unmatched resource of priceless information on the design, construction, use, history, care, and repair of wooden boats of all types and sizes. Arranged alphabetically, the INDEX, with over 8,000 entries, will guide you to the answers to just about any question you could have on the subject of wooden boats. If you read and use WoodenBoat magazine, you can't afford to be without this all-new INDEX to our first 60 issues. 84 pg. Softcover $9.95 FOR MERCHANDISE & SUBSCRIPTION ORDERS: Call 1-800-225-5205 (in Maine, 1-800-225-5800) or use our order form on page 136.

$27.50

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In 1929, as the last glorious days of commercial sail were rapidly passing into history, Captain Irving Johnson, of YANKEE fame, sailed aboard the great bark PERKING. In this exciting 37-minute film, he narrates that passage in the style that has made him a favorite on the lecture circuit around the world. Johnson filmed not only the daily activities of a crew keeping a large sailing ship moving, but captured spectacular scenes during a wild storm as the ship rounded fearsome Cape

hoff-built J-boat WEETAMOE in this 1934 film.

Experience a fantastic sail aboard the Herres-

THE LAST SAILORS

A rare look at sail and boat handling and by Neil Hollander and Harald Mertes match racing in Rhode Island waters, here is A 2½-hour documentary that takes you how the great J-boats were actually sailed. around the world, following the last men Narrated by Rod Stephens, Jr., in 1982. 12 who make their living under sail. "Magnificent footage...." — The New York Times. minutes. Yachting in the Thirties Four short narrated programs developed from unique film footage. The segments, of by William F. Buckley, Jr. about 5 minutes each, are: "DORADE: A Most Buckley's eloquently narrated film of his 30Significant Yacht," which covers this trend- day transatlantic voyage under sail on his 60' $89.95 Horn. $34.95 setter in the 1931 Transatlantic and Fastnet wooden ketch CYRANO. 2 hours. races; "YANKEE Cruise to England" presents a capsule look at the famous passage of the J-boat YANKEE in the mid-1930s and her racThree Films in One ing exploits in England; "BRILLIANT in the Thirby William F. Buckley, Jr. Sails and Sailors: J-Boats '37 ties" shows this fine schooner during her This 14-minute newsreel film in color has transatlantic voyage in 1933; and "The Last This will teach you everything you need to been preserved and improved to give us a J-Boat Race" details RANGER'S construction, know to become a capable sun-sight navigaglimpse of the famous race of 1937 between launching, and her great racing record dur- tor. Worksheets and excerpts from navigation tables are included. the magnificent J-boats RANGER and ENDEAV- ing 1937. 40 minutes. $69.95 OUR II. Included is a look at other vessels of YACHTING SERIES: Three Films in One; the day and of Newport in the '30s. SPECIFY VHS OR BETA 44 minutes. $29.95

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WoodenBoat Library Slipcases In addition to our regular binders we offer these handsome pine-green leatherette l i b r a r y slipcases with our name and logo in gold foil on the spine. Each slip case is designed to hold one year of WoodenBoat. A strip of gold foil transfer material is included so you may add the year, numbers or $7.00 your name on the spine.

This new, greatly enlarged catalog of 50 of WoodenBoat's full-sized construction plans, plus 11 half-model plans, supersedes previous catalogs and includes many designs not carried before. Here is a wide variety of

boats—sail, power, and rowing—by the great designers. Each design is fully described, with study plans, and tables that summarize "vital statistics," skill required, and more. Included is a chapter on "How to Understand Boat Plans," a drawing identifying the parts of a boat, and a bibliography of useful books and articles. 64/WoodenBoat

111

ALVIN CLARK by C.L Person For the first in a series of very fine limited edition prints of historical craft, WoodenBoat commissioned famous marine artist C.L. Peterson to paint a detailed watercolor of the Great Lakes schooner Alvin Clark (see WoodenBoat No. 52). Only 500 of these beautiful prints have been produced, on fine, heavy all-rag paper, and no further prints will ever be made. A work of art that will surely please any collector and boat lover. Image size: 17 3/8 x 23"; overall

size 24 x 30". Shipped flat.

$75.00

GAZELA PRIMEIRO by C.L Peterson Built in Portugal in 1883 as a topsail schooner for the North Atlantic cargo trade, in 1900 the GAZELA PRIMEIRO was re-

rigged as a barkentine and began a 69-year career in the Grand Banks fishery. She is now the largest wooden sailtraining ship in America. WoodenBoat commissioned noted marine artist C.L. Peterson to paint this exciting watercolor for our second collectors-quality limited-edition print, signed and numbered by the artist. Printed on heavy all-rag paper, the edition is limited to 500 prints. Image size, 16½ x 23"; overall

size, 24 x 30". Shipped flat.

$75.00

KINGFISHER Kit The KINGFISHER V-bottomed plywood shell, designed by Graeme King for construction by the home builder, avoids the need for a lot of expensive jig- and mold-making. KINGFISHER'S 1'4" waterline

beam provides the inexperienced rower a shell he can learn to handle, but also satisfies the experienced oarsman. The boat is 22'6" overall, 1'7" beam, 4" draft, and weighs only 42 lbs. The kit comes with everything you need to finish your shell, except varnish and oars. Included are plans, step-by-step instructions, all

the necessary mahogany plywood and spruce, Dacron decking material, epoxy resin, all hardware and fastenings, sliding-seat assembly, and outriggers custom-designed for the boat.

COMPLETE KIT: $1,150. Shipped freight collect from Vermont. Allow 4-6 weeks tor delivery.

NUTSHELL Pram Full-Sized Kit The NUTSHELL pram is only 7'7" overall, has a beam of 4', a draft of 5 ¼ " , and weighs just over 90 lbs. Available in either a rowing or a sailing version, the Kit is complete with all wood parts cut to size, fastenings, hardware, a set of bronze oarlocks and two sets of sockets, plans, and instructions. The sailing version also includes spars, rudder and fittings, tiller, daggerboard and case. Shipped freight

collect. Allow 4-6 weeks for delivery. ORDER NOW, OR WRITE FOR MORE INFORMATION. ROWING PRAM: $650 SAILING PRAM: $800

OPTIONAL DACRON SAIL: $145 (white or tanbark)

Full-Size Construction Plans The plan set includes full-sized patterns for the two molds used in building, the transoms, 'midship frame, fore keel, and scaled drawings of the plank shapes, as well as lines and offsets, construction details, sail plan, and a plan for the building jig. WB Plan No. 41A $75.00

Builder's Scale-Model Kit More than an intriguing scale model... it's a lesson in boatbuilding Here is an ideal, inexpensive way to experience boatbuilding. Our 1 ½ " = 1' scale-model kit of the 7'7" NUTSHELL includes all the basswood you need, tanbark Dacron sailcloth, plans drawn to model size that may be used as patterns for cutting out the parts, and detailed instructions. $29.95

Hamiltons Brushes if you want the very best Hamiltons has been making brushes for painting and varnishing for 174 years; they made them for the British Navy during the War of 1812 (but don't hold that against them now!). They have bolstered that long tradition of fine craftsmanship by continuing new research. They make the ultimate brushes for paint and varnish. Because you aren't likely to find these brushes at your local hardware store, we have decided to offer them to exacting boatbuilders and boat owners. Hamiltons brushes, made with pure, natural, black China bristles, are designed to work equally well with oil-based, and water-based latex paints. We offer two styles of Hamiltons brushes: the "Perfection" flat brush that is ideal for all paints, particularly on flat surfaces; and the "Namel Var" semioval-shaped brush designed for lighter, less viscous finishes, such as varnish and enamels. The "Namel Var" has more bristles, enabling it to pick up a greater volume of coating while delivering a uniform and controlled finish to contoured surfaces such as railings and beams without bristle separation, or "fingering." Additional bristles in the center compensate for the uneven wear that a flat brush suffers when used on such surfaces. The ferrule on the "Namel Var" is seamless, and the brush will float if it falls overboard. Some experts use the "Namel Var" for all finish work. Hamiltons brushes are not cheap. But you spend more on your paint and varnish every season. These brushes, with proper care, will last you many years and continue to deliver the very best performance. And the best performance is what you want for your boat, isn't it?

WOODENBOAT PAINTER'S CAP

SUN VISOR LONG-SLEEVED JERSEY This classy-looking long-sleeved

jersey, with a small breast pocket on the left, is made extra attractive by the WoodenBoat logo on the pocket. Made of preshrunk, heavyweight, 100% cotton for long wear and a comfortable feel, you can dress up in this for almost any occasion and be right in style. Navy blue with white logo. Adult sizes; S (34-36), M (38-40),

L (42-44), XL (46-48).

$13.50

Most visors are stiffened with a cardboard liner, and if that gets water-soaked, the stiffener turns to mush, and that's the end of your visor. But WoodenBoat's sun visor is made, with the sailor in mind, with a waterproof stiffener, covered with fine fabric. The fully adjustable headband is lined with thin foam for comfort, and just to add distinction, the WoodenBoat logo is on the visor. Blue with white logo: $5.95 Also available without the logo (please specify): $4.50.

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Getting bottom paint on top of your hair? The solution is this honest, hardworking, surprisingly durable WoodenBoat painter's cap that does just what it's supposed to do at a throwaway price. Made of lightweight muslin with an "absorbo" sweatband, this is the perfect hat for work around the boat and boatyard—or anywhere else. $1.50 State size: M or L.

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It's T-shirt time again—WoodenBoat T-shirts, of course! Our regu- Time to put on your WoodenBoat lar T-shirt is heavyweight 100% hooded sweatshirt. Made of cotton, preshrunk, and with a medium-weight, 50% cotton and WoodenBoat logo across the front. 50% acrylic, our blue pull-over If you don't have one, now is the sweatshirts include roomy pouch time to treat yourself. If you pockets to keep your hands comalready own one, why not get one fortable. And that beautiful white in the other color, too? Available WoodenBoat logo across the front in tan with dark brown logo, and will certainly send an extra glow blue with white logo (please of warmth throughout. Adult sizes: specify). $7.50 S, M, L, XL (sizes run slightly Adult sizes: S(34-36), M(38-40), small). L (42-44), XL (46-48) $19.50 64/WoodenBoat

113

FOR MERCHANDISE & SUBSCRIPTION ORDERS: Call 1-800-225-5205 (in Maine, 1-800-225-5800) or use our order form on page 136.

$3.00 each 2—The Lincolnville Wherry...A Smoky Mountains Dory...Electrical Installations... The Decay of Wood in Boats...The Maine

Sloop. 6—Building a Chesapeake Bay Log Canoe ...John Gardner on the Role and Responsibility of Marine Museums..The Great Pacific Boatworks. 30—Winter Layup...Bow Chocks...The San Francisco Pelican...The Reliable One-Lunger. Sorry! Issues 1, 3-5, 25-29, 31 & 33 are temporarily out of print

32—Simple Tools for Simple Boats...Restoring a St. Lawrence Skiff...John Alden's Yachts...Understanding Marine Electrical Systems.

51—Conversations with Bud Mclntosh ...Restoring a Burned-Out Yacht..John Gardner's Plywood Bateau...Building the Wayfarer Dinghy Kit. 52—Lesson from a Great Lakes Schooner..A Cold-Molded Rejuvenation...Elegant Launches from Venice...Building the Con53—Making Gaff Rig Work to Windward ...Folding Boats at Sea...An Elegant Classic ...Plank Repair and Replacement. 54—Build AMERICA'S Half Model-Plywood Boats for Oar & Paddle...Winter Covers...Auxiliary Engines: Diesel & Gas. 55—The Genius of L. Francis Herreshoff... Rebirth of the Schooner WANDER BIRD...Restoring Molded Wooden Boats..The Greatest Little Motorboat.

$3.50 each 56—The First Planing Power Cruisers... A Classic in Lapstrake Plywood..The Sharpie for All Seasons...Restoring a Herreshoff 12½.

35—Nathanael Herreshoff's New York Thirties...The Dream of a St. Pierre Dory...Growing and Using Local Lumber...Restoring a Working Skipjack.

57—One Ultimate Wooden Yacht...Sailing the Bermuda Dinghy...Restoration to the Highest Standards...Making Your Boat Tight Again.

36—Understanding Marine Insurance...The Birchbark Canoe Lives On...How to Build a Seaworthy Sailing Canoe..The Versatile Swampscott Dory.

58—Getting into Kayaks...Sailing the Tancook Schooner..Steam-Bending as a Science...Modern Wooden Shipbuilding.

38—The Oldest Known Boat in the World...The Preservation of Ships and Skills..The Remarkable Herreshoff Meadow Lark...Boats That You Build from a Kit. 39—The Maine Schooners...Making Patterns for Castings...More Boats from Kits ...Stem Repairs and Replacements. 40—An Interview with John Gardner... Spring Outfitting with a Pro...Singlehanding an Old Gaffer...The Last Wooden Shipbuilding Boom. 41—Yachting's Cutter Craze ..Build a Classic Plywood Dory...Restoring a Runabout ...Narrowboats of Great Britain. 42 —Planking the Plywood Dory-Sailing Workboats for the Future...Wooden Yachts That Earn Their Keep...A Survey of Boatbuilding Schools. 43—The Sea Bird Yawl Revisited..Teaching Yourself to Build Boats...Newport's First Wooden Boat Show...Finishing Off the Plywood Dory. 44—A New Classic Runabout...SEABIRD's Atlantic Crossing...The Realities of Maritime Preservation...Comparing Carvel and ColdMolded Construction. 45—Classics in Sail and Power...Boatbuilding Woods for the Future..The Superior Craft of V i c Carpenter...How to Build a Seaworthy Plywood Tender. 46—Laying a Tight Deck...Details of Outstanding Craftsmanship...English Maritime Museums...Planking a Plywood Tender. 47—Saw Sharpening..Tough Competition from Wooden Daysailers...A PennyPinching Power Cruiser..Craftsmanship on

Deck. 48 —Early Runabouts and Their Quest for Speed..The Northwest's Frank Prothero...An Inexpensive Boat Shelter You Can Build...Keeping Power Saws Sharp

49—The Masterful Work of Malcolm Brewer...Small Boat Building Norwegian Style...Quick & Dirty Boatbuilding-Replacing the Keel. 50—San Francisco's Nunes Brothers...Cutting Your Own Natural Crooks...Boats and Builders in Ireland-Improving a Classic Dinghy.

Reprints $5.00 each

cordia Beetle Cats.

34—Cold-Molded 8-Meter Metamorphosis...Two Views of a Cooperative Shipyard...Understanding Marine Batteries. .An Exquisite Crosby Yacht Tender.

37—The Alaska Limit Seiner..The History of Small Yacht Design, Part [...Finishing of the Seaworthy Sailing Canoe...Milling Your Own Lumber.

Back Issues 16--The Construction of GOLDEN DAZY ...Repairing a Cruiser Transom...An Expert's Views on Varnishing...Planking the Maine Lobsterboat. 17--New Frontiers: The Pacific Northwest... Evaluating Sheathing Materials...Italy's Premier Boatbuilders...Surfboating on the Jersey Shore.

20—Make Your Own Rudder...Repairing the Cabintop.. St. Lawrence Rowing Skiffs...The Life and Times of Colin Archer. 21—Maintaining the Seams and Topsides ...How to Understand Boat Plans,..A Wooden Submarine...Building Racing Shells.

22—Deck Canvasing: The State of the Art... Practical Bottom Maintenance..Classic Cruisers—Power & Sail...The Versatile Lee board.

18—Building the Adirondack Guideboat ...Another Bolger Triumph—Moccasin ...New England's Lowells, and Their Dones...The Dame in ENDLESS SUMMER.

23—A Norwegian Boatbuilding School,..Electrolysis—Debunking of the Myths. The Classic Speedboats of Lake Tahoe....Multihulls: 100 Years of High Performance.

19—Sailing Canoes of Polynesia...Building the Banks Dory...Taking Off Lines...The Great Wooden Boot Festival.

24—A Sailing Whitehall...The Genius of Laurent Giles...Getting the Feel of Caulking...Cold Molding: A Powerboat for Today

59—An Amphibious Cat-Ketch...The Outlook for World Timber...Hawaii's Koa Canoes...On Glues and Gluing. 61—Build a Fast Plywood Single Shell...A High-Performance River Boat...Step-byStep Cold-Molded Sheathing...A Legacy of Ship Preservation. 62 — The Northwest School of Wooden Boatbuilding...Step-by-Step Traditional Teak Grates...Lake Tahoe's Elegant Classics..The Forward Thinking of Henry Scheel 63—Hot Ideas for Cold-Molded Boats ...How to Row a Single Scull...Spring Commissioning in Just Two Weekends.. Restoring a Fantail Launch.

Anniv. Issue $3.95 60—How to Buy a Wooden Boat ..The Perfect Pram...Cold-Molded Sheathing...A Celebration of Wooden Boats.

Reprints $4.00 each 7—Estimating Construction Costs...ColdMolded Construction, Part II..The Building of a Tancook Whaler...Instant Boats...ACTIVE to England. 8—The Original Knockabouts...Documentation Primer...Ashcroft Construction...Small Craft Restoration...St. Lawrence Yawls. 9 —Rediscovering Hackmatack...Mason Boat Works-Barbados Boatbuilding...Making a Choice, Part I: The Domestic Woods

10—Making a Choice, Part II: The Imported Woods...A Pro Speaks on Painting ...Folkboats Revisited...Runabouts ..Seasoning Science. 11—Understanding, Appreciating, Preventing Rot...Some Thoughts on Lofting..The Nearly Forgotten Art of Making Planes...On Laying Down and Taking Off.-The Care and Feeding of Teak Decks 12 — An Introduction to Refastening..,The Essence of Lofting...A Winter Storage Primer...Clamps & Cleverness..The Bassboat.

13-Winter Lay Up...The Making of Molds Leaks are Lousy...Keeping the Structure Together...West Coast Traditions 14—The Rabbet...Saw Cuts...No Wrinkles: Canvasing the Deck..The Incredible Herreshoff Dugout...Setting Up. 15 —Watertight: A Simple Teak Deck..The Fine Art of Stripping Paint...Ribbands..Timbering Out..The Venetian Gondola...Pouring the Lead Keel.

