If you wish to add more photos (or videos) to your post or if you have any problems loading photos use the link below (there is no need to resize or adjust your photos). So, before selecting your photo please use the 'Message Box' to indicate to which post the photos belong. I bought a custom trailer for a 26' chris craft, used, from a man with an identical boat as mine.A tree limb fell on his boat. My grandfather started building this boat a few years ago and never finished it due to his health. I am interested in the design but to be frank I am more interested in the look and shape of the whole but I like the look and shape of the windows.
If anyone knows the guy that posted a comment on my post Aug 8 by the name of Dylan TX the email he left is not a working email.
Dylan,If it looks that it is a Glen-L then your best bet is to go to the site and log into the builders blog or forum and go from there. Thanks to all for the comment, I have not found the plans for it but I did find a model that he built of the boat. I don't want to spoil the mood, but it will be a challenge to sell a partially completed project.
HI,There is quite a lot of money tied up in marine plywood and fastenings involved and a "saltbox" is a great design. I ave been looking for wooden cabin cruiser plans and it gave this add as a possible and just to add to the ironic my sir name is Lydiatt a one off chance I would like the boat my self but have not got a trailer big enough and I would have to find a boat haulage firm so if it is still on offer I could find out the cost of haulage. The post Cambria flies again after a year-long refit at SYS appeared first on Classic Boat Magazine. It was said in an entirely different context, but Theodore Roosevelt’s advice to “speak softly and carry a big stick” is curiously apt in the case of Cambria. The work was a culmination of a number of years of deep thought and careful evaluation by Chris and his team.
Skipper Chris Barkham’s mantra was to keep original material where practicable, against an overwhelming orthodoxy that told him to do a complete rebuild. With the support of a loyal owner, and despite the “expert” opinion often ranged against him, Chris’ approach was diametrically opposed to that; the guiding mantra throughout the work was to repair and retain original material wherever possible. About half way through this work, when the inside of the hull had been exposed by the removal of various items of equipment, it became apparent that the composite hull structure – the steel framework and the timber planks – also needed some attention. So after her owner had enjoyed five years cruising and racing in the Mediterranean with family and friends, Cambria returned to Southampton in September 2014.
Cambria (foreground) alongside one of the 15-M yachts at Regates Royales in Cannes, during the five-year period between the two refits.
Throughout the refit it would be a priority to retain, rather than replace, as much as possible.
The GRP that was applied during the Brisbane refit in 1995 was carefully removed using gel peelers to expose the hull planking. From the beginning it was clear that a number of planks would have to be removed, mostly for access to the steelwork, but it was not really appreciated just how many: in the end it was about 180.
Because there was a fear that the stem might distort during the time it was off the boat, templates were taken from it as soon as it was removed but it proved to be stable enough to be refitted as it was.
Towards the end of the project, various different processes were carried out concurrently along the length of the boat: at one stage SYS’s shipwrights were completing planking work at the stern, forward of them were the laminators who were themselves being chased by a team of painters applying preliminary coats while up at the bow the fairing had begun. Amongst the most important work carried out on deck were repairs to the leaks which had caused the sheer plate corrosion.
Below decks the only new work was the reconfiguring of the crew area forward (to designs by CB’s Theo Rye) to give more storage and better seating, and to allow easier access to the inside of the hull for future maintenance. Cambria’s latest refit at SYS, under the eye of her long-serving captain Chris Barkham, is a significant milestone in her story.
Cambria’s early life was taken up wrestling with the vagaries of a YRA determined to keep the King’s yacht Britannia and the other gaffers competitive against the bermudan newcomers; launched for the 1928 season, there are no fewer than five sail plans drawn by Fife for Cambria before 1932. When I first saw her in 1995 she was alongside in Brisbane, Australia, having a layer of GRP laid over her original yellow pine deck, in preparation for a new teak deck.
The hull was in reasonable order, and there were signs of work having been done in the not too distant past; welded in reinforcement alongside her riveted original structure, and some fairly new planks as well. After the Astican work, she got as far as Australia and she then languished for several years in Townsville, before being bought by Iain Murray, Denis O’Neil and John David. It is typical of Cambria that her boom today is a section from her old mizzen mast; it is in keeping with her whole life, retaining where possible and renewing with care where necessary, and this latest refit is all of a piece with that aspect of her life. In September 2013, the owner of the 131ft (40m) ketch Antares – a British businessman and an accomplished sailor – was in Port Andrax, Mallorca with Iain Cook, his captain of four years. After getting in touch with Tern’s owner, Jon Baigent, who said she was a William Fife III 1897 Belfast Lough One Design, the decision was made to buy her. Then traditionally trained shipwright Robert Eldridge was invited along to report on Tern’s condition.
HC Folkard, writing about the classes in his 1901 book The Sailing Boat, said “the utmost care and forethought” ensured “the cost of the boats should meet the purse of the majority”. It was probably in 1901 that the Kings sold Tern, and she was taken to Scotland, where she had three different owners, before returning to Belfast Lough seven years later when EJ Charley bought her.
The priority now was to remove everything that was holding the hull out of shape including the 1990s laminated oak deck beams, most of the hull planks – larch above the waterline and pitch pine below – although some were kept in place to act as ribbands; and many of the frames, mostly laminated oak fitted in the 1990s refit and a few original rock elm ones. Just as work was about to start on a teak deck, which would be swept parallel to the covering boards and snaped into the king plank, newly discovered photographs revealed that Tern originally had tapered planks – probably in yellow pine – snaped into the covering board with no king plank, and it was decided to replicate that in ?in (12mm) teak. Tern’s new internal layout is simple: inside the companionway a drinks cabinet to port and a discreet electrical panel to starboard give way to Chesterfield leather settees, while the forepeak is for sail stowage. Asking Tern’s original sailmakers to produce a new suit of sails was an easy decision, particularly as Mark Ratsey lives near Iain’s father in Mallorca and offered to do some measuring. Tern was relaunched in Palma on 18 April 2015, but it wasn’t until 6 August – after her rig was completed and various issues had been meticulously resolved – that she first sailed.
Then I got the chance to sail on Tern myself, in Gstaad YC’s Centenary pursuit race in which the 23 centenarian boats entered for Les Voiles were invited to compete. Those involved in Tern’s restoration have gained immense satisfaction from the project and are proud of what they have achieved.
It was half her lifetime ago that Tern was last in Ireland but it is hoped that she will return there in 2016 to take part in the 150th anniversary celebrations of two Belfast Lough clubs which played a significant part in her origins, Carrickfergus SC and the Royal Ulster