The key to these Back Issues is

our new Ten-Year Index. See page 110. 64/WoodenBoat

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36'6" L.F. Herreshoff "Diddikai" double­ ended ketch built 1974; mahogany on oak, bronze fastened, lead  ballast keel;  75 Sabb  14­hp diesel, overhauled  '04;  sleeps 4;  simply  yet  comfortably  appointed  as originally designed, good cruising inven­ tory, incl. 6 sails, liferaft, EPIRB, dinghy. ME.  $40,000

35'9" "Gumdrop" K/CB masthead yawl by Aage  Nielsen/Paul  Luke,  1958;  exceptional construction, double­planked mahogany over white cedar on steambent­oak frames, bronze screw fastened, bronze CB and CB trunk, floors, maststep; '81 Cray­ marine FAS; sleeps 4­5; extensively refin­ ished  and  complete  gear  inventory.  A lovely  CCA  model.  FL/NE.  $55,000

28' L.F. Herreshoff H­28 ketch (modified), built 1951, rebuilt '80­82;  cypress planking over  laminated  or steambent­oak  frames, refastened galvanized screws set in epoxy;

Volvo  MD1  7­hp diesel, installed  '82; sleeps  2;  changed  to  masthead  rig  and self­bailing  cockpit  for  better  windward ability and  safety.  ME.  $22,000

39'10" Concordia yawl built by Abeking & Rasmussen 1956;  mahogany tight­seam construction, steambent­oak  frames, bronze  fastened;  hand­rubbed  European locust  and  knotty  pine  interior;  Gray­ marine 30­hp gas, rebuilt  '82;  sleeps 4. This Concordia  yawl  is in  yacht  condition throughout, and  is  one  of the  few to still be  authentic in detail.  ME.  $65,000 SAIL

12'6"  Traditional gaff sloop with bowsprit, daysailer  (1977);  lapstrake cedar/copper riveted. ME.  $2,995 24' A. Mason "Ostkust" sloop (1963) Vaitses;  carvel cedar/oak/bronze;  '83 BMW diesel; sleeps  2;  seaworthy,  in  excellent  condition,  complete  cruising  gear.  Me.  $19,500 25'6"  "Folkboat"  sloop  (1957);  lapstrake  mahogany/oak/copper;  Seagull  OB;  sleeps  2;  recent upgrading,  new sails.  Rl. $8,500

26' S. Dunbar Chesapeake Bay CB ketch (similar to Bugeye) (1974); yellow cypress/oak/ bronze;  Volvo diesel;  sleeps 2­3;  equipped  for cruising. VA  $21,500 30'  Hanna  "Tahiti"  ketch  (1942);  mahogany and  cedar/oak/refastened  SS  '83;  Westerbeke diesel; sleeps 4;  rebuilt  '80­'B4.  FL.  $25,000 30' Rosborough traditional ketch with clipper bow (1982);  mahogany/oak/bronze;  Perkins 50­hp diesel; sleeps 5; fully equipped. OH.  $59,900 32'  A.  Buchanan  masthead  cutter  (1964),  mahogany/oak/copper;  Watermota  gas;  sleeps 4 + 2 children;  offshore  model;  thoroughly upgraded.  MA.  $26,500 36'  Whittier  Lowe gaff schooner  (1947,  totally  rebuilt  '80­'84);  yellow  pine/oak/galvanized; '84  Perkins diesel;  sleeps 4;  all  new sails,  rigging, and other gear.  ME.  Asking $65,000

36'3" Alan Buchanan custom RORC sloop built 1961 by King (England); mahogany on oak,  copper  riveted;  teak  deck  and  cock­ pit;  73  Perkins diesel;  sleeps 5  in  layout that includes naval station and quarter­ berth;  ruggedly built for offshore racing/­ cruising.  Rl.  $36,500

37'4"  S&S/Paul  Luke auxiliary  sloop  built 1961;  double­planked  Honduras  mahog­ any over white cedar, bronze screw fas­ tened;  74 Westerbeke 35­hp diesel;  sleeps 4 in generous layout; custom built, has

had light use for much of her life, and has a  very  complete inventory.  FL.  $55,000

31'6" Ted Brewer traditional clipper­bow ketch built 1972 Gdansk, Poland; 1" Hon­ duras  mahogany planking  on  oak  frames, bronze and copper fastened; laid teak deck;  Farymann  25­hp diesel;  sleeps  up to 5  in  exceptionally  roomy  layout  including

enclosed  head;  well­balanced  rig, good sailing ability, and lovingly maintained. Ml.  $33,000

29' Arno Day Down East­type power cruiser built 1973;  cedar planking on oak frames, bronze screw fastened;  Chrysler 205­hp diesel;  sleeps 2­4, galley and head;

not  fancy  but  well­built and  comfortable ME. 

$16,000

36' S.S. Crocker CB ketch (1943/1964);  mahogany/oak/bronze, leak  deck; sleeps 4;  excellent shoal­draft cruiser, very well equipped, handsome model. CT.  $39,000 38'  Auxiliary  cruising  sloop  (1950);  mahogany/oak/bronze,  refastened;  '66  Perkins  deisel; sleeps  5;  well  maintained,  conscientiously  upgraded.  MA.  $28,000 40'  King  double­ended  cutter  (1953);  maralawn  (sim.  to  teak)/chegnail/SS:  BMC  54­hp  die­ sel;  sleeps 6;  blue­water cruiser built  in Malaya.  FL.  $69,900 44'6"  Heisler  knockabout  gaff  schooner  (1978  Canada);  pine/oak/galvanized;  Volvo  diesel; sleeps  up to  10;  needs work.  $35,000 46'6"  Mower/Nevins  6­meter  yawl  (1929);  double­planked  mahogany  over  cedar/bronze  fas­ tened  and  strapped;  75  Graymarine gas;  sleeps 6;  beautifully  built,  can  be  sailed  by 2.  NY. $40,000 76'  Baltic  Trader gaff­topsail  ketch  (1914/1980s)  oak/oak/iron  and  trunnel,  refastened  '82; new pine deck '82; large cargo hold, no interior. ME.  $90,000 POWER 30'  Rossiter  Down  East­type  power  cruiser  (1970);  mahogany/oak/bronze;  Chrysler  gas; sleeps  2;  enclosed  head;  thoroughly  upgraded  '82­'84.  ME.  $15,000

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ORDERING

43' CUSTOM C O N C O R D I A Y A W L , ex-"Hostess III." Canoe

stern, double head rig, leak decks, Volvo diesel, excellent condition. $37.000. John Ford, Hampton. VA. 804-543-8671 days, 804-245-6316

evenings. 23' H E R R E S H O F F P R U D E N C E auxiliary cruiser. Well maintained and equipped. $12.000. 61 7-717-3776.

INFORMATION

Regular Classified ads are $.85 per word—including name, address, zip code, and phone n u m ber. Photos and illustrations are an additional $30 per insertion ($5 extra for slides or transparencies). No frequency disc o u n t s on regular ads. Photos or illustrations will be reduced to f i t column width. Copy may be rearranged to f i t editorial style. Please send a SASE for the return of your photo. Display Classifieds are $60 per column inch. Frequency discounts available. The width of the column is 1 5/8 or 10 picas. We will design your ad inhouse for a minimum charge of $15. For more i n f o r m a t i o n ,

write or call to request our rate card. Deadline for the next issue,

July August (No. 65), is May 15th (the 15th of the second month prior to cover date). A n y t h i n g received after the deadline will be placed in the following issue unless we ate otherwise notified. Space perm i t t i n g , we w i l l include late ads at the end of the classified pages. Payment must be sent w i t h all ads before insertion. Send check, money order (Visa and MasterCard accepted) to: Wooden Boat Classified, P.O. Box 78,

Brooklin, Maine 04616. 207359-1651.

26' I S L A N D C R E E K S H A R P I E . 1952. Cutter rigged, centerboard, plywood construction. Comfortable and i n excellent condition. $3,900. 2156 16-7806.

32' G A R D E N - D E S I G N E D CUSTOM T R O L L E R . Steadying r i g . seaworthy, surveyable, structurally sound, documented. No duty. Motivated owner asking $14,200. I m p u t e airmail to Tasker, Hopetown, Abaco, Bahamas. 26' LUDERS 16. This classic sloop is in very good condition. Brightwork is b e a u t i f u l . Comes with 5 sails, 2 D a n f o r t h Competitor compasses, canvas cover, and a 3-hp Johnson auxiliary outboard. Lake Winnepesau-

45' CHRIS-CRAFT CORSAIR, 1954. Museum c o n d i t i o n . Center saloon. 2 staterooms, hardtop fantail. dinghy d a v i t s , air/gen. Restored. f u l l y f u r nished, and ready to cruise! Asking $57.500. 601-452-7618. 24'6" L U D E R S 16, restored, all new cabintop, t r i m , teak decks, new sails, 4-hp outboard. 517-781-2656.

603-569-2034.

41' TUG, 1909. 1 ¾" f i r . FWC 6-71 diesel, 3:1, r e b u i l t 1980. Tight, dry, good worker. Fine boat in all respects. Beautiful h u l l , much brass. Radar, sounder, VHF, stereo, oil stove, puds bow and stern, hydraulic steering, air controls, f u l l chart table. Headroom in fo'c's'le and engine-room. First-class electrical system. Engine heater, constavolt. Sleeps 3. H i g h w a y t r a n s p o r t a b l e . $36,000. Phil Shiveley, 7190 Eagle Harbor Dr., Bainbridge Island, WA 98110.

206-842-7595.

50' DANISH N O R T H SKA FISHING CUTTER. 1932. Oak on oak. mahogany and teak interior. All maintenance records. 150-hp 400-rpm diesel. Sleeps 12. 2 doubles, 14' sailing dinghy, VHF, RDF, radar, lifer a f t , central heating, many extras. Excellent world cruiser and liveaboard. "Gypsy," P.O. Box 80053, Seattle, WA 98108. 206-762-5825.

teak interior. 160-hp Scania w i t h 120 hours only. Generator. Sleeps 9. Microwave/gas/electric galley. 12 tons cap. Fresh water. Lying England. Asking $125,000. Alan Reekie, Iron W h a r f . Faversham. Kent. England. Telephone Faversham 536296. 25' MYSTIC 22 plywood sloop. 1961. 8-hp Palmer inboard rebuilt 1984, legal head, equipped galley, VHF, DS, sleeps 3 comfortably. Well maint a i n e d , dependable, c o m f o r t a b l e cruiser. Asking $8.000. Al Votaw, 203-869-6600 d a y s , 203-625-0433 evenings.

TORPEDO-STERN CLASSIC, b u i l t by t h e original builder of t h e 1946 F a i r l i n e r Torpedo in 1984. A superb modern classic. $30,000. Curt Erickson, 206-879-5129,206-383-5386 weekclays.

kee, NH. $5,700. Photos available. 23' STAR CLASS, #1892, 1939. Cedar planked, wood spars. Asking $1.500. Box 44, Mystic. CT 06355. 203-4421578 or 203-443-8897.

80' TOPSAIL S C H O O N E R , reb u i l t / n e w l y rerigged 1981. Baltic trader. Swept-laid f l u s h teak decks,

Two 16' CATBOATS. Completely r e b u i l t , hard c h i n e , gaff-rigged classics. $2.500-$3,000. Holt C. Vibber, 5 Soljer Dr., Waterford. CT 06385. 203-442-7376. 28' ST. P I E R R E DORY, 1978. Fir p l a n k e d , bronze f a s t e n e d , 18-hp Sabb, sleeps 1, Dickinson stove, sails,

excellent condition. Priced to sell at $12.000. Vancouver, Canada. 604537-5066.

33' BOOTHBAY with f l y i n g bridge, 1960. Yard m a i n t a i n e d . Excellent condition. FWC n e w OMC engines 1982, 230 hours. 2 VHF, 2 Datamarine digital sounders, Datamarine Loran 1984. $25.000. 617-548-6146.

18' CENTURY, 1958. Rebuilt 6-cyl Chrysler Crown. Excellent ski or cruise boat. $8.000. Bob, 617-471-6689.

29'9" C L A S S I C C L I P P E R - B O W CUTTER by F r a n k Loud, 1981. Mahogany on oak, bronze fastened. B u k h 10-hp diesel. Sleeps 4. Excell e n t c o n d i t i o n , well o u t f i t t e d . $28,500. James Stridden. 13 Hooper St., M a r b l e h e a d , MA 01945. 617639-0185 evenings. 45' JOHN DEVEAUX TRAWLER, Nova Scotian b u i l t . Pine over oak. Twin Lehman diesels, 3 gal per hour. 9 knots. 7.5 Onan plus engined r i v e n 2½ KW top electronics, inc l u d i n g 72-mile radar. Excellent liveaboard. Recent survey. Naples Yacht Sales. 813-262-7644. 1 8 ' x 8 1 " B E A U T I F U L HACKER CLASSIC, sound mahogany runabout, V-8 power, custom trailer, etc. $5,900 U . S . F . Dawson, 22 Esquire Rd., Scarborough (Toronto), Canada MIT 1E9. 416-491-4121.

18' PICAROON, new, launched 1984 b u i l t to Sam Rabl's plans. Traditional cedar on oak, canvas decks. Seagull engine, cradle, cover, trailer. $7.500. Neil Thornton. 301 Carla Ave., Rehoboth. DE 19971. 302-2270784. 64/WoodenBoat

135

21' CENTURY CORONADO, 1958. 327-cu. in. Graymarine engine completely rebuilt. Professional keel-up

53' ANGLEMAN-DAVIES PILOTHOUSE KETCH, built by Ditmar & Donaldson of Costa Mesa, 1974. Mahogany over apitong. LOD 45', draft 6'6", beam 13'4". Top shape, excellent maintenance since new.

restoration now being completed. New transom, slain, paint, varnish, upholstery, carpeting, chrome, plexiglass, controls, and wiring. Restoration started w i t h stripping of hull inside and out, removal of engine, and removal of all wiring and controls. Like-new condition now. Has

Very warm teak mahogany interior. Classic lines, lots of detail and workmanship. New upholstery. Low-time

50-hp Perkins, radar, Loran, VHF, 1 1 0 / 1 2 V , 7 + berths, other extras for liveaboard. Located Whittier (Prince W i l l i a m Sound), w i l l deliver. $120,000. Mike Kaill, Box 111134, Anchorage, AK 99511. 907-522-1202.

to be seen to be appreciated. $20,000. 38' ELCO CLASSIC D O U B L E CABIN MOTORYACHT, 1929. Re-

Located VA. 703-533-1271 evenings.

33' KETCH, b u i l t by May Boat Works, 1936. Fir on oak, spruce masts, 4-cyl Ford Industrial, 5 sails.

Good condition. $24.000. Gidley Boat Works, Ltd., 2363 Weadock, Essex -

condition and inventory. Sleeps 4

18' CENTURY A R A B I A N , 1957. A rare thoroughbred ready for show. Mint interior, professionally refinished woodwork, Gray 6-cyl under 200 hours, deluxe trailer included. $12,500. Maine. 207-695-3854.

below. 31-hp Graymarine. Asking $45,000. Elec-Tech Services, Inc.. 110 Dunn Ave., Stamford, CT 06905

27' SLOOP, 1955. Mahogany over oak flames, 6 sails, 10-hp Kermath

39' 10" CONCORDIA YAWL. Ideal c r u i s i n g / r a c i n g y a c h t . Excellent

203-322-5851.

inboard, good condition, sails well.

$4,900. Offers encouraged. John McMonagle, 715-735-6631.

18' CORRECT CRAFT MODEL 'D' UTILITY, 1948. 103-hpKermath.

100% sound, complete rebuild/ refinish, Tandem trailer. Stored Charlestown, NH. $6,300. 303-224-4763. 18' CHRIS-CRAFT HOLIDAY RUNABOUT, 1957. Totally restored. $12,000. Serious inquiries only. 618345-7686.

31' S H A R P I E CB KETCH, custom b u i l t 1978. Completely refinished 1984. Meticulously maintained by builder. Volvo 15-hp gas inboard. Perfect boat for the serious "thin"water sailor/gunkholer. Trailer included. Lou, 813-262-7644.

D e n m a r k , 1979. Excellent world cruiser and successful charter vessel, 4 doubles, ss rigging, Dacron sails, top machinery, large tankage, Furuno radar, autopilot, etc. Meticulously maintained, located Virgins. Call 313-626-1097 for brochure.

50' COLIN ARCHER NORWEGIANBUILT KETCH, 1962. Massively constructed, bluewater-equipped world cruiser. Cavernous main saloon, aft cabin, pilothouse, three cabins forward. Excellent condition for cruising, liveaboard, charter. Asking $85,000. 203-869-5462 days.

136

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R. Roediger, 313-541-1958.

oak frames. 6 passengers. 2½' draft, 13' beam. 85-hp 4-cyl Ford diesel. $35,000. Rt. 4, Box 902, Summerland Key, FL 33042. 305-872-3536.

41' G A F F C U T T E R . built Essex, England, 1903. Traditional smack

design, one-off, Lister diesel, 19 tons, l i v e a b o a r d , open-ocean sailer. $54,000. Florida. 203-663-2457. 13' FORD YAWL, built 1963. 803-

32' JERSEY SHORE, 1935. Rebuilt 6-cyl Palmer, Sisterframed, replanked

below waterline, new stern, new

48' FITZGERALD & LEE THOUS A N D ISLANDS TOUR BOAT, b u i l t 1920. Cedar on oak, Chryslcr Royal 8 engine. Documented vessel in excellent condition, c u r r e n t l y on Lake Champlain. Ideal resort launch. $30,000. Call 802-658-6647, 802-

658-2775, or 802-864-5928 for details.

33' CHRIS-CRAFT SEDAN. 1950. Twin 95-hp Chris-crafts, 1.5:1 reduction. Very good condition. $8,500.

39' CHESAPEAKE BAY SKIPJACK by Richardson, 1968. Yellow pine on

527-3180.

c a n v a s , screens. Nice mahogany, brass. Sleeps 6. Galley, head, VHF.

Sound. $10,000. 207-439-9177. 18' CHRIS-CRAFT RIVIERA, 1950. 38'

MATTHEWS

CLASSIC

C R U I S E R , 1936. Twin 150-hp

65' H E R R E S H O F F K E T C H MOTORSAILER. 1921. Capt. Nat's last personal yacht HELIANTHUS. Liveaboard m a i n t a i n e d by same owner for 23 years. Perkins diesel 6.354. Listed National Historic Regi s t e r . I n s u r e d $125,000. A s k i n g $100,000. Faithorn, P.O. Box 4382, Annapolis, MD 21403. 301-263-7590.

41' C A M P E R & NICHOLSON KETCH, 1980. Cedar on oak, Perkins engine, 6 sails, sleeps 7, propane stove and heat. As new. $98,000 U.S. 418-527-5986.

38' H E R R E S H O F F P O W E R LAUNCH, 1979. Strip planked, Perkins diesel, very low hours, highway trailer. $18,500. 209-897-2757.

50'x18'x8' SWEDISH N O R T H SEA SAILING TRAWLER, 1921. Oak on oak, completely rebuilt/refitted

19' CENTURY RESORTER, 1963. Professionally rebuilt, refinished. rechromed, new water manifolds, tarp, trailer, 401 Buick. Over $11,000 invested. Best offer. 804-270-7279.

Quebec, Canada, 1919. Restoration

in progress, needs loving new owner. Located Holland. Asking 120,000 guilders. W. Van der Reden, Beneden Kade 10, Willemstad NB, Holland.

stored to excellent condition. All finishes perfect and elegant. $38,000. 609-424-5534 evenings.

ville, MI. 517-894-0552.

84' TOPSAIL SCHOONER "Knorrur," built by Davie's Shipyard in

Chryslers. Good condition. Fully equipped. Bay City, MI. $13,000. 313-652-4312.

Boat and 327 engine in excellent condition, w i t h tandem trailer. $5,000. Grant, 513-231-3469 or 513381-3995.

WELLS 34 KETCH. All-teak hull, cabin, deck in top shape. New Perkins 4-107 and propulsion gear. Complete cruising inventory. Dick Frenzel, 512-758-3201. 26' WILLIAM ATKIN AMERICA SCHOONER, built by Ed Diggs, Matthews, VA, 1977. Cedar on oak, Monel fastened. First quality. Gaff rigged. Atomic-2. Sleeps 2, head, galley, wheel, df, log, f u l l equipment. $16,900. 804-359-0239 or 804758-5968.

34' ALDEN BARNACLE SLOOP. Longleaf yellow pine on oak. Refastened w i t h bronze, hull refinished 1983. Diesel, new wheel steering, 6 sails. Currently being restored. Must sell. $15,500/offers. John Moore, 617-689-3087.

39' ATKIN "Mister Simms" CRUISER, 1968. Yellow cedar and f i r on oak, Isuzu diesel, f u l l electronics, sound and economical. $36,000. Richard Hobbs, Site 40, RR2, Gabriola Island, B.C., Canada V0R 1X0. 604-247-8028.

24' CAPE COD CATBOAT, "Pelican" by Charles Crosby, 1908. Recond i t i o n e d Westerbeke, new spars, major rebuilding completed. Needs owner w i t h lime to f i n i s h rebuilding and love t h i s classic as we have. Asking $7,000. Located Vermont. 802496-3011.

13' and 17' NEW LAPSTRAKE CEDAR CANOES. Clear-finished cedar, oak ribs, raned seats. $700 and $1,000. Pat's Boat Shop, Stockton Springs, ME. 207-567-3300. 12½' BEETLE CAT 1977. Sail, rovers, motor mount, and galvanized trailer. All in excellent condition. Located Southern California. $2,800. 213-544-2306.

19' M A R I N E R UTILITY R U N A BOUT, 1957. Original mahogany, in excellent condition, refinished 1984. 165-hp Ford Interceptor inboard, canvas canopy, new vinyl seatcovers, fiberglass over sound mahogany bottom. Trailer. One owner. Fresh water. $4,900. 716-412-5260 after 6.

19' LIGHTNING, built Skaneateles, 1949. With trailer. Needs work. Best offer. 715-356-7298. ANTIQUE A N D CLASSIC: BOATS OF ALL KIND'S are available from D.J. Charles, Pinetree Enterprises, RR 2. Orillia, Ont., Canada L3V 6H2. 705-326-1049 evenings.

53' W I L L I A M H A N D MOTORSAILER. Located Florida. Priced for quick sale. 713-688-1800. 21' POOR RICHARD (Western Farmer design) h u l l professionally b u i l t in 1983 of 1" w h i t e pine on w h i t e oak f r a m e s . Palmer (model 27) 8-hp inboard. Perfect river and lake launch w i t h b e a u t i f u l entry. $8.000 U.S. 819-617-3220.

30' SCHEEL CENTER-COCKPIT KETCH, 1965. Strip-planked cedar, unique custom-oiled teak cabins, diesel, fast. Your turn to raise a sailing family! $19,500. 401-596-7054. 18' LAPSTRAKE FISHING BOAT. Riveted oak, 40-hp Mercury, trailer. Good condition. $750. Philadelphia. 215-222-0222.

39' ABEKLNG AND RASMUSSEN WISHBONE KETCH "Golden Lion," b u i l t in Hamburg, 1926. Unique character ketch with good sailing a b i l i t y . Owner maintained for 16 years in Bristol condition. Longleaf yellow pine on oak frames. 35-hp Volvo diesel. F.W.C. $40.000. E. Loeber, C-24 6th Avenue, Manahawkin, NJ 08050. 609-597-7909.

32' R H O D E S T E M P T R E S S SLOOP, 1960. African mahogany over steam-bent oak, bronze fastened, no butt blocks or sistered frames. Teak decks, bright-finished mast, cabin sides, boom. 8'6" beam, 4'2" draft, 6'4" headroom in main saloon. Sleeps 4 in comfort. Cold Machine, 2burner stove, pressure water in galley and head, and Dutch fireplace in main cabin. Westerbeke FWC 12-hp diesel, Combi u n i t , Edson pedestal steering w teak wheel new 1982. Seven sails w/poleless spinnaker and storm jib new 1982. E x c e l l e n t condition. $28,000. Located Sandusky, Ohio. Call 419-626-1942 after 9 p.m. any night and ask for Dick.

38' HERRESHOFF KETCH, customb u i l t double-ender. Center cockpit, new sails, diesel, absolutely loaded. Ready to cruise the world. Excellent condition. MUST SELL. $24,000. Les, 904-428-1211. 46' N E V I N S SLOOP "Nicor," oneoff near-museum piece, built 1937. Mahogany and teak on oak, bronze fastened 'strapped, bottom refastened 1977, 3 laminations with WEST SYSTEM epoxy 1981. 4-108 rebuilt 1982. Equipped for cruise liveaboard. Fast, able classic. Lying Puerto Rico. Illness forces sale. Asking $80,000. Jerry Young, 18 Delacasse St.. San Juan, PR 00907. 809-725-2011.

2 I ' C E N T U R Y CORONADO, 1967. Mostly immaculate original with some selective refinishing and struct u r a l rebuilding. Super appearance and performance w i t h 335-hp original engine. Tandem galvanized trailer. $8,000. 203-693-4811.

46' R O C H E S T E R M O T O R YACHT, 1925. Elegantly refinished. professionally restored by yacht interior designer for office space. Liveaboard beauty or gracious cruising. Offers welcome. Contact Design Interiors, Ltd., 617-676-1427. 32' COLD-MOLDED FIN-KEEL SLOOP, b u i l t G e r m a n y , 1976. Cruised 20.000 SM, GRP sheathed, teak decks, f u l l y equipped for liveaboard and cruising anywhere. 23hp Volvo diesel, stainless tanks, selfsteering, cold-molded dinghy, stormsails. W i l l meet most stringent survey. $42,000. Heiner Forster, Camaruche. 97133 St. Barthelemy, FWI.

30' STEPHENS CRUISER, 1938. FWC Graymarine, cedar on oak, teak cabins, electronics, windlass,canvas, in Bristol condition. Estate sale. Asking $19,500. 415-656-2484.

A CLASSIC C O N C O R D I A - D E S I G N E D SCHOONER, "'Mya" is fast: a winner of the schooner prize at the Classic Yacht Regatta, schooner races in Mystic and Vineyard Haven, and a 6th-place finisher in last summer's famous Opera House race for classic wooden vessels. This 50' schooner is also an easily handled, forgiving c r u i s i n g vessel. "Mya" is a unique blend of classic design, comfort, and speed, and her sale presents a rare opportunity to own this wonderful vessel. Price: $100,000 firm. Contact Marth and Matthew Stackpole, Box 222. Vineyard Haven, MA 02568. 617-693-5689. 15' GARDEN-DESIGNED SLOOP. Quality craftsmanship must be seen to be appreciated. Mahogany plank-

16' CENTURY RUNABOUT, 1938. All original, rebuilt 4-cyl Graymarine engine. Mint condition. Trailer included. 609-845-0490.

ed, 95% completed, needs rigging and

sails. $3,500 with trailer. Jim Gratton, 16 Holton Circle, Londonderry, NY 03053. 603-432-7996. 30' HOLIDAY SLOOP, racer/cruiser design by Van de Stadt, built in Holland, 1956. Outfitted for cruising, sleeps 4, completely restored 1984-85. Excellent condition. Starting new business, must sell. Bargain at$22,000. Portland, ME. 207-871-0350 days, 207-775-5873 evenings.

19' C E N T U R Y RESORTER, 1960, G r a y 225 V8. t r a i l e r , $4,450. 19' C E N T U R Y A R A B I A N . 1967. Interceptor 285 V8, trailer. $10,450. Boats in pristine condition, certified surveys. Norm Nichols, 233 S. Telegraph Rd., Pontiac, MI 48053. 313338-3353.

14½ McINTOSH-POULIOTTE E centerboard gunter-sloop, 1983. Cedar on oak, Sitka spars, bronze fittings,

trailer and extras, excellent condition. $5,800. New Hampshire. 603735-5779. 64/WoodenBoat

137

27'6" HERRESHOFF "S" BOAT. 1921. New wooden mast 1981, stain-

25' HERRESHOFF 15, gaff sloop daysailer, 1920. Recent rebuilding, rerigging. Cradle t r a i l e r . Needs minor work. Classic bay and lake

less rigging, bronze hardware. 2 suits of sails, lots of interior work 1983. 7'2" beam, draws 4'6". Asking $5,500.

boat.Shipworks, R.I. $4,800. 401-294-3767. 8' C U S T O M - B U I L T H E R R E S HOFF PRAMS. Cedar on oak, copper and bronze fastened, weight 95 Ibs. Tyler Proctor, Bar Harbor, ME

R.S. Fish. 617-337-2984. 30' K N O C K A B O U T S L O O P "Edna," 1890. See WB Nos. 1 and 4. Fully equipped for cruising. Monel tanks, Atomic-4 auxiliary, six sails, sleeps two. A fine sailer in very good condition. An excellent buy at $7,200. 203-468-6665.

04609. 207-288-3679.

20' C E N T U R Y CORONADO, 1956. A-l original, w i t h trailer. $3,000. 319-322-0733 days, 309-762-0953 evenings.

SAIL N.G.H.'s "S" CLASS, the most a c t i v e a n t i q u e and racing class on Narragansett Bay. Boats are available. Write N.B.H.S.C.A.. P.O. Box 101, Tiverton, RI 02878. 22' TED B R E W E R GAFF KETCH, professionally b u i l t 1965. Husky, small cruiser, good condition. 6-hp outboard. $1.500. Robert Sheldon. 500 East 77 St.. New York. NY 10021. 212-734-3199.

22' MUSCONGUS BAY SLOOP. Partially b u i l t , needs work. Asking $1,900. Boat in Connecticut. Glen,

207-288-9032.

26' B E A U T I F U L SAILING YACHT b u i l t for Coast Guard Academy, 1935. $5.400. Call for pictures and descriptive literature. Marina: 301-275-8181.

21' CHRIS-CRAFT CAPRI, 1958. Mahogany h u l l , fiberglass fins. Overhauled mechanically, ready to use.

$3,500.203-693-4811.

33' RHODES CLASSIC R A C I N G SLOOP, b u i l t 1939. Full keel, spruce spars, mahogany on oak, bronze fastened, f u l l cover, 5 hags sails. Completely recaulked and refinished. Third owner since 1939. Bristol condition, many extras. $14,000. Located CA. 714-636-1368 a f t e r 6.

30' CHEOY LEE B E R M U D A 30 KETCH. Teak h u l l , Volvo 15-hp diesel, Autohelm self-steering, liferaft, Taylor cabin heater. Excellent condition. $27,500. 301-268-2000.

Owner: 703-382-4135.

32' x 1 1 ' x 3' A L D E N CLASSIC CENTERBOARD SLOOP. Cedar on oak. well b u i l t , good condition. 31hp inboard, enclosed head, wheel steering, mainsail and j i b with covers, sleeps 5, compass, anchors. Asking $15,000. 207-547-3552.

37' WICKS BROTHERS CUSTOMBUILT TRUNK-CABIN CRUISER. 1937 in A m i t y v i l l e . NY. Hull cedar on oak. mahogany topsides. Boathouse boat, second owner. FWC Mercruiser V'-8s f u l l y equipped and origi n a l , no fiberglass, no rot, boat maintained since new. as new. No restoration required, a l l paint and varnish perfect. Best offer. 516-293-2234 weekdays 8-4:30.

spar, Perkins diesel, new rigging,

14' R A N A . Lapstrake spruce on oak.

custom trailer, wheel, partially refinished. $22.000. Wisconsin. 9J6-8947631.

copper rivets, bronze hardware. 4-hp Evinrude, two rowing stations, oars, t r a i l e r . 4226 6th NW, Seattle, WA. 206-783-9151. 19' CHRIS-CRAFT C A V A L I E R , 1958. Includes trailer and 75-hp outboard. Fair condition, stored NW

gine. Excellent condition. $36,000.

Ohio. Best o f f e r . K a t h e r y n Fell,

George Irvine. Albion, N Y . 716-5896771.

6964½ N. Sheridan, Chicago, II. 60626.

21' CENTURY CORONADO, 1965. Brand-new show boat with sliding Targa top, Chrysler 325-hp engine, new custom Bunk trailer. Best offer. Mike Magiera, 312-584-0437.

16' CAPE COD CATBOAT with auxiliary and cabin. Data sheet and survey available. Robert J. Allen, RD 5, Box 458, Easton. MD 21601. 301-822-2563.

138

WoodenBoat/64

39' CARTER SLOOP puts meaning i n t o the word "classic." Cedar strip and fiberglass sheathed when constructed 1963. Beam 11'. draft 1' board up. Diesel, refrigeration, Edson steering. Many extras. One owner. Sacrifice at $39,500. 305-773-

35' CHEOY LEE YAWL. I960. Leak w i t h copper r i v e t s . Good condition. Full keel. Cast-iron ballast. Spruce spars. Tight h u l l . Volvo MD2B r e b u i l t Dec. 1984. Interior needs work. Asking $24,500. Mike Uno. 2824-A Puumele Place. Honolulu, HI 96817-1420. 808-595-3155.

24' H O L L A N D I A SLOOP. Excellent h u l l , Atomic-4. rigging, sails, roller-lulling genoa. Needs keelbolts. Manhasset. NY. 516-914-6782.

32' GAFF CUTTER, b u i l t in Norway, 1942. Oak on double 3 x 1" f i r , teak decks, mahogany cabin, Sitka

30' R A R E ROCHESTER N E W YORK RUNABOUT. 1927. Three separate seating compartments. All mahogany, all original except en-

16' C E N T U R Y RESORTER, 1957. 292 C.I., 185-hp Ford Interceptor. All o r i g i n a l , A - l , 350 hours, trailer. $7,750. 216-333-2367. 25½ A M P H I B I - C O N SLOOP, 1958. Very good condition, 5 sails, engine, radio, depth, e t c . Perfect coastal c r u i s e r . $5,500. 401-789-1561 evenings.

27' x 8'2" x 4'10" MYSTIC ISLAND CUTTER, 1946. M u c h recent h u l l renovation, new sails by Stevens, new Sitka spar, running rigging. No engine. $14.000 Canadian. P.O. Box 517. Bridgewater. NS B4V 2X6. 32' NORTH SEA 21, 1965. Successf u l K i m Holman design. Extremely seaworthy. Iroko molded-strip planking, epoxy glued and glass sheathed when new. B e a u t i f u l l y maintained. Still IOR rated, w i t h f u l l inventory. Sabb diesel rebuilt 1983. Lying Brit a i n . $19,000. Ready to sail or shipping, USA approx. $10,000 C.I.F. Warren Mangan, 216 Florence Drive, Harleysville, PA 19138. 215-256-6995. In OB: 0728-830433.

12½' BEETLE CAT, 1982. Hardly used, floor cushions, tent cover. Fantastic buy at $3,250. 914-338-6639.

33' C H R I S - C R A F T , 1919. Show cond i t i o n , t w i n - s c r e w 95-hp engine rebuilt 1982 with 100 hours, sleeps 4, large saloon, many extras. Bayshore, Long Island. $10,500. 212-355-0037.

40' CHRIS-CRAFT CONQUEROR, 1960. Twin Chrysler 440 engines, closed cooling. 146 hours, new instrument panel. Deca 101 radar, Grumman d i n g h y , 6½-kw Kohler generator, loaded w i t h electronics, m i n t condition, fresh water. one owner (22 years), documented. Date sheet a v a i l able. $38.500. D.S. Wyse, 513-8901918 days, 513-890-0754 evenings.

16' C E N T U R Y RESORTER, 1956. 330 original engine hours. M i n t . $4,500. 607-272-4471. 25'3" VERTUE #74. "Kukri," built

England. 1952. Mahogany on oak. copper rivets, iron ballast. Not including rig and major gear. $12,000 Canadian. Bob Poole, 2414 Caledon i a A v e . , N o r t h V a n c o u v e r , BC V7G 1T9. 601-929-1952.

36' x 10' x 5'6" DOUBLE-ENDER WITH CANOE S T E R N , "Gauntlet." b u i l t 1938 of pitch pine on oak. teak decks, mahogany interior. Sloop rig. 750 sq f t . 30-hp diesel. Extensive renewals d u r i n g recent years. Heavi l y b u i l t , sound, and lovingly maint a i n e d f a m i l y c r u i s e r . P r i c e : DM

20' DUTCH-BUILT CELEBRITY SLOOP, h u l l #112, 1952. All mahogany, now main, roller-furling jib. racing equipped, new rigging, outboard. H a i l e r , refinished inside and out. $5,000. Pictures it i n v e n t o r y , $2. David Taylor-Way. 370 King Rd. East, Ithaca. N Y I 1850. 607-272-6467.

80.000. — . For f u l l details c o n t a c t :

OLD TOWN WOOD C A N V A S SAILING CANOE with nailer. Recanvased, r e f i n i s h e d 1983. E x c e l l e n t condition. $3,000. 101-789-9193.

38' P A C E M A K E R , double c a b i n w i t h H y i n g bridge, 1971. Twin Crusader 260 engines, 6.5-kw Onan generator. Dual controls. Mahogany on oak frames. Sleeps 8. Two electric heads, I shower, saloon with wet bar, g a l l e y down w i t h d i n e t t e . V H F (1983), d e p t h f i n d e r , 2 compasses, power anchor winch, swim platform. Boat completely restored, repainted. and redecorated 1983. $30,000. 201892-8616.

17' C E N T U R Y RESORTER. 1960. 170-hp Graymarine. Longhorn trailer, restoration required. $500. 617-3527262 a f t e r 7 p.m.

H . R . Joel. Sulldorfer Weg 28. 2000 Schenefeld. West Germany.

26' JOHNSON BROTHERS CRUISER, 1961. Mahogany h u l l , electronics. pressurized water, f u l l equipment, 215-hp engine. Extensively restored. 516-421-4845 evenings.

36' E G G H A R B O R S P O R T F I S H E R M A N w i t h f l y i n g bridge. 220s. 110 ref, auto bilge pump. 110 HW, new batteries, switches, many extras. Asking $2 1,900. E.T. Cox, 201 French Rd., Rochester. NY 11618. 716-586-7879. 60' R A R E A N D L O V E L Y DANISH SHIP, w e l l - f o u n d , strongly b u i l t 1905. Oak on oak. rebuilt 1982. accommodations for 1 1 , l y i n g Denmark, can deliver. Price reduced to $10.000 for q u i c k sale. Traditional Ships, P.O. Box 2870. Estes Park. CO 80517 or phone owners at 011-459-281060.

21' CENTURY CORONADO. 1961 Convertible top. Velvet Drive transmission. Ford Interceptor 210 hp. Needs work. $7.000 or make offer. Betty Mandery, 2226 Ahern St.. Marysville. CA 95901. 916-742-8779. 16' OLD TOWN SQUARE-STERN CANOE. E x c e l l e n t original condit i o n . $850. 913-837-2365.

A T K I N GAFF KETCH "Clione." 1910. Good condition. Offers around $20.000. For details and photo w r i t e to Taylor. P.O. Box 6328. Nassau. Bahamas. 33' C O L V I N S H A R P I E , b u i l t 1980. Bahamas-experienced. Draft 12" and 1'6". I n c l u d e s 5-ton t r a i l e r and new Honda 9.9 in-well. $12.000 U.S. D a v i d Z i m m e r l y . O t t a w a . 613238-3217.

22' GAR WOOD TRIPLE-COCKPIT R U N A B O U T , 1930. New Honduras k e e l and stem, new Philippine- planking. A f r i c a n ply and 5200 bottom. Late-model V-8 power. Restoration in process. $21.000. 22' CHRISCRAFT SPORTSMAN, r e b u i l t KL Hercules, new Honduras interior, t r a i l e r . $15.500. 21' CHRIS-CRAFT TRIPLE-COCKPIT, 1928 ( p i c t u r e d before restoration). Upswept deck, original Chrysler power r e b u i l t . Property of While House Preservation Fund. A boat for the advanced collector. $25.000. Also, Scripps 200-hp 6c y l #202 engine, transmission. Sound, needs work, $700. A l l boats have been (or will have been by June-) professionally restored to show condition. Tom Marinke. Bar Harbor Restorat i o n Co., Bar Harbor, ME. 207288-3891.

43' DCFB MATTHEWS, custom b u i l t of mahogany in 1966 to order.

C h r i s - C r a f t s w i t h zero hours s i n c e

6' b u n k s and headroom. Pristine

condition. Culmination of owner's 54 years in boating. 2 GM diesels using 4 gals hr at 8.5 knots. H.S. De Voe, 140 Maplewood Ave., Maplewood, NJ 07040. 201-762-5062.

18½ GAR WOOD SPECIAL R U N ABOUT, model 18-30. 1936. Professionally r e b u i l t . 100% original, no expense spared. Boat is in showroom condition. $13.500 or best offer. 800558-8898 ext. 380.

10' NOMAD PILOT HOUSE KETCH 1983. "Gray S t a l l i n g . " b u i l t by Rosborough Boats. Ltd., for Doug Ros-

borough. 40'5" x 12' x 6'2". Pine-

overhaul. Cruise's at 12 knots, sleeps 9, f u l l y equipped. $11.500. 201-8995852.

M a t t , 212-677-2695.

36' FAMOUS CAROL KETCH. A world cruiser. 1 ½" mahogany on oak. Rugged construction. Spacious, comfortable cruising and liveaboard. E x c e l l e n t condition. Very reasonably priced or w i l l trade. A. Gehrman. 160 SW Salerno) Rd.. S t u a r t . FL 33197.

rior. 4-8 berths. Very comfortable, dry, seagoing yacht w i t h lots of character. W i l l deliver. $37.000. Fletchers, Basham Hoe, Chichester, England.

16' HERRESHOFF CLASSIC 12½ SLOOP. New main, coamings, transom, fastenings, afterdeck. c u s t o m cover. Super condition. Warner. Box 371, Essex, CT. 203-767-1034.

36' CLIPPER-BOW CUTTER, b u i l t 1956. Mahogany on oak, rebuilt 25hp FWC engine. new ss rigging, hank-on and roller jibs set for solo sailing. 9'6" beam, 5'9" draft. 6'+ headroom. Rewired, much gear, exc e l l e n t condition. First honest offer.

1982. VHF DS. Tabs, AQ 140 180, Volvo w i t h 100 hours, Bimini, more. Tandem t r a i l e r . $6,000. 813-934-6450.

tor. Exceptional solid teak, oak inte-

33' C O L D - M O L D E D P I L O T HOUSE SLOOP, Garden design, b u i l t 1979. Diesel, sleeps 1. comfortable liveaboard. $69,000 Canadian. G. Anderson. Box 2185. Sidney. BC V8L 3S8. 601-388-6275 Pager 6142.

18' V I N E Y A R D CLASSIC:. 1951. B e a u t i f u l c o n d i t i o n , t w i n 210-hp

32' DUTCH Y A W L . 1951. Oak on oak. teak decks. 35-hp Coventry V i c -

27' RESCUE. Bolger design, epoxycoated m a r i n e ply on w h i t e oak,

28' CLASSIC MUSCONGUS BAY LOBSTERBOAT, built by F.D. W'inchenbaugh of Friendship, Maine.

Cedar on oak, b e a u t i f u l lines. Jeffrey R. Mabee. 13 M i l l e r St.. Belfast. ME 04915.

over oak, bronze fastened. Sail area 770 sq f t . Perkins 4-236 85-hp diesel. Full electronics, hydraulic steering. Mahogany interior. Great a f t c a b i n . Sleeps up to 10 in regular berths. 2 showers, 2 heads, LP gas, 3 burners w i t h oven, refrigeration. B e a u t i f u l vessel in new condition. Located Halifax, NS. Excellent buy at $ 170,000 Canadian. Joe Hulse. Wilbur Marine & Yacht Brokerage. Manset. ME. 207-244-5888. 38' RICHARDSON SPORTFISHE R M A N with flying bridge, 1957. Dual stations, p a r t i a l l y restored, original e q u i p m e n t , many extras. Asking $3,000. Located Eastern L.I. 516-669-1525. 64/WoodenBoat

139

16' THOMPSON CANOE, 1927.

18' CHRIS-CRAFT RUNABOUT,

Wood and canvas. Excellent condition, except stern seat needs recaning. Mast step, P h i l i p p i n e mahogany trim. One owner. $850. George Lacey. 72 Crestmont Rd., Binghamton, N Y 13905. 607-797-1863.

1952. Complete with all original hardware, needs refinishing, engine not run in six years. Glassed from the waterline down, solid hull. Second owner selling w i t h sturdy trailer and f i v e new tires. $3,500. Gibbins, 3700 Rue-Renee, New Orleans, LA 70114.

28' HERRESHOFFS-CLASSSLOOP, b u i l t 1922. Cedar on oak, bronze fas-

tened. M a i n , j i b , 6-hp outboard. Good condition. Asking $5,000. 516754-1385 evenings.

21' CUSTOM BASSBOAT. 1984. New Volvo power, cabin, VHF, depth finder. 203-434-8641. 19' L I G H T N I N G , custom b u i l t , #12689. B e a u t i f u l wood construction, racing equipped, sails, boom tent, trailer. $3.000/best offer. Phee Brown,

504-392-6295. 16-METER SLOOP, built 1950. All teak, best condition, lying Ireland. $85,000. Assmann, Forststrasse 8, Pentenried, D8131 West Germany. Tel. 004989-8502267.

212-517-7386.

25' M O W E R V I K I N G CLASS RAISED-DECK SLOOP. 1937. Fast pocket cruiser, f u l l y restored, well equipped, in excellent condition. Recent survey. Absolutely gorgeous, must be seen. $9,800 or best offer to good home. 304-544-0887.

33' HERRESHOFF MEADOWLARK, 1975. B.C. fir on oak, stainless steel rig, Dacron sail. 75-hp outboard. Sleeps 6, interior head and galley, very well equipped. $25,000. Located Montreal, Canada. J.L. Sinarc, P.O.

Box 426, Chycoucimi, Quebec, Canada 97H 5C2. 418-696-0387 after 5.

Bud Brown, United Yacht Brokers, 305-521-4616. 65'MFV-TYPE YACHT, b u i l t Sandbanks 1920. Pitch-pine planking.

Twin 96-hp Gardners 1936, rebuilt 1982. 6-kw Onan. New electronics part of extensive refit restoration t h r o u g h o u t continuous. Located Monte Carlo. Personal reasons force sad sale. $92,000. Lesley Bell, L'Estoril, 31 Ave. Princesse Grace, Monte Carlo, or phone 508506.

30' SLOOP, HAJ class, Finland, 1935. Pine over oak, 4 sails, extras.

Good c o n d i t i o n . PO. Box 175, 36' CHRIS-CRAFT, 1939. Excellent

Camden, ME 04843. 207-596-6900.

condition. Engines, wiring, tanks, HERRESHOFF 1 2 ½ ' , 1940. Well m a i n t a i n e d . Recently refastened. Three sets of sails plus racing spinnaker. Great daysailer. Many extras.

See WB Nos. 56 & 57. $4,250. 617-

922-4234.

36' HINCKLEY CUSTOM YAWL, 1952. A true classic. New sails, excellent condition, Loran. $19,500. 203-

816-2128 days, 203-762-0269 evenings. 33' CLASSIC; CUTTER. Mahogany on oak. Full headroom, sleeps 1, 25hp inboard, tanbark sails. F u l l y equipped and in very good condition. Located Beverly, MA, in water and ready to sail. $13.500. 617-8875658.

30' CUSTOM YAWL, b u i l t H a m i l ton, Ontario. 1910. This w e l l - m a i n tained classic is pine on oak with a 4-91 Graymarine engine. Below are three bunks, sink, head, and 5-sail i n v e n t o r y . Located on Lake Ontario. Asking $11.500 Canadian or U.S. equivalent. 716-433-5211 days.

40' CLASSIC G R E E K MOTORS A I L E R . 105-hp V o l v o diesel,

Warner reverse gear, American registry, beautifully maintained, completely equipped for comfortable year-

round living. $39,500. Yacht "Minos," Club de Mar, Palma de Mallorca.

60' ALASKAN CEDAR-PLANKED KETCH w i t h bowsprit & boomkin t o t a l l i n g 67'. She has heavy oak frames & her h u l l is fiberglassed for long life. She has a roomy interior, is well equipped, and is in excellent condition. Located Ft. Lauderdale and available for immediate delivery.

p l u m b i n g replaced since 1970. Owned by U.S. senator '47 to present. Fathometer, Ship-shore, Dyer sailing dinghy. $15,000. Hartge, Galesville, MD. 202-261-5141.

18' GAR WOOD, serial #7174, 1946. Refinished early 1970s. Dry storage since 1974. Original. Make offer. OLD TOWN CANOE. 1910s vintage, with

partial sailing rig. Needs work. $250. Details 'photos: T. Waddell. Box 43, Cochecton, N Y 12726. 914-887-4815. 16' THOMPSON, 1964. Sound, needs refinishing, stored inside. 75-hp Evinrude. Trailer. $1,200. D. Flory, 412 Laurie Lane, Stillwater, MN 55082. 612-439-6585.

40' CUSTOM L Y M A N , 1935. Mahogany carvel planking on oak, solid leak deck. Perkins 6.354.M 2:1. 270 gallons fuel. Autopilot. auto-CO2,

sniffer, 110V/12V refrigeration, legal 35' A L D E N D O U B L E - E N D E D KETCH, 1935. Mahogany on oak, ss fastenings, ss rigging, Mercedes diesel, VHF. RDF, F a t h o m e t e r , a f t cabin. Ideal cruising vessel for two. $30,000. P.O. Box 211, New Gloucester, ME 04260. 207-926-4267. 12' MOTORYACHT b u i l t by Pendleton, Wiscasset, ME. 1920s. 12 x 9 x 3'. Two staterooms, head, and galley. Interior mahogany raised-panel

head, VHF and CB, solid fuel heating stove. Same owner last 30 years. Stored inside. Erie, PA. Connelly. 216-321-2983.

20' FAERING, rare, authentic, and beautiful Norwegian-built daysailer in excellent condition. $3.500, or

trade for interesting small sailboat or launch. Cooper, 411 Richmond East, #102, Toronto, Canada M5A 3S5. 416-362-7966 or 416-727-8671.

doors and t r i m , teak deck, and pine on oak hull. A classic design well worth restoring. Must move. $2,000.

207-737-2719. ' 21' R A V E N CLASS SLOOP "Flying Saucer," 1949. Shoal draft, centerboard, mahogany on oak. Good sails,

sound hull. $5,500. 203-972-2833.

25' FOLKBOAT, built by Abbott. Sarnia, Ontario. Mahogany on oak. inboard, well equipped, in excellent

condition. $12,000. 313-289-4277. 6-METER RACING SLOOP "Rebel," Corny Shields international winner, built by Luders, 1937. Super condition, ready to race or cruise, much history included, 10 bags sails. MDR slip. $19.000. Restorable trade possible. Steve Poquette, 818-782-2242. 30' SEYCHELLES FULL-KEEL SLOOP, designed by W i l l i a m Shaw, built in Hong Kong, 1964. Mahogany strip planked, teak decks, 5 sails, Atomic-4. Very good condition. Located Chesapeake Bay. $25,000. 804282-9096. 140

WoodenBoat/64

31' CUSTOM-BUILT SLOOP, one of a kind! Strip-planked mahogany. Atomic-4 engine. 5 sails. Refrigerator freezer. Excellent liveaboard cruising boat. Many extras. $28,000. For photo and inventory, write A. M i l l e r , Box 1561, Marathon, FL 33050. 305-743-9912. 50' H E R R E S H O F F W A L R U S MOTORSAILER, 1929. Cedar on oak. Bronze fastened. Twin diesels. Spacious liveaboard. Will deliver to

Gulf or East Coast. $70.000. 305842-2876.

27' GENE WALLS LOBSTERBOATSTYLE PICNIC BOAT, 1967. 1979 Westerbeke diesel inboard. Total hours 600. Sleeps 2-4. Equipped w i t h head, stove, fathometer, and CB. A very nice and well-kept picnic boat. Asking $16,000. Newman Marine, Southwest Harbor, ME 207-244-5400.

52' CHRIS-CRAFT C O N N I E w i t h flying bridge and ext'd hardtop. 1968. GM6-71s. Electronics include Loran and radar. 2 aft staterooms and crew quarters. Just repainted and updated. Bud Brown, United Yacht Brokers, 305-521-4616.

30' CROCKER-DESIGNED FLUSH-

DECK KETCH built 1951. Mahogany on oak, bronze fastened, ss rigging, 5 sails, 25-hp Palmer. Solid, w e l l - b u i l t boat in very good condition. Ideal liveaboard or cruiser. Asking $20,000. 803-552-4732.

36' HAND MOTORSAILER, 1936. Cutter rig. Palmer 150. Overhauled

38' MATTHEWS SEDAN CRUISER, 1937. Good condition. Call Mr.

in 1984. Full galley, shower, very

Fisher, Monday-Friday, 9-5, 616983-0161.

ample quarters. $24,500. 617-742-5210 days, 617-925-1167 evenings. 17' CENTURY RESORTER, 1967. Restored red mahogany hull and 326V8 Graymarine inboard. Completely original! Trailer. 203-374-1077. 18' LOWELL, S A I L I N G S U R F DORY, 1980. Mahogany on oak. Galvanized trailer. Mike Jenkins,

1720 N. Hudson Ave., Chicago, I L 60611. 312-664-0983.

19' B A R T E N D E R , double-ended planing h u l l , Maine-built 1983. 40hp Mariner 1983. Good rough-water f i s h i n g boat. $6,500. 516-698-2326 evenings.

34' D O U B L E - E N D E D SLOOP. Mahogany on oak, copper fastened. Documented, just restored, f u l l elec-

274-4038. 20' W I L L I A M G A R D E N "DUNK" G A F F - R I G G E D CUTTER, b u i l t 1983. Cedar on oak. Traditional carpentry, professionally finished. Head and galley, sleeps 2. electrical system,

216-772-4825.

18' SHEPARD, circa 1950s, 6-cyl Chrysler "Ace" engine, 7'6" beam. $2,500 spent on major engine overhaul 1981. New canvas sport top and overall cover. An elegant boat in excellent condition. $5,000 U.S. funds. Located Parry Sound, Ontario. Martin West Vorys, Rt. 11, Box 109A,

14' WHITEHALL. 1980. Pine on oak. w i t h spritsail rig. Leaks. $900 o f f e r s . U n l i c e n s e d t r a i l e r , $250. Located Bethesda, MD. 301-897-5891.

Recent survey. $13,000 Canadian.

Located Quebec City. 418-626-8275.

19' CENTURY RESORTER, 1968. Completely refinished, all original. E x c e l l e n t condition, w i t h trailer. $10,000. Serious i n q u i r i e s o n l y . 816-331-5499. 15' NORWEGIAN-STYLE SAILING P R A M . Northern white cedar on elm, bronze copper fastened, sprit rig. B u i l t A p r i l , 1983. $3,500. Lloyd Arnold. 617-228-9161.

condition. $13,700. Bayfield, WI. 715-373-5044.

44' U.S. NAVAL ACADEMY LUDERS YAWL. Mostly rebuilt, needs some work. $12,500. Frank Kenley,

83' STAYSAIL SCHOONER "Destiny," the epitome of classic (for-

merly the Hughes yacht), extra heavily b u i l t in Old World tradition in 1934. Constructed of 2" verticalgrain p l a n k i n g over double-sawn oak. Burmese teak on her large doghouse, hatches, and bulwarks w i l l capture the respect of anyone. Hauled

27' E L D R E D G E - M c I N N I S FRIENDSHIP SLOOP, o w n e r - b u i l t w i t h exacting care, 1978. 25-hp diesel, sleeps 4, in traditional quarter-berth arrangement. Teak decks and throughout. A delight to see and sail. Only $31,500. SEACURE. 101-596-7054. 24' CLUB LAUNCH for Glen Cove Marina, built by Edmond Cutts, 1964. One of a k i n d , real eye-catching gem. Bronze fastenings, teak decking, trim, and sole. 80-hp Gray 2 4 . Some work to do. $6,000. 25' CATBOAT designed by Wittholz and built by Finkelday. Essex, CT, 1967. Page 109 Catboat Book. Excellent sailer, well maintained, 22-hp Palmer. $27,000. For more information, call 201-295-1590 mornings.

86' x 20' x 6½' TRUMPY MATHIS TWIN DIESEL MOTORSAILER. Estate sale. Refit '84-'85. Spacious 1 85. she has new planking, 671 and elegant, interesting history. Loengine, diesel generator, and all ss cated Ft. Lauderdale, FL. 305-4678600. rigging. $275,000. W i l l consider real

estate trade. 505-623-9726. 18' DAHL CAPE COD CATBOAT. W h i t e cedar on oak, mahogany trim. $9,000. 612-474-4970. 27' STRIPER by Riverside Boat Yard, Newcastle, ME. built 1964. M i n t condition, cedar over oak, bronze fastened. 225-hp Chrysler FWC. Fully equipped. For offshore

cruising. 617-887-8872.

21'6" SWEDISH DOUBLE-ENDED LAPSTRAKE SLOOP, b u i l t in NJ, 1963. Cedar on oak w i t h fixed keel, 3' draft. Located N J w i t h second owner. Very good condition. David L. Horst, 629 Tennis Ave., Ardsley, PA 19038. 215-884-2085.

38' S&S DESIGN K/CB SLOOP. Mahogany on oak. bronze fastened, new Sobstad sails, rebuilt Graymarine 4-112, Edson wheel, teak cockpit. Many extras, recent survey, much recent upgrading. Classic yacht cond i t i o n . $28,000. CT. 203-536-4831 evenings.

9.9 Sailmaster in well. Road trailer.

16' HERRESHOFF 124. Refastened. gaff rigged, new Yardarm sails. Hull #BB34. $3,500. 617-337-9121.

26' S.S. CROCKER STONEHORSE SLOOP. 1968. Cedar on oak, full keel, 5 sails, tandem trailer, superb

40' C R O C K E R STONEHORSE, 1934. Cedar on oak, Mercedes diesel. Loran, refrigeration, cruising and l i v i n g facilities, extensive electronics. Call for f u l l details. Asking $28,000. 904-225-1048.

Greeneville.TN 37743. 615-272-5318.

tronics, Atomic-4, sail-away condition. Located NYC. $35,000. 718-

20' N E W A L A G A N T E R U N ABOUT. Mahogany prototype. Soft, dry, 50-mph ride. In super show condition. For i n f o r m a t i o n call 419865-5211.

NC. 919-726-0628.

T W E N T Y - N I N E CHRIS-CRAFT & C E N T U R Y RUNABOUTS A N D UTILITIES for sale, restored and unrestored. Complete restoration services by R. Srott MacKerscher, 865 Rosewood, Jenison, MI 49428. 616157-1673. 18' CHRIS-CRAFT CAPRI, 1959. KFL 131-hp engine and hull have 89 hours, verifiable. From estate, in dry storage. One of a kind. $11,500. 314-372-6337.

29'CLASSIC ALDEN SLOOP, b u i l t by Hinckley, 1946. Peabody Museum plans aided restoration, now 98% professionally completed. Lots of teak and Honduras mahogany. A gorgeous, sound yacht, a pride to own. 415-557-5937 days, 415-686-2643 evenings.

35' OHLSEN YAWL, #27. Mahogany on oak, Atomic-4, documented, 7 sails. Structurally excellent. Needs TLC. $21,000 negotiable. Located

20' CHRIS-CRAFT UTILITY RUNABOUT, 1956. Mahogany and leak, refinished 1985. Excellent condition. V-8 Chrysler. Like boat in "On Golden Pond." Ben Forbes. 919-2376679 or 919-291-5970.

35' ELCO SEDAN, 1930. First award winner 1972 and 198 CYCA competition. V-8 engine, two DC systems, sleeps 6, DF, VHF, dockside power, f o r w a r d cockpit seals 4. A s k i n g $17,500. 301-435-4943 Mon-Fri.

28' ELCO EXPRESS CRUISER, 1917. Chrysler 318 engine runs well, good restoration project. $4.300. 804-4220429 evenings.

29' CLASSIC A N D E R S E N CATBOAT. Extensively reworked. Ship-

mate stove. 40-hp Palmer, bronze blocks, Dacron sail. All in excellent condition. $24.900. 617-729-9036.

34' H I N C K L E Y CUSTOM SOU'WESTER, 1947. Cedar on oak, bronze fastened. New keelbolts 1983. Asking $22.500. 203-481-3866. 35' ELDREDGE-McINNIS KAPPA SAN YAWL. Needs woodwork on c a b i n and cockpit areas. Good Westerbeke diesel. W i t h some TLC, she can look as good as she sails. $17.500. Jim Guerra, 201-965-1900 days, 201-

826-1306 evenings. 25' S P A R K M A N & STEPHENS SLOOP, b u i l t by Derektor, 1952. Mahogany on oak. bronze fastened, 25-hp Atomic-4, -1 sails, VHF", sounder, f u l l headroom. Inquire for inventory. $15.000. 203-663-2921 after 6 p.m. 34' HERRESHOFF H-23 FISHERS I S L A N D KNOCKABOUT. 1929. Bronze refastened Honduras mahoga n y on new oak ribs. $14,000.

Easton, MA. 617-238-0355. 64/WoodenBoat

141

25' FRIENDSHIP SLOOP, Pema-

48' N.Y.Y.L. & E. CO. DOUBLEE N D E R , 1909. P a c k a r d m a r i n e

qnid model, b u i l t 1962. Recently re-

engine. B e a u t i f u l mahogany i n t e r i o r

fastened. Cedar over oak. 25-hp West-

w i t h beveled glass t r u n k cabin w i n dows. Needs to be restored. W i l l donate to non-profit or sell cheap to private party. J i m Guerra, 201-9651900 days. 201-826-1306 evenings.

erbeke diesel. Excellent condition. $14,000 BO. Located Dover, MA. 617-785-1043.

21' NELSON Z I M M E R LAUNCH, 1981. W h i t e cedar planking on w h i t e oak frames, topper-rivet fastened, laid decks, mahogany trimmed w i t h oak r o a m i n g . Bronze h a r d w a r e . Volvo Penta 10-hp diesel, slick steering. Finest yacht finish. Coecles Harbor Marina & Boatyard. Shelter Island, NY 11964. 510-7-19-0700.

43' ROB RICH POWER YACHT, b u i l t 1977. CM 6-71 w i t h only 500 total hours. Sleeps 4 below. Full electric galley, nice tub w i t h shower

fwd. Diesel generator. Equipped w i t h Loran, radar, and autopilot. This like-new power yacht is in superb condition. Reduced to $95,000. Newman Marine, Southwest Harbor, ME 207-244-5400. 12' PRAM b u i l t in 1982 from NEST 12 k i t . Includes main and j i b (76 sq f t ) , oars. $950. New trailer. $390. Send stamp for specs and photo. Ramon A l a n . 242 Clove St.. Lexington, MA 021 73. 617-862-6092.

34' D O U B L E - E N D E D SLOOP, b u i l t in Denmark, 1938. Ending twoyear South Pacific cruise, new custom rig and main, diesel, 8 sails, and lots of cruising gear. Ready to go again. $42,000, or $35.000 without gear. "Dazzler," 1651 Ala Moana, Honolulu, HI 96815. 17' CHRIS-CRAFT DELUXE R U N ABOUT. 1948. Engine rebuilt, 131 hp. 3 carbs. Excellent condition.

22' M U R P H Y CLASSIC R U N ABOUT, new June. 1984. -10 hours, pristine, loaded w i t h extras. Brightf i n i s h mahogany lapstrake. Tandem trailer. Well below replacement cost. Best offer over $26.000. 301-268-8782 or 301-268-3131. 36' ALDEN CASEY CUTTER, 1938. Mahogany on oak. bronze fastenings. Graymarine. Solid, but needs some work. $12.000 or trade for trailerable boat. 802-684-3965.

17' CHRIS-CRAFT DELUXE (barrelback), 1941. $5,000. 20' CHRISCRAFT CUSTOM, 19-16. $1.000. 26' CHRIS-CRAFT CONTINENTAL ( t w i n e n g i n e ) , 1956. $4,000. 17' C H R I S - C R A F T D E L U X E , 1948. $2,200. A l l require restoration. 203693-4811. 26' Q U A D R A N T SLOOP, 1962. Inboard. Equipped for charter. Good condition. $9,000. 301-867-5266.

Trailer. $4,500. Pete, 715-635-2629. 41' MATTHEWS CUSTOM SPORTF I S H E R M A N . 195 1. Twin Detroit 471s. FB, complete galley, very good condition. $28.000. Box 33983, Washington, DC: 20033. 202-554-2820. 37' ALDEN SLOOP, b u i l t at the James Graves Yard, 1950. Cedar on w h i t e oak. bronze fastened. Westerbeke diesel. Refastened by Zahniser. Solomons, MD. 1982. including allnew V keelbolts. Extensive work 1981 by Shipskills. Kingston. N Y . Sound, s e a w o r t h y , fast, and able. $28.000. McCoy, 53 Green Rd.. Sparta, NY 07871. 201-729-6822. 28' RIVA M A H O G A N Y SPEEDBOAT. New f r e s h w a t e r - t o o l e d Chryslers. Formerly owned by Governor Rockefeller. $47,500, or $50,000 w i t h tri-axle matching trailer. Call 212-582-7575 days.

20'6" WM. ATKIN DORY, 1972. Mahogany on f i r , new Atlantic 2-cyl

gas engine, large wheel trailer, ground tackle, steadying mast, sail k i t , extras. $3,000. FOB Huron, OH. 419-433-2874.

age Woods Hole. Massachusetts. $7,995. 617-540-7313.

23' CHRIS-CRAFT C O N T I N E N TAL, triple cockpit, 1957. Only 6 hourson complete restoration including new engine, interior, chroming, and refinishing. $15,000. 503-2699401.

45' C H R I S - C R A F T C O R S A I R , 1954. Teak deck, original 160 engines. R u n s excellent. Has aft-cabin hardtop. Clean, sound boat, excellent for restoration. $28,500. Dick Wolf. 313-725-1600.

10' RYBOVITCH SPORTFISHERM A N , 1956. Only I I boats made, a classic in excellent condition. Twin

38' FLUSH-DECK CUTTER "Valentine," Alfred Weida design, 1938. Cedar on oak above, mahogany below. Cruised extensively East Coast and islands by liveaboard owners last 7 years. B e a u t i f u l l y m a i n t a i n e d , loaded, ready for new owner to move aboard. Located Florida. $35.000. Valentine, 108 Old Slip, Riviera Beach, FL 33404. 142

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43' CLASSIC DANISH DOUBLEENDED KETCH. Sound, extensively r e b u i l t , diesel power, diesel generator, good sails, comfortable cruising/ liveaboard vessel. $42,000. Smaller vessel as trade-in considered. 301849-8555.

Fastnet winner, recently rebuilt, sleeps -1, diesel, propane, 6 sails plus storm, d i n g h y . $29,500. Annapolis. Owner. 301-268-5618.

18' U N I Q U E C E N T E R B O A R D CATBOAT, 1981. S t r i p - p l a n k e d cedar, mahogany t r i m . R o t a t i n g mast gives easy reefing f u r l i n g . 2 anchors, 2 cowl vents, Perspex hatch. 4.5 Johnson in well. Complete cruising equipment for 3 adults and 1 c h i l d on 3" foam. M a n y extras. $12,500 C a n a d i a n . Cook, R R # 4 , B a n c r o f t , O n t a r i o K 0 L 1C0. 613332-2769. 17' H E R R E S H O F F " F u r n a n ' s

Clipper," 1937. Mahogany, very

Seamasters, 540 cu in each. Mahog-

any interior, stainless galley, tuna t o w e r . Rybo-chairs, outriggers. Loran, CB, VHF, depth recorder. A steal at $110,000. Call 305-368-3504 or 305-391-3415 evenings.

25' LUDERS 16. b u i l t 1931. Cedar on oak, t o t a l l y restored, refastened, and refinished. Rebuilt deck. Ready to sail away. Excellent condition. $7,500. John Packard, 266 Sea Cliff Ave., Sea Cliff, Long Island. NY 11579. 516-671-1515.

FELTHAM 33, designed by Robert Clark, sistership to "Favona," 1953

12' T R I M A R A N may be fastest, cert a i n l y best combination of comfort, speed, and grace you w i l l f i n d . Sleeps 5. Fine inventory and condition. $100,000. V i r g i n Islands. Dick Newi c k , RED Box 309. V i n e y a r d Haven, MA 02568. 617-693-9603. 21' K E E L CATBOAT "Maryalice," b u i l t 1938. Hull refastened, new garboards, r e b u i l t A t o m i c - 4 1981. Marine head, bunks, extras. Wet stor-

15' W O L V E R I N E R U N A B O U T , 1960. Molded mahogany, completely refinished, 40-hp Johnson outboard, trailer, cover, battery. $1,750. Roland Martel, 117 Central St., Gardner. MA. 617-632-3406.

sound. $3.700. 617-631-7003.

35' FLUSH-DECK C R U I S E R , 1936. Restoration begun, basically sound, no engine, much bronze. $1,500. 207-326-4207.

32' BLOCK ISLAND CUTTER, 1923. Port Orford cedar on w h i t e oak frames. Completely restored in 1975. Teak decks. 4-cyl Ford diesel auxiliary. Fast, charming cruising boat. $29.500. 711-497-3511.

17' CHRIS-CRAFT DELUXE R U N ABOUT, 1918. 131 hp. $5,500. 19' CHRIS-CRAFT CAPRI, 1957. 120 hp. $7,000. Both ready to use with fresh engines, f i n i s h , upholstery. 203-693-4811.

35' O H L S E N SLOOP. 1964. Graymarine, f u l l sail inventory, excellent condition, h i g h l y recommended. $28.000. Gidley Boat Works, Ltd. 2363 Weadock, Essexville, MI. 517894-0552.

19' x 5'6" HAMPTON ONE-DESIGN, completely rebuilt w i t h WEST System ply overlay, Dynel. Fast, pretty, maintenance-free. $2.500 or best offer. Thayer, 2106 Atlee, Mechanicsville, VA 23111. 804-746-0674. 20' BRYANT EXPRESS CRUISER, 1962. Restored 1981. Mercruiser 160 I/O, swim platforms, t r i m tabs, new lop and c u r t a i n s , new helm seats, new wiring, anchor, 2 spare props, 36-gal f u e l c a p a c i t y . Late '84 surveyed at $4.500. Panama City, FL. 901-265-4647 evenings.

19' BEAUTIFUL TRADITIONAL GAFF SCHOONER. Excellent condition, 2'9" d r a f t , 7 sails including rnaintopsail and fisherman. Veryable, exceptional for coastal cruising, ample stowage. $8,450. Pierre Wagner, 212-869-1720 business, 718423-1136 home.

27' G R A D Y WHITE, 1967. 1978

engine. Needs work. $2,000. 203-3771005.

28' CLASSIC CHRIS-CRAFT RUNABOUT, model 1 1 4 , 1929. Triple cockpit, 285-hp engine. Contact P.O. Box 29343. San Francisco, CA 94129.

25' ED MONK SLOOP. Well-found, comfortable pocket c r u i s e r . New keelbolls and rigging. VHF, C, DS, KM.

Priced to sell at $6,000. M i c h a e l , 415-232-3567. 18' OTCA OLD TOWN CANOE, 1929. F u l l y restored. $1,500. Ketch rig available. 216-561-3070. 34' HERRESHOFF FISHERS ISL A N D 23. 1928. B r i g h t - h u l l classic, well maintained, original hardware, new j i b and r u n n i n g rigging. 5½-hp Seagull, Dyer d i n g h y , w i n t e r cover. $12,000. J. Silva, 76 Burgess, East Providence. RI 02914. 401-434-0127.

40' CUSTOM SLOOP. 1938. Mahogany on oak, leak coamings and deck, completely restored in 1984, new sails, cushions, and sailcover. Sitka spruce mast. F u l l y equipped. D e l i v ery negotiable. $25,000. 616-9382650. 18' CHRIS-CRAFT RUNABOUT. 1931. Model #301. Original engine and hardware. Complete professional restoration. Full canvas. Excellent condition. $10,500. 18' CENTURY R U N A B O U T , 1953. All original, very good condition. $5,800. 207633-6414. 24' P E N N A N T SLOOP. Classed decks, rewired, refastened. no rot. Excellent equipment list. In the water 1983. Needs work. Moved, must sell. First $1,000 takes i t . 203-723-0112.

60' S A R D I N E C A R R I E R , built 1919 in Addison. Maine. 2" oak p l a n k i n g over 4x4" oak frames. Galv. screw re-fastened after 1978. R e b u i l t 300-hp. 6-cyl. CM diesel w i t h 300 hours. 2 large holds. Sleeps 2 forward and 1 in pilot house. Equipped w i t h radar, recorder and Loran. Well-maintained by owner. Reduced to $75.000. Newman Marine. Southwest Harbor, ME. 04679. 207-211-5100. 38' L A W L E Y "R" BOAT, 1925. Mahogany on oak, converted for cruising racing, 6' headroom, sleeps 4. head, galley, good sails, outboard

in well, wood spars, cradle. Great Lakes. $8,000 offer. 419-829-2173.

36' K I N G S AMETHYST CUTTER, 1966. Mahogany on oak, complete

refit 1984. Fast. A l u m i n u m mast and spars, various equipment. Photos available. $47.000 offer. P.O. Box 193, Suamico, WI 54173. 414-4343501 or 414-134-3359. 26' COLVIN SHARPIE. 1974. Mahogany strip planking on oak, leak trim, fiberglass decks and bottom. Structure and sails excellent. 6-hp Johnson. 3 berths, custom trailer. Well equipped. $8,400. 717-762-1131 or 717-762-9585.

33'6" HISTORIC GAFF SLOOP,

20' x 18' x 6' x 3'7" A U X I L I A R Y C A N O E KETCH, s m a l l cruiser " D u n w u r k i n " built by Robert 'Fitcomb, K i t t e r y , ME, 1936, restored 1983. Cedar on oak, original spars, bronze fittings. Palmer 27. Located MD. $8,500. 206-643-0478.

Scottish-built, 1895. 25' waterline x 8'4" x 6'. Cedar on oak. Spartan accommodations. Outboard in well. High performance in perhaps the oldest sailboat on Great Lakes. $10,000. 416-536-6469 or 716-4736078. 32' A L D E N SLOOP. Mahogany on oak, much recent work, Volvo diesel. $12,900. P o r t s m o u t h . R I . 101683-3880 or 401-683-3880.

31' CHRIS-CRAFT SEDAN CRUISER, 1940. M i n t condition. Many a n t i q u e boat show awards. Bob 25' CROSBY CAPE COD CATBOAT, 1932. 1" cypress on oak. 1968 4 - c y l Palmer overhauled 1984, 400' Dacron sail new 1983. Refastened w i t h bronze 1974. Asking $12,500. 617-255-3131 or 617-432-3231. 30' RHODES SLOOP. Cedar on oak, bronze fastened, h u l l completely rebuilt 1984. No interior, new sails. In water. $8,200 or best offer. 718423-5085.

Fitch, 315-476-9764 or 315-182-2885. M U R P H Y CLASSIC 21, 1984. Mahogany lapstrake runabout with V-

berths, head. OMC 3.8 1 0 , nailer, cover, screens, much more. Beautiful bright-finished hull. Best offer over $25,000. W. Aherne. 3065 Rundelac Rd., A n n a p o l i s , MD 21403. 301268-3131.

HERRESHOFF 1 2 ½ Good condit i o n . 6 sails. $3,000. Bristol. R I . 401-253-4272. 28' SWEDISH KING'S CRUISER. Sloop rig, mahogany planked, teak decks, Volvo diesel engine, VHF, in great c o n d i t i o n . $10,000. 603-6645303.

36' ELCO C R U I S E T T E , rale 1918 classic w i t h f l y i n g bridge and dual controls. Completely restored. Repowered 1978 with T-302 Merc-Cruiser engines. Hull refastened and refinished spring 1985. B e a u t i f u l l y refinished A f r i c a n mahogany interior. Forward c a b i n , head, f u l l - l e n g t h closet, unusual galley, dinette, sleeps 6. $26.500. MD. 301-464-5374. 20' BBII SLOOP, b u i l t in Norway. Varnished mahogany h u l l , rod rigging, set of sails, 2-hp outboard. $2.500. 516-561-6606. 40' ALDEN MOTORSAILER, 1931. Restoration started. H u l l fine, have rigging and parts. Needs paint, wiring, and love. $16.000. 203-367-5758.

35' KNUTSON Y A W L . 1961. Teak d e c k s . Westerbeke diesel r e c e n t l y r e b u i l t , autopilot, i n f l a t a b l e dinghy w o u t b o a r d , l i k e - n e w condition. $35.000. Call Carol Parrott. United Yacht Brokers. 305-524-4616. 30 x 10 x 5' NORWEGIAN DOUBLEE N D E D LAPS TRAKE SLOOP. 1962. Doghouse, Mercedes-Benz, $5.500 f i r m . Banks, 201 Cedar Lane, Edgewater. MD 21037. Details for $2. 301-798-0998.

26' HACKERCRAFT R U N A B O U T , 1930. Three cockpits, two w i n d shields, a l l original and not used since restoration. Only two owners. $25.500 or best offer. Gordon. 305563-4018 evenings. 23'5" EASTWARD HO CRUISING SLOOP designed by EldredgeMcInnis. b u i l t 1958. African mahogany on oak, f u l l headroom, sleeps 4, c o m f o r t a b l e , galley, head, 22-hp Palmer. E x c e l l e n t condition. Sail away. In wet storage. 617-228-9043. 50' C A L K I N S M O T O R S A I L E R . 1964. A classic double-ended y a c h t , perfect for liveaboards. Strip-planked mahogany, f i n keel, 116-hp Ford Osco diesel, Onan generator. Hood Seafurl, large inventory of sails and instruments. $65,000. Betzy, 212-472 1545.

21' H O D G D O N O N E - D E S I G N R A C I N G SLOOP. Similar to Boothbay One-Design. Ralsey Dacron sails. E x c e l l e n t condition. $3,000. Can be seen at Goudy & Stevens. East Boothbay. W r i t e Hayden. 239 Newell Rd., Holden, MA 01520. or c a l l 617-829 3115. 10' FROST JONESPORT, converted to c a b i n cruiser. BB-130 Volvo engine just r e b u i l t , galley w i t h water pressure system and coal stove, new cabin i n t e r i o r , sleeps 1, fathometer. Good condition. $9.500. 207-439-0182 evenings.

28' x 7'6" x 4' KINGS CRUISER 17' CHRIS-CRAFT SPORTSMAN, SAILBOAT, b u i l t in Sweden, 1962. b u i l t in Cadillac. MI. 1955. Mahog- A f r i c a n mahogany on oak, copper any. Rebuilt 120-hp Chris-Craft en- r i v e t e d . Volvo MD-1 diesel auxiliary. gine. Topsides in super condition. SS rigging. Needs extensive woodAlways kept in boathouse on fresh work. Cradled on shore, Richmond, water. Original owner. $4,400. 616- CA. ready to move, complete. $3,500. 945-2967. 115-233-8166.

34' ALBERG GAFF YAWL, built by Dion's, 1938. Cypress on oak. Graymarine 4-cyl gas. 5 sails. Dinghy. $11.000 or smaller sloop. 617-9420596 evenings. 22' STEVENS RACING SLOOP. 1945. Brass f i t t i n g s , good condition. $3,500. 203-887-2102. 18' CHRIS-CRAFT R I V I E R A . 1952. 6-cyl inboard, excellent condition, new mooring cover, trailer. $9,000. Warren Bender. Box 28. Newago. MI 49337. 64/WoodenBoat

143

CONTROVERSY 36 SLOOP, 1976.

CONSTRUCTION, REPAIR, boats,

KAYAKS CUSTOM-BUILT of wood

A f t cockpit, diesel, extensive cruising equipment, excellent condition. See WB No. 61. $45,000. 617-990-2614.

lowing shells, St. Lawrence rowing

and canvas. Old boats recanvased. Thomas Allen. 31 Woodland Rd., Barrington, RI 02806. 101-245-6068.

skiffs, at AMBLER BOAT WORKS, 1313 N. Broad Street, Lansdale, PA

19446, 215-368-8474. 38' CHRIS-CRAFT CHALLENGER, D.C.F.B., 1964. T/327s, 6.5 kw, A/C. Under cover since new, original

owner. Exceptional liveaboard. 201561-3525. 36' SLOOP-RIGGED MOTORSAILER, designed by Warner, built 1941. 10'8" beam, 4'9" draft. Especially handsome, very able and comf o r t a b l e . Sleeps 5. Considerable

Charles Grosjean, Franklin, ME 04634. 207-565-2282.

Adirondack Bateaux, Ozark Johnboats, Echo Bay Skiffs, and more.

amount of upgrading since 1981, complete rebuilding of GM 453 die-

REPAIR, ALTERATIONS. New construction, commercial and yacht interiors. Quality wooden skiffs 7' to 28' Franchised builders of Texas dories. N E X U S M A R I N E CONSTRUCTION, 3816 Railway Ave., Everett, WA 98201. 206-252-8330.

Plans and completed boats, custom building. Catalog $1. ECHO BAY BOATS, P.O. Box 1708, New Rochelle, NY 10802.

sel w i t h new s h a f t . $29,500. 31' P E M B R O K E CABIN CRUISER, KATYDID. V6 gas, lapstrake construction. Handy-man special, needs work. $2,500. Contact Yacht G i f t Program, Maine Maritime Academy,

LAPSTRAKE BOATS—Rangeleys, R u s h t o n s , double-paddle canoes. Good Little Skiffs, and recreational shells. Traditional, finest materials, restoration and custom building. TROUT R I V E R BOAT WORKS, Manitowish Waters, WI 54545.

Castine, ME 04120. 207-326-4311. 25' WIANNO SENIOR GAFFSLOOP. #115, 1948. An excellent sailer in good condition. Asking $8,500. Martha's Vineyard, 617-693-1697.

RESTORATION, custom repair and maintenance of fine wooden boats. Offering quality Maine craftsman-

42' LUDERS SLOOP, 1940. This is

a real buy! A beautiful boat, anchored in Vero Beach, Florida, ready to sail

ship and thoughtful care of your

to the islands. Full price, $23,500. Call Charla on-site for photos and brochure: 305-567-2094. Call the owner for details: 415-548-3340.

18' TRADITIONAL M A I N E CANOES, white cedar, brass, canvas.

Custom-built rowing/sailing/power boats. D i n g h i e s , dories, p u l l i n g boats, and outboard skiffs. Traditional and modern lightweight quali t y construction. Finished prices from 8' dinghies ($255) to 21' fishing s k i f f s ($4,500). For brochure, contact: A r t M u l v e y , 1620 Alvarado St., Oreanside, CA 92054. 619-757-3209.

boat. Midcoast Marine Services, Inc., Box 103, Bristol, ME 04539. 207563-3030. Building boats for those great American f i s h i n g lakes. Tried-and-true wooden canoes and rowboats designed by the old masters. A 15'

Guideboat, the St. Lawrence River S k i f f , and Pete Culler's 17' Wherry,

lapstrake construction our specially. THE R E V E R E N C E FOR WOOD

BOATSHOP, 15 Douglas, Eureka Springs, AR 72632. 501-253-8359.

HOME N E E D E D for a former 25' N E W Y O R K F I S H I N G BOAT "Gunpowder." Sandbagger-style hull, 11'6" beam. Decked w i t h cabin but no engine. Restorable. W r i t e Chesapeake Bay Maritime Museum, St. Michaels, MD 21663. 301-745-2916. 21' RACING SLOOP. Mahogany strip-planked with keel. Needs sails and sister ribbing. 718-831-8534.

WILL BUILD ON COMMISSION: Sailing dories, daysailers or cruising boats to 30' LOA, b u i l t to your requirements. All of superior construction in wood at reasonable price. THE LANDING BOATSHOP, PO Box 1490, Kennebunkport, ME 04046.

207-985-7976. STEVEN'S BOATWORKS, commer-

cial and yacht construction in wood, power and sail. Your plans or our custom design. Nearing completion— 40' a u x i l i a r y , 23' one-design, 32' lobsterboat. Box 2, Western Shore, Lunen-

burg County, NS, Canada B0J 3M0 . 902-627-2951.

S H A R K CATAMARANS —Classic 20' Macalpine/Downey design. cust o m - b u i l t using epoxy-laminated cedar hulls, solid wood decks, and trampoline. Recognized since 1963 as a top racer and comfortable daysailer. Folds to travel. Restorations available. For brochure: John Rogers— Boatbuilder, 4465 Lake Dr., Canandaigua. NY 14424.

TRADITIONALLY CONSTRUCTED SMALL CRAFT RESTORATIONS AND REPAIRS—Currently b u i l d i n g Commodore Munroe's "EGRET." B u i l t from WoodenBoat Plan No. 42, the traditionally constructed prototype "Grimalkin" is a b e a u t i f u l 28' turn-of-the-century catketch that meets modern-day sailing requirements with s i m p l i c i t y and grace. Graham Ero, Wooden Boat Shop, 875 Quinnipiac Avenue, New Haven, CT 06513. 203-468-6665.

CHARTER A CLASSIC IN PACIFIC NORTHWEST—46' schooner, 46' Dawn Cruiser, 55' Herreshoff Marco Polo. Freya Marine Co., 909 17'5" GUIDE CANOE, custom-built wood/canvas canoes. Canoe repairs— recanvas to a complete rebuild. Steven Van Syckel, RFD #1. Box 844, Cornish, ME 04020. 207-625-3676.

H&H BOATWORKS—wooden boat building & repair. Cold molding with epoxy and polyurethane spraypainting. Box 275, Freeport, ME 04032. 207-725-5644. 144

WoodenBoat/64

3rd St., A n a c o r t e s , WA 98221. 206-293-6143. 36' A U X I L I A R Y F I S H E R M A N SCHOONER "Tiehee" for charter. Sleeps 5 or 6. Comfortable and fully equipped. Excellent condition. Connecticut or Maine Coast. $790/one week, $1,400/two weeks. Wertenbaker. Greens Farm, CT 06436. 203259-5978.

IOLAIRE - Don Street on his 78year-old engineless 45' wooden yawl cruises, races, charts, and explores the eastern Caribbean. Summer & Fall '85; Winter '85-'86; round trip

E A R N ASSOCIATE DEGREE IN SMALL CRAFT DESIGN. Learn small craft naval architecture and yacht design. YDI Schools is the only school teaching yacht design with degree authority. Available via home

Trans-Atlantic, paying guest sailing apprenticeship berths available. $35

study or in residence. Residential

per day includes bunks, board &

course begins September at Y D I f a c i l i t y on Maine Maritime Academy campus, Castine, Maine. Enjoy facilities, including gym, pool, sailing fleet. Study under experienced designers w i t h proven YDI curriculum emphasizing engineering, empirical

booze, reduced rates for long-term stays. Write: Street, Glandore, Co. Cork, Irish Republic.

methods. Integrated academic courses

COME TO M A I N E AND SAIL a collection of fine wooden boats from our island base. Receive daily instructions on different rigs and handling characteristics and benefit from our "Local Knowledge" while exploring Muscongus Bay at your leisure. See display ad on page 132. FRIENDSHIP LONG ISLAND I N N A N D

CHARTERS, P.O. Box 297, Friendship, ME 04547. 207-832-4959.

This summer spend a week aboard

SAIL THE COAST OF M A I N E — Wood and fiberglass yacht. For information, contact: Lorrain Slaymaker, P.O. Box 441, Rockport, ME 04856.

207-785-4975.

the famous, historic schooner STEPHEN TABER. Extraordinary sailing off the island-dolled coast of Maine. New anchorage every night, delicious regional cooking, lobster cookouts & much more. $360-$425 includes everything. Write Schooner

Stephen Taber, 70 Elm St., WB, Camden, ME 04843. 207-236-3520.

emphasizing hands-on skills. 850page proprietary text. Learn computer-aided design and basics of tank testing. Seminars with known designers and builders. Field trips. Contact Bob Wallstrom, YDI Schools, Main St., Blue Hill, ME 04616, 207374-5551 for career information.

LEARN SMALL CRAFT DESIGN or BOATBUILDING. Two full-time residential programs combine theory

with practice in a creative but disciplined environment. Design students study marine engineering and drafting, along with CAD training and daily exposure to active boatshop.

SOUTH SEAS VOYAGE—Sail aboard 100' schooner to remote South

Boatbuilding students learn to construct a classic wooden dory and day-

Pacific islands. Participants pay only $50/day, all-inclusive. Begins with Ancient Mariner's race to Hawaii, J u n e 9. W r i t e : LaViolante, 2733 Shelter Is. Dr. #340, San Diego, CA 92106. 213-827-4484.

sailer with option of cruising boat

instead. Equal-opportunity enrollment. VA approved. Landing School of Boatbuilding and Design, Box 1490, Kennebunkport, ME 04046.

207-985-7976. Get away from crowded anchorages and pot warp. Explore Nova Scotia's Eastern Shore in a Concordia yawl. HERB TOMS, RR 2. Mahone Bay. NS, Canada B0H 2E0. 902-627-2905.

L E A R N SMALL CRAFT construction and repair. New term starts J u l y 8. Approved for VA programs. NORFOLK SCHOOL OF BOATBUILD-

ING, Box 371, Norfolk, VA 23501.

C H A R T E R T H E 43' A L D E N SCHOONER "Blackbird" and spend an unforgettable week sailing the Maine coast: "Blackbird," a romantic wooden classic' meticulously maintained by her owner. Maine-built in 1930. $250 day charters schooner, captain, and crew. Weekly rates on

request. Loran and radar. Write Capt.

Relax and enjoy the glorious PENOBSCOT BAY REGION aboard the lovely 40' Owens Cutter "Aladdin." Sail among the endless sprucecovered islands aboard this fast and

61' CLASSIC 1938 MATHIS/TRUMPY FOR CHARTER. Sleeps 5. Gracious cruising by day or week. Palm Beach winters, Nantucket summers.

Brochure—"Sea Tabby," P.O. Box 1323, East Dennis, MA 02641. 617385-3322.

Larry Wheeler—owner skipper, P.O. Box 7359-DTS. P o r t l a n d , Maine 04112. 207-871-1315.

able vessel. Day, week, and special charters available. U.S.C.G. licensed captain. Call or write Captain David Whitney, P.O. Box 921, Brooksville, ME 04617. 207-326-9051.

SAIL NORWAY'S FJORDS. Experience Norway's unique coastline from our skippered Fr. Sheparddesigned, all-teak, classic 60' ketch. A v a i l a b l e J u n e - A u g u s t , 6 berths, $3,000 per week. For details write: Oslo Seilskole, Box 35, Kverner, Oslo 1, Norway. Phone 011-47-2-848801.

Cruise the Mediterranean in style aboard a true classic! SCHOONER "HAWAITA," ex-private yacht of King George V. Sailing Master, lovingly maintained in a widely original condition, lakes 4 guests to dis-

cover the French and Italian Riviera, the islands of Corsica, Sardinia, and Elba. For further details and f u l l color brochure, call Switzerland: 71-228825 or Telex 71678. VISITING E N G L A N D ? Bill & Wen i n v i t e you on a 5-day cruise, visiting places of interest on their sailing yacht. Cost for up to four persons— $1,100 f u l l y inclusive. Write yacht "Janeve," 71 Windsor Rd., Chichester, Sussex P0192X9 U.K. Phone 44243528838.

M A R I N E R SAIL TRAINING AT MYSTIC SEAPORT. Sailing and

CHART Y O U R COURSE WITH

seamanship skills for ages 12-17. Six-

US from Casco Bay on "Threshold,"

day coed and group sessions midJune through August. Learn to sail in dinghies; live on the square-rigged JOSEPH CONRAD. Enjoy special museum tours and evening programs. Contact: Education Dept. 0, Mystic Seaport, Mystic, CT 06355. 203-572-0711.

a 35' wooden Dickerson ketch. Sail along t h e coast and among the islands of Maine. Plenty of room for

up to four guests. Separate aft cabin for captain and mate. Contact Captain Jack Thompson, Limerick, ME 04048. 207-793-2954.

WOODEN BOATBUILDING COURSE—9-month, f u l l - t i m e program includes training in marine drafting, lofting, marine electricity, traditional and modern construction techniques with emphasis on handson-experience. Begins SEPTEMBER 6, 1985. Equal opportunity enrollment, VA approved, limited to first 25 applicants. For more information, write to CAPE FEAR TECHNICAL INSTITUTE, 4 1 1 N. Front St., Wilmington, NC 28401. 919-343-0481 ext. 284. 64/WoodenBoat

145

COASTWISE SAIL EDUCATION/ T R A I N I N G . Sail education for young men and women 15-20 on 62' a u x i l i a r y schooner BRILLIANT; 5day and weekend cruises to ports between Long Island and Nantucket. Participants work as crew under professional captain and mate. Contact: Education Dept. P, M y s t i c Seaport, Mystic, CT 06355. 203-572-0711.

S A I L T R A I N I N G for groups of young men and women aboard the 70' ( L O A ) schooner W I L L I A M H.

ALBURY. Our 10th year. Join week passages to B A H A M A ISLANDS from M I A M I . Ports of (all: B I M I N I , NASSAU. M A N - O - W A R CAY, HOPETOWN, G R E E N TURTLE C A Y . P a r t i c i p a t e as crew under owner operator captain and crew. W I L L I A M H A L B U R Y was Bahamas tall ship in 1976, 1980, 1982 OPSAILTALL SHIPS parade of sail. Groups send for brochures: INTER-ISLAND SCHOONER, Dinner Key Marina, Miami, FL 33133. 305-858-6264.

This summer from J U N E to SEPTEMBER at WOODENBOAT SCHOOL in Brooklin, Maine, we w i l l be offern g courses in U l t r a l i g h t Canoe Buildi n g . Canoe Repair, Hardware Design It Casting, Wooden Boat Repair & Maintenance, Introduction to Boatbuilding, Half-Model Making, Oar & Paddle Making, and Model Making. See page 105 for mote details.

G A S - N A P T H A P A L M E R , 2-cyl,

circa 1898; also Universal Utility Four. 215-586-4397. WESTERBEKE V I R E 7-HP. Never used. $600. 401-783-8901. 120-HP OMC stern-drive engine. 200 hrs. r u n n i n g time. Never in salt water. $450. 215-847-2717. RELIABLE STEAM ENGINE COMP A N Y offers steam engines and bailers (5-200 hp). Catalog—$3. Box 233. Seal Rock. OR 97376.

Six-day S I M O N WATTS BOATB U I L D I N G COURSE begins J u l y 15th. H a l i f a x , Nova Scotia—$200 Canadian. Contact Richard Tyner, I 1 Brenton St., D a r t m o u t h , NS, Canada B2Y 1W2. 902-466-3306 or 902-434-7170. CRAFTSMANSHIP DOWNEAST: The M A R I N E TRADES CENTER at EASTPORT offers a two-year comprehensive program in wooden boatb u i l d i n g and design w i t h a major emphasis on craftsmanship. Students work and study in a disciplined but congenial and u n h u r r i e d atmosphere. One-year programs in Marine P a i n t i n g , M a r i n e Mechanics, and Commercial f i s h i n g are also available. Contact Washington County V o c a t i o n a l Technical I n s t i t u t e , River Rd., Calais, ME 04619. 207454-2144. 146

Wooden Boat/64

originator-designer. Send $2 for brochure. George C a l k i n s , Box 222, Dept. WB, Nordland, WA 98358.

SAVE $$—Build your own woodshelled blocks. Detailed plans and step-by-step instructions. List of m a t e r i a l s and where to obtain them. Send $5 to Cape Boat Co., 97 Two Lights Rd.. Cape Elizabeth. ME Y A N M A R M A R I N E DIESEL ENGINES, 9 hp—55 bp, worldwide

parts and service. Will beat any price. Oldport Marine. Saver's Wharf, Newport, RI 02810. 101-817-9109. L I G H T W E I G H T DIESEL 15-hp, 2cyl a l l - a l u m i n u m diesel w i t h transmission and alternator. R e b u i l t , l i k e - n e w condition. $1,500. 415161-2152.

LEARN BOATBUILDING IN ENGLAND at the renowned INTERNATIONAL BOATBUILDING TRAINING CENTRE. 47-week f u l l - t i m e courses start in January, April, and September each year. The t r a i n i n g course is highly professional, systematic, and intensive, and graduates are recognized the world over for their high standards. WB No. 42 describes the course in some detail, but for a prospectus, course program, and application details please write to: The Course Director, INTERNATIONAL BOATBUILDING T R A I N I N G CENTRE. Harbour Rd., Oulton Broad, Lowestoft, Suff o l k . England NR 32 3LZ. Telephone England 502-69663.

BUILD YOUR OWN BARTENDER. Salty, seaworthy, planing doubleender. 19'. 22', 26', 29'. Plans sold by

20-hp 3-cyl M A R I N E DIESEL w i t h H u r t h 2:1 gearbox, heat exchanger, propeller, complete exhaust system, control lever, flexible mounts, flexible coupling, 2 batteries, instrument panel, all for only $2,995. Call 301544-4311. Bruce Roberts, PO Box

1086W, Severna Park, MD 21146. P A L M E R HH 2-CYLINDER GAS E N G I N E , 1930 c l a s s i c . Magneto. wheel, runs fine. $500 FOB Huron, OH. 419-433-2871. A L B I N 0-21 2-CYLINDER GAS E N G I N E , circa 1965. Starter generator, magneto, wheel, shaft, rubber coupling. Needs work. $300 FOB Huron, OH. 419-133-2874.

BOAT P L A N S - P A T T E R N S KITS - Hundreds of designs - 8' to 55' - Sailboats - Powerboats - Workboats - Canoes - Kayaks - Dinghies Dories - Rowboats. Simple, amateurproven methods. Instructions assure professional results. Lowest cost, highest q u a l i t y for 32+ years. Save 50%! H U G E 152-page catalog $3.00 ($4 A I R M A I L ) . I n c l u d e s FREE "BOATB U I L D I N G SUPPLIES" catalog DISCOUNT PRICES! - Fastenings - Fiberglass - Resins - Glues - Spars - Books - Boal Trailer Plans. Invest i g a t e "POLYSHIELD"/"POLYGRIP" wood epoxy systems. Manual = $2.00. G L E N - L M A R I N E , 9152 Rosecrans, Box 756BW. Bellflower, CA 90706.

NORTHEAST G R A Y M A R I N E ENGINES, generators, parts. 511 Washington St., Gloucester, MA 01930. 617-283-1542. ATOMIC 4 SERVICE AND REPAIR M A N U A L . New, c o m p r e h e n s i v e (125 pp.) w i t h photos and step-bystep i n f o r m a t i o n on maintenance, tuneups, winterizing, engine overhaul, exhaust systems, etc. $19.95, plus $1 postage. SEACRAFT PUBLICATIONS, Suite 1404, 55 Charles St. West, Toronto, Ontario M5S 2W9, Canada.

Auspicious beginnings for t h i s rowsail-paddle car-topper! Prototype by boatbuilder Dave Montgomery, tested by designer Bolger. Simple "instant-type" construction. Plan: $20. I n f o r m a t i o n , $1 plus SASE, includes MICRO, our fabulous cat-yawl minicruiser. LA ROWE BOAT PLANS, 302 Crosswinds Drive, Palm Harbor, FL 33563.

F R E E new 120-page book "BUILD FOR LESS." Save over 50 percent when you build by contract; you don't even have to do all the work yourself. Materials, sails, masts, etc., at boatbuilder prices. Build in steel, glass, wood, etc. Hull and deck kits, plans and full-size patterns available for over 100 sail and power boats, plus custom designs and h u l l s . Free book contains details, all building methods. Sent 4 t h class free. Allow 4 to 6 weeks (or delivery, or enclose $2 for a i r m a i l . Bruce Roberts, P.O. Box 1086W. Severna Park. MD 21116.

F I N D THE BOATBUILDING PROJECT THAT'S JUST RIGHT FOR YOU! Now in one fascinating, comprehensive publication you can see just about everything that's available for amateur construction. PLANS, KITS, B A R E H U L L S , O W N E R COMPLETION OPTIONS. From canoes and kayaks, dinghies and small craft to deep-water yachts and commercial c r a f t . The BOATBUILDER'S I N T E R N A T I O N A L DIRECTORY also gives the best sources for building materials, hardware, tools, rigging supplies, engines, e t c . Order the N E W 7th edition now for only $6.50 plus $1.50 postage handling from: BOATBUILDER'S DIRECTORY, 512 V i e w m o n t , Dept. A, Benicia, CA 94510.

BOATKITS - PLANS - PATTERNS - FRAMEPACS - FIBERGLASS BUILDERS SUPPLIES. LARGEST CATALOG—300 modern designs—

8'—80' Plywood - Fiberglass - Steel -Simplified amateur construction save 50% - POWERBOATS - Inboards - O u t b o a r d s - J e t b o a t s -

Special offer: C A R O L I N A DORY SKIFF 19' & 20' (Two In One) Boat P l a n : 25 m p h 20 hp ( O u t b o a r d Motor W e l l ) Brochure Photos "How to Build" Plywood Boats only $20.00 $25.00, a i r m a i l . Texas Dory Boat

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Plans, Box 720, Galveston, TX 775530720.

BERGLASS Supplies - Cloth Resins - Foam - New i m p r o v e d -

EPOXYPLUS - EPOXYGLUE EPOXYSURFACER - Wood/Epoxy

- Boat Construction - DISCOUNT PRICES - CATALOG $2.00 - (Airmail $4.00) - Includes FREE Boatbuilders materials brochure (Book -

AMATEUR BOATBUILDING Plywood - Fiberglass - Wood/Epoxy

-Steel-$6.00). CLARKCRAFT- 1642 A q u a l a n e , T o n a w a n d a . N Y

14150.

A PORTFOLIO OF DESIGNS by Tracy O'Brien: includes 10' daysailer. 10' personal Runabout, 14' McKenzie Driftboat, 15'6" Fast Punt, and an Ultralight 18' Oregon Dory. Study package, $3 PPD, includes "Composite Chine Theory" manual. Headwater Boats, 156 Bunker Creek Rd.. Chehalis. WA 98532.

Chosen by sailing schools for its roominess and stability, enjoyed as a racing class, designed for 2 to sleep

CANOE S T R I P P E R KIT b u i l d s most a n y canoe 18' and under. Complete w i t h 1st-quality western redcedar, fiberglass supplies, 18'—8 stainless hardware, seats, yoke. etc.—everyt h i n g you need. We supply the kits for Canoe magazine's s t r i p e r . MISHW A W A K A PRODUCES. 1620 Central St., Evanston. II. 60201. 312328-5424.

PLANS BY LEADING NEW ZEALAND DESIGNERS. Dinghies, Trailer/Sailers, Racer/Cruisers by J I M Y O U N G . Catalogue $4.00. Powerboats, Sailboats, Multihulls. Wood, fiberglass, steel, a l u m i n u m , by FRANK PELIN. Catalogue $7.00. Both $10,00. C A N I W I M A R I N E LTD.. 35-46626 Yale Road, Chilliwack, BC. Canada V2P 2R6.

under a boomtent with ample storage for cruising, WAYFARER is in a (lass by i t s e l f . W a y l a n d ' s precut Brynzeel mahogany kit is designed specifically for the novice builder. Information—$3.00. Wayland Marine, Box 33, Cobble Hill, BC, Canada V0R 1L0. 604-743-4741.

N E W TIKI 31 T R A V E L E R W O R K BOAT and TIKI 26 MICRO OCEAN CRUISER, easy s t i c h - a n d - g l u e construction, a wood epoxy glass laminate. Catalog of all designs $5. James Wharram Designs, Dept. WB, Greenbank Rd., Devoran, Truro TR3 6PJ U.K. American stockist: Binary Boat Systems, Dept. WB. Box 22342. Ft. Lauderdale, FL 33335.

E L V E R —Over 500 builders have ordered plans for ELVER, our 20' double-ended pocket cruiser. She features a double berth, large cockpit, draws only 4" of water, and is an economical, lightweight, trailerable canoe-yawl with the kind of good looks t h a t makes for considerable pride of ownership. Modern materials and construction methods, f u l l size patterns, and material and tool source lists make her a reasonable project for the a m a t e u r builder. An

information package including largescale blueprint is a v a i l a b l e for $9— refundable on f u l l - p l a n s order. Fullplan design fee: o n l y $59, f r o m R E D M O N D DESIGNS, 127B College St., Burlington, VT 05401.

S E M I - D O R I E S , 11' to 17'. Five study prints for row, sail & outboard - $3.00. Ken Swan, P.O. Box 267,

Hubbard, OR 97032.

N E W ! The YACHT DESIGN CATALOG. A selection of the best plans from 12 top designers. Advice on materials selection and construction methods. Detailed plans with computer f a i r i n g to eliminate lofting. $3 from Coast Design. F110-201 WB, Blaine, WA 98230. 604-584-6118. Boat plan-ANTIQUE L A U N C H E S & ST. LAWRENCE SKIFFS. For listing, send $l to: Shipyard Museum. 750 Mary St., Clayton. NY 13621.

WHISP — I I you'd like a classic linel i n e d , high-performance, 68-lb, 16' rowing and sailing s k i f f , w h i c h w i l l do an honest 12-minute mile under oars, c r u i s e s i l e n t l y all day w i t h a small electric trolling motor, or race a Class C sailing canoe across thebay...she's yours for t h e b u i l d i n g . Quickly assembled from 3 sheets of plywood, WHISP was designed for the amateur as a s w i f t , economical vessel pretty enough to build. Study pack, $5 ( r e f u n d a b l e on plan purc h a s e ) . F u l l - p l a n fee. $25. REDM O N D DESIGNS. 127B College St., B u r l i n g t o n . VT 05401.

S p e c i a l Offer: ORIGON DORY SKIFF 22 23 24 26 F1' (4 in 1 ) Boat Plan (Outboard Motor Well) Speeds 30 knots: Brochure Photos "How to Build" Plywood Boats only $20.00 $25.00 a i r m a i l . Texas Dory Boat

Plans, Box 720, Galveston, I X 775530720. W H Y did Cruising Sailboat Kinetics, "a heavily illustrated showcase of the best cruising sailboat designs of the last decade." i n c l u d e more designs by Benford than by anyone else? Read CRUISING YACHTS by Benford and discover for yourself. $34.95 postpaid. Study plans of above Cape Scott 36—$18.50. Benford Design Catalog. $6. Benford, 758-A Trenton Ave., Severna Park. MI)

2 1 1 1 6 . V i s a M a s t e r c a r d . 301544-5077.

NEW CLASSIC DESIGN. Build the well-proven 24' offshore cruiser FRAN I K . 2-3 berths, (old-molded h u l l , cast-iron f i n keel, l i g h t alloy spars. For information (2$ no c h e c k ) write to: F. GRAESER. N.A. Bellerive 19, CH-1007 Lausanne, Switzerland.

Special Offer: SAMPAN EXPRESS 19' & 22' (Two In One) Boat Plan: Speeds 10 knots. Outboard Inboard Power. Brochure Photos "How to Build" Plywood Boats only $20.00 ' $25,00 A i r m a i l . Texas Dory Boat P l a n s . Box 720. G a l v e s t o n ,

77553-0720.

IX

GEODESIC. AEROLITE CANOES... NEW EASY-BUILD SNOWSHOE. 12' Plans, Station Patterns, I n s t r u c tion M a n u a l - $18.95: SNOWSHOE 14' - $24.95. Monfort Associates, Box 1490WB, Wise-asset. ME 04578.

DORY PLANS and completed boats, row. power, or sail. Send $3 for study p a c k e t . DOWN EAST DORIES, Pleasant Beach, So. Thomaston, ME 04858. 64 WoodenBoat

147

HIGHLY EXPERIENCED WOOD & FIBERGLASS BOATBUILDER W A N T E D as consultant via phone and letter. Includes 2-4 week trip to Alaska to instruct building crew. Send resume: A.C. of A., 1808 Bellevue Loop, Anchorage, AK 99515.

O V E R 200 V I N T A G E BOAT PHOTOGRAPHS, f u l l y illustrated catalog $5.50. Vintage Images, Dept. C1, 122 Spring St.. Newport, RI 02810.

DESIRED: M A T U R E CAPTAIN who loves wooden vessels, for permanent or long-term employment to

captain and care for 58' motorsailer.

TRULY ECONOMICAL A N D SIMPLE. TO BUILD: the UQBAR FAM-

ILY: 6', 7', 8' 10' superlight prams to row or sail. Available as stitch-andglue kits, plans patterns, sailaways. Illustrated brochure—$1. Pictorial guide to amateur construction—$4.

Vessel is intended to cruise the eastern seaboard, Bahamas, Gulf of Mexico, Caribbean, and South American waters. Please forward all inquiries

and resumes to WoodenBoat Magazine, P.O. Box 78, Dept. P, Brooklin, ME 04616.

pure d e l i g h t guaranteed. $12.00. 33146. FREE WOODWORKERS CATALOG. Your best source for quality woodworking tools. Everything from bit braces to wood borers, from saws to sharpening stones. Full color, 32 pages, $3 discount coupon. Satisfaction guaranteed. Woodcraft Supply, Dept. B02, Box 4000, Woburn, MA 0188H.

PROVEN DESIGNS JOSIE II and LITTLE SARA 8' rowing or sailing dinghies. Build your own from plans or kits in plywood & epoxy. Send $2

for d e t a i l s and catalog of other designs. RAJA BOAT CO., Dept. #2, Rt. 4, Box 128, Wellington Rd., Middle Island. N Y 11953.

BOOKS FROM BRITAIN. Warsash N a u t i c a l Bookshop, Warsash, Southampton, U.K. Phone: (04895) 2384. New and second-hand books. Charts. Callers and m a i l order. Free lists worldwide. VISA, Mastercard, Diners, American Express.

New INSTANT BOATS by Bolger. Character, elegance, simplicity, no l o f t i n g or building jig is needed. 6' to 31'. Row, power, sail. $3 brings study packet. H.H. Payson & Co., Pleasant Beach, So. Thomaston, ME 04858.

Kits, Finished Boats. Detailed design

Greenwald. This book is unique,

ona Ave. #31, Coral Gables, FL

East 22nd, New York NY 10010. 212674-1606. OVER 460 BUILT!

and construction information, $4.50. GERR M A R I N E , 37W Alden Park, Throgs Neck, NY 10165.

chef and world cruiser Michael THE CRUISING CHEF, 421 Ger-

Plans—$12. The Back'nforth Co., 43

BOAT PLANS—11 to 36 FEET— Sail, Power, Row, Paddle. Monohull, M u l t i h u l l . Wood, Glass, Steel.

THE CRUISING CHEF, a sailor's cookbook in a class by itself. A hefty 420 pgs. of delicious recipes, unique tips, and short stories by Paris-trained

N O R T H M A I N S A I L , ALMOST NEW, 7½ oz Dacron, luff 39'7". foot 22'2". Four b a t t e n s . $600. 2 1 2 -

757-6541. HECLA SAILS offers totally TRADITIONAL SMALL BOAT SAILS. Traditional in both materials & workmanship. Imported Egyptian cotton sailcloth and tarred I t a l i a n hemp boltrope. Small brochure. HECLA SAILS, P.O. Box 1162, Fort Bragg,

CA 95437. 707-964-4213.

ANTIQUE & CLASSIC BOAT magazine. Mostly about mahogany runabouts. In COLOR. $16 per year. Bimonthly. P.O. Box 1634-D, Colton,

CA 92324.

FREE CATALOG of out-of-print

WOODEN SHIPBUILDING. 224page reprint of the classic 1919 book, jammed with photos and diagrams on building large vessels. $14.95 plus $2 to mail. ( N Y residents add 7% tax.) I n s t a n t refund if not pleased. Vestal Press, Box 97, Vestal, N Y 13850. VISA, Mastercard, AmExp. 607-7974872.

R E Q U I R E D —Boat carpenter for

new construction and repair of wood yachts, capable of q u a l i t y work. Experienced marine mechanic, gas and diesel engines, new i n s t a l l a tions, repairs. Small, well-equipped

shop where integrity and skill are valued. Ocran Boat Shop, W h i t e Stone, VA 22578. 804-435-6305.

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WoodenBoat/64

and used nautical books. Also original Boat, Canoe, Marine Engine catalogs. N a u t i c a l magazines. Columbia Trading Company, 2 Rocklyn Drive, Suffern, NY 10901.

F R E E LIST: Scarce, out-of-print, and u n u s u a l books and ephemera. Sailing, Steamboating, Naval and Maritime History. WIEGAND Co., Box 563, Glastonbury, CT 06033. W A N T GOOD BOOKS ABOUT BOATS? Send for I n t e r n a t i o n a l Marine Books, a great free catalog of the best 500 current marine titles. International Marine, Box W, Camden, ME 04843. M A R I N E BOOK CATALOG—Over 300 titles. Money-back guaranteed. Discounts, free shipping. Send $1 (refundable w i t h order) to: Iron Mistress Yacht Supply, Box 160-WA, Clinton, WA 98236.

Write for OUT-OF-PRINT book list about sailors, ships and the sea. Books bought and sold. J. TUTTLE MARITIME BOOKS, 1806 Laurel Crest, Madison, WI 53705.

CHESAPEAKE BAY - Ship's carpentry and cabinetmaking. Simple projects to classic small company w i t h well-seasoned background. Scott Raab, 2210 Harford Rd., Fallston, MD 21047. 301-877-0646.

WE SPECIALIZE in European Traditional Ships, Brokerage, Chartering, and individual holidays. Write for stock list, stale requirements. Traditional Ships, P.O. Box 2870, Estes Park, CO 80517. SMALL BOAT DELIVERY—New England to West Coast, West to East— late summer '85. Tom Dahlke, 122 Naubue Ave., Glastonbury, CT 06033. 203-659-1887. TRADITIONAL SMALL CRAFT" plans 7' to 16', fittings, fastenings,

Skookum copper rivets, clench nails. $1 brings illustrated catalog. THE COPPER NAIL, Dept. WB, PO Box 936, Sacramento, CA 95804. VAST STOCK PERKO M A R I N E & P H O E N I X HARDWARE-30 to 40 year old inventory. Whole or part sale. Good prices. Call Jeff or Red at 718-448-2400.

SAIL TWINE: Low prices—fast delivery. Two weights: light or heavy. Colors: white or brown. Sizes: 1 oz—$1.50; 4 oz—$3. Specify weight, color, size, quantity. Add $ .75 for

handling; delivery in Massachusetts add 5% tax. Satisfaction guaranteed. Send check or money order to: Trapps Pond Chandlery, Dept W, Box 1898, Edgartown, MA 02539.

SPAR D E L I V E R Y — I f you require special handling of your spars—door to door pampering—Contact C A , P.O. Box 2397, Syracuse, NY 13220.

THE RIGGING LOFT. Contemporary and traditional rigging, on-site

ASHBREEZE OFFSET NO. 1 ROWLOCKS and SOCKETS, polished bronze. Rowlocks - $16.45 pair, plus $2.25 shipping. Sockets - $7.95 pair, plus $1.25 shipping. Set pair rowlocks and pair sockets - $23.45, plus $2.25 shipping. The Copper Nail, Dept. WB, P.O. Box 936, Sacramento, CA 95804. ATTENTION BOATBUILDERS. Stop making patterns for bulkheads, galley tops, cabin soles, bunk flats, etc. My reverse-lofting tool will save you time and money. Simple to use.

Handcrafted of solid teak for a lifetime of use- $19.95 w i t h instructions. Plans & instructions to make your own- $5.95. Check or money order to Sundquist Enterprizes, P.O. Box 2848, Kirkland, WA 98034. 206-8214447. SMALL CRAFT DESIGNERS: Fine Copenhagens, weights, splines, scales, planimeters, straightedges, vellums, f i l m , and 30 other quality instruments and materials useful or essential to small craft design work are featured in our free catalog. WATERLINES Incorporated, Box 1534-W, Southold, NY 11971. 516-765-1960.

service. P.O. Box P-100, So. Dartmouth, MA 02748. 617-992-0434.

64/WoodenBoat

149

NEW M U R R A Y WINCHES. 2 MW8s—$617 e a c h ; 2 MW-5—$185 each. 206-271 -3692.

ASH S H E L L BLOCKS w i t h bronze sheaves and snap. Guaranteed q u a l E V E R Y T H I N G FOR BOATS. Dir e c t from England at DISCOUNT PRICES. Send $1 for latest catalog l i s t i n g over 3,000 items. THOMAS F O U L K E S ( W B ) . Sansom Road, Leytonstone. London E 1 1 3HB. Tel. 011441 5395084. Telex 21792 ref. 1021. YACHT BLOCKS, teak shells, bronze sheaves, s t a i n l e s s linings. 3½" block handles up to 7/16" line. Single $19,00, single becket $20; double $32, double becket $33. Delivery ppd. TRADITIONAL SAILING SUPPLY, Box 74, Woods Mole, MA 02513.

i t y — US m a d e . M a n u f a c t u r e d for l i n e sizes ¼", 3/8", ½". Send s t a m p for catalog.

B A I N B R I D G E BLOCKS, 1 1 0 1 Wing P o i n t , Bainbridge I s l a n d , WA 98110. BRONZE CASTINGS MADE TO YOUR SPECIFICATIONS. Complete pattern and foundry facilities. Free estimates. CHARLES CASTINGS, P.O. Box 451, Franklin, NH 03235. 603-934-6370. FIN-NECK. FLATHEAD CARRIAGE BOLTS—Silicon—Bronze. ' 4 , ¼, 5/16, 3/8 dia. As used by Herreshoff, Nevins. For information-McClave, I 2 A Chesbro, Noank. CT 063-10.

Machine screws, nuts, washers, all thread, etc.. offered in Type 18-8 stainless, silk on-bronze, and hot-dip galvanized. Boat nails and all the other h a r d - t o - f i n d i t e m s used on boats. 24-hr s h i p m e n t . Send $3 for catalog. S&B M A R I N E . P.O. Box 6727. Dept. W. Laguna Niguel, CA

92677. 714-956-3760.

CANVAS, ALL WEIGHTS AND

WIDTHS. Natural, untreated, for

St., W a t e r t o w n , MA 02172. 617926-1353.

0788. FREE catalog on request. SPEEDLOG: NO T H R U - H U L L INSTALLATION. Digilog portable accuracy, simplicity, non-rotating

c a b l e , t r a i l i n g impellor, 1500 hours. 6AA batteries. $169. s a t i s f a c t i o n guaranteed. Discount catalog. Seafarer, 6316 S.W. Capitol Highway, Portland. OR 97201. WoodenBoat/64

T E A K BLOCKS —Chosen for "Whitehawk". Best quality, prices, delivery available. 3" to 10" sizes. TROY BROS. MARINE. 810W Electric Ave., Seal Beach, CA 90710. 213596-7434.

SAILBOAT HULL WITH DECK. S t r u c t u r a l l y sound—35' to 45'—to be r e b u i l t , rigged, and o u t f i t t e d lor world cruising. Prefer double-ender. East Coast. Call 203-536-3864 after 5

pm. I N V E N T I O N S . I D E A S , TECHNOLOGY WANTED! Industry pres e n t a t i o n n a t i o n a l exposition. 1-800-528-6050. X831. TRAILER FOR 20' Chris-Craft 1959 Sea S k i f f to be transported from Lake S u p e r i o r to Colorado. Purchase t r a i l e r in Midwest. Dave Olsen. 1485 N o r t h f i e l d Rd., Colorado Springs, CO 80919. 303-598-5110 evenings.'

O U R BEST CEDAR B U C K E T . Handmade from clear, n a t i v e Maine white cedar; solid brass hoops; spliced dacron lanyard w i t h carefully whipped adjustable end. Dimensions: 1 1 ½ " across top; 10½" high. $48 ppd. Send check or MasterCard. Visa and American Express welcome. Money-back guarantee. A.G.A. Correa. P.O. Box K-W, Wiscasset. ME 04578. I n - s t a t e 207-882-7873, out-of-state 800-341-

150

bells, and t r a d i t i o n a l boat f i t t i n g s in solid brass or bronze. A l l products are British-made and the finest quality available. Free Catalog. Nautique Ltd.. PO Box 605. Aquebogue. NY 11931. 516-722-394-1.

LOOKING FOR 20'-30' ELECTRICPOWERED BOAT in the Northeast area of the U n i t e d States. W i l l i n g to refurbish—but must be structurally sound. Send details and p i c t u r e to R.B. S m i t h . Box 975. Bolton Landing, N Y I28M.

WOOD M A S T — 2 7 ' galv., rigging good shape, for stepping on deck— make offer. 201-739-3873.

decks, storage, etc. Also marine acrylics and curtain glass. For information: Fabric Works. 32 Ml. Auburn

AUTHENTIC: SHIP'S LAN FERNS,

SAILBOATS TO M A N A G E FOR DAILY A N D WEEKLY CHARTERS from J u n e 22 to Sept. 29. Sailing privileges as required and income to help cover your ownership expenses. Moorings located in central coastal area. Friendship Long Island Inn and Charters, P.O. Box 297. Friendship. ME 01517. 207-832-1959.

S T A I N L E S S OR BRONZE —

HAND-CARVED OARS AND PADDLES. Craig Zafforoni, Rt. 3, Box 1205, Alsea. OR 97324. 503-186-1611.

FASTENERS, BRONZE, BRASS, A N D STAINLESS STEEL. Nuts, bolts, screws ( P h i l l i p s & slotted), bronze/stainless round and threaded rod, and blind rivets. Almost any type of fastenings available. Catalog available $2.00 each. Dealer inquiries invited. Contact: CHESAPEAKE M A R I N E FASTENERS, P.O. Box 6521. Annapolis. MD 21401. 301268-8973.

PROTECT YOUR BOAT WITH OUR H A N D W O V E N MANILA ROPE FENDERS. Side & bow available in 153 sizes. Soft & long lasting, protect lop side from damage. Side fenders: 3 x 10"—$6.75; 4 x 12"— $10.75; 5 x 14"—$15.75; 6 x 20"— $27.00; 8 x 2-1"—$46.00. Order yours today or send for free price size sheet. Moneyback guarantee. To order: please i n c l u d e check or money order, add 10% shipping & handling cont i n e n t a l USA, 15% Alaska, Virgin Islands, & Puerto Rico. California residents add 6% sales tax. RAY W. V A N D E R M E E R , 3305 South "G" St., Oxnard. CA 93033. 805-183-2945.

32'-38' CLASSIC WOODEN SEDAN CRUISER. Excellent condition only. 802-429-2266.

W H I T E OAK. w a l n u t , c h e r r y , ash.

poplar. 150.000 feet, sawed and properly dried for boatbuilding. Best prices, excellent q u a l i t y , sensible marketing practices, individual attention to your needs. SHREWSBURY FARMS, Box 150. Princeton, KY 42445. 502-365-6119.

Quarter-sawn for s t a b i l i t y , reliability, and durability, there's nothing like i t . OAK, P I N E . CHERRY. ASH, all c a r e f u l l y quartered and air-dried to offer you q u a l i t y lumber at a Rood price. Newman, Box 46, New Braintree, MA 01531. 617-867-3318.

Buckeye Lake Yacht Club Antique and Classic Wooden Boat Regatta,

held August 16-18, at Buckeye Lake, Ohio. Pre-registralion Friday—judging and parade Saturday—awards

ceremony Sunday. Hoistering Facilities provided. Contact John Doneff at 614-929-9941 or Ed Gaiser at 614-837-1065.

BURMA TEAK-call or write for l i s t ing of teak stock. SPRING SPECIAL: 4/4 x 6" wider, 6' longer, average 8" x 8'—$1.30 bd. f t . MALTINGS C O M P A N Y , INC., 6801 Lakewood Dr., Richmond, VA 23229. 804-2851096.

BECKSON PATENTED DECK PLATES! Beckson Pry-Out or Screwtype deck or access plates, designed for easy access to controls, bilge, stuffing box, valves, e t c . Mounting flange has six counterbored holes for screws. Standard color w h i t e or b l a c k , w i t h f l u s h clear or opaque center, smooth or non-skid surfaces. Custom colors a v a i l a b l e for O.E.M. Leading manufacturer. Superior-designed, highq u a l i t y accessories for offshore or world passage. Beckson—the number one c h o i c e of experienced designers and yachtsmen BECKSON M A R I N E , INC.. Dept W385, Box 3336, Bridgeport, C T 06605. 203-333-1412.

HARDWOODS I N T E R N A T I O N AL CO. The very finest boat lumber. Honduras mahogany from $1.69 BE, first European quality TEAK from $6 BE; white and red oak from $1.29 BE. boat-grade cypress $.90 BF. Frame timbers, keels, etc. Plus f u l l

line of export-grade dense Southern yellow pine. For complete price list write: Hardwoods International, P.O. Box 3-1150, Pensacola, EL 32507.

904-492-2610. B E N D I N G WHITE OAK, Keels, Timbers, Lumber, any dimension up to 14" x 14" x 30'. Also Western red-cedar, Douglas-fir timbers to 60'. Niedermeyer America. Ltd., 124 N.W. 19th Ave., Portland. OR 97209.

H E A D Q U A R T E R S FOR BOAT LUMBER—Teak, mahogany, oak, yellow pine, cedar and Sitka spruce. Fir, teak and mahogany marine plywood (long lengths in stock). Also f i b e r g l a s s , glues and f a s t e n i n g s . G E N E R A L WOODCRAFT, loon

Blinman St.. New London, CT 06320.

T E A K W I N E GOBLETS: Handc a r v e d from solid teakwood. Serve your guests in class from these uni-

Call 203-442-5301.

que goblets—6" tall. Forget about

CROOKED TIMBER—OAK, etc.. for breasthooks, stems and transom braces. For ordering i n f o r m a t i o n send SASE to R.L. Greene, 9 Court

broken glass on deck. They even float i f chopped overboard. Age and usage a c t u a l l y enhance their beauty! Sold in sets of 4—$28.95 per set, plus $2 shipping. YOU MUST BE PLEASED —OR M O N E Y BACK. Send check or Visa Mastercard number and expiration date to: DEL, LTD., Dept. 75, 109 S. Elm St., Palatine, IL 60067. 312-359-51 15.

House Lane. East Greenwich, RI 02818. HEART-PINE quartersawn or plane sawn. Cleat Juniper. 919-823-3306 or 919-823-0189. M A R I N E PLYWOOD. Fir marine plywood ( f i n e Douglas-fir) ¼", 3/8", ½", 5/8", ¾",and l". Sheet sizes 4 x 8.4 x 10. 4 x 12, 4 x 16, 4 x 18, 4 x 20. Handsome Philippine ribbon stripe, or rotary cut mahogany marine plywood. ¼", 3/8", ½", 5/8", ¾", 4 x 8 . Elegant

R E A L ESTATE-MAINE COAST, CAMDEN-Ducktrap Harbor Fishermans Home, new wood i n t e r i o r , energy e f f i c i e n t , views, pebble beach, shop b u i l d i n g . Duane and Susan Ford, Realtors, P.O. Box 781, Camden, 04843. 207-236-6565.

TEAK S E R V I N G TRAYS. Handcarved 4 7/8 x 10", two compartments, $8.00 e a c h or $14/pr. Postage paid to 50 slate's. Allow 6-8 weeks for delivery. Northwest Dept. A - l , Box 718. Nome. AK 99762.

teak marine plywood, ¼", ½", ¾" 4 x 8 , width f u l l 16". Teak veneers front and back. Teak plydeck (teak w i t h holly lines for decking, etc.) 4 x 8 x '4". Most of our products are sold in f u l l sheets, half sheets, or precision cut to size, avoiding waste to you. Solid teak and mahogany, also. Shipping by UPS, common carrier, USA. Boulter Plywood Corp. WB, 24 Broadway, Somerville. MA 02145. 617-666-1340.

WOODEN HALE-MODEL handmade identical to the original model.

Finished and varnished. Approximate size 17¾ 4 x 5½". I N D E P E N - C R U I S E F U R T H E R WITH A N A U T A FLEXIBLE TANK. CockDENCE. AMERICA. RAINBOW. PURITAN or a DOLPHIN. $99.50 plus $7.95 for pit deck installation. 6 to 530 galpostage and handling. Send check or lons, U.S. diesel, water, holding. VISA card (FF 950 plus FF 75); spec- R e t r o f i t for leaky, rigid tanks. Heavy, i f y n u m b e r and expiration dale. coated nylon f a b r i c . Importers, disOrder to: L ' A N C R E de M A R I N E , 4, t r i b u t o r s : I M T R A C O R P O R A rue Porcon, SAINT-MALO, 35400, TION. 151-WB M y s t i c Ave., Medford, MA 02155. 617-391-5660. FRANCE. Phone 99 56 7843.

T R A D I T I O N A L SOU'WESTER from L u n e n b u r g , Nova Scotia. Used by Mariners for 150 years. Linseed oil replaced by PVC—red flannel lining, ear (laps, c h i n strap. Send $21 + $2 h a n d l i n g fees to CPC COMMERCIAL SUPPLY CO., 901 Marshall St., N.E.. Minneapolis. MN 55113. 64/WoodenBoat

151

MODELS, HALF-HULLS, SHIPSIN-BOTTLES. SASE for details. Box 859, Peck Slip Station, New

WOOD BLEACH THE RESTORERS USE. Two-gallons for $30-del-

York City, NY 10272. 212-928-7355.

W. Loenard, Grand Rapids, MI 49504. 616-677-1208.

ivered. Burton L. Norton Co., 04845

Variable camber building form—

IS IT TRUE YOU CAN BUY BOATS

makes panels for cats and tri's—up to 26' (I t h i n k ) . The owner has gone sailing—you can have it for free. Call

FOR $43 THROUGH THE U.S. GOVERNMENT? Get the facts today!

Call 312-742-1142, ext. 5578.

Rollins. 207-363-6237. MAKITA MODEL 2116-16"RESAW. Bought larger resaw, need sell this one. Extra blades, excellent shape$1,050. Can be seen Rockland, Maine. 207-596-6483 weekdays.

WALKER'S " K N O T M A S T E R " LOGS-The dependable, non-electric choice for thousands of offshore miles. Economy Pack KDO M K 1 1 1 A log includes distance-only register

unit, rotator, sinker, line, oil & instructions in foam box. Limited offer-$110 delivered in Continental U.S. Check or money order with shipping address to: Georgia Navigation, P.O. Box 175. Tybee Island, GA 31328.

36" SHIP'S BAND-SAW—20" Joint-

er—33"x 12' Wood Lathe—7' Swing Face-Plate Lathe—30" Tilting CutOff Saw—12" Table Saw—30" Band

Saw. Call Thorn at 207-784-4244. BARNETT & SMALL Carburetor Repair Kits to f i t updraft carburetors

from 1940 through 1960. These genuine major overhaul kits are for boats equipped with Zenith carburetors. Tell us carburetor 8 and make of

boat and engine for prompt quote. Barnett & Small, Inc., 151 E. Industry Court, Deer Park, N Y 11729. 516242-2100.

Vermont ash & cane canoe seat. WEST System epoxy coated. $22 + $4.50 shipping. We offer the finest sailing fins & kits, yokes, thwarts, anchors, cartop carriers, stripper kits. etc. Write for free catalog.

MISHAWAKA PRODUCTS, 1620 Central St., Evanston. IL 60201. Phone 312-328-5424

I N D E X

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WoodenBoat/64

W O R K I N G S H I P Y A R D FOR SALE —27,000 sq f t under roof, 1.48 acres

w i t h 250' waterfront. Two ways, ships to 120' in developing area, N.W. Washington-$225,000. negotiable terms. Lease income. Tamarack Prop. Inc., 1334 King St., Bellingham, WA 98226. 1-800-251-4663, ext. 109.

TO

LIMITED OFFER. Save 20%—Enclose this ad with $63.95 (regular $79.95) before June 15, 1985, for M Y E R C H I N OFFSHORE SYSTEM. California residents, add 6%.

Visa/Mastercard include number & e x p i r a t i o n dale. M Y E R C H I N M A R I N E CLASSICS, Dept. WBMJ,

P.O. Box 911, Rialto, CA 92376. ALL BACK ISSUES WOODENBOAT, #l-#63. Good condition-one issue each number. $299. Goodman, P.O. Box 110897, Anchorage, AK 99511. BILGE P U M P COUNTER—resettable and electronic—check everchanging h u l l integrity of your boat. Know how many times per day/per week bilge pump operates. Don't take chances. $49.95 + $3 handling payable to John Pinto at "Wood Sailboat Only Brokerage Co.," 26-05 9th St., Astoria, NY 11102. 718-274-4038.

Bottom or panel mounted—complete with instructions.

WHAT A YACHT! Illustrator Dudley Byers Wicker has created a monster! Actually it's a masterpiece—to lampoon the burgeoning growth of electronic everything in what used to be

the gen tie art of sailing. Individually hand-tinted, numbered, and signed by the artist, this hilarious 17 x 24" poster is sure to become a collector's item. Only $39.50. Satisfaction Guaranteed. Wicker Works, 1138 East Electra Lane, Sandy, UT 84070.

A D V E R T I S E R S

No  doubt about  it.  the  sea's tough  on  boats.  So. get tough  back with  Simpson's  seaworthy  line  of marine  panels. The  combination  of a  rugged  plywood  core with a  variety  of  surface  treatments  makes for  panels strong  enough  to  use anywhere  moisture  is a problem. What's  more,  all  our  marine  panels come  ready to  use.  So  whether you're  using  Marine  Decra­ Guard  or  Guardian  MDO  for  cabinetry  work,  or building  decking  or docks with  SkidGuard, there's no  need  for costly secondary operations  such  as sanding,  laminating,  buffing  or spot  refinishing.

All  our  panels are  backed  by the  Simpson commitment to  quality which  has  made  us the leading  manufacturer  of  industrial  panels  in  the U.S. today. So  send  your  next  project to  sea  with  Simpson marine  panels.  They're  the  wave  of the  future. Demand  Simpson  marine  panels from your lumber dealer.  Or write  Simpson Timber  Company, Panel  Products  Division, Third  and  Franklin.  Shel­ ton, WA 98584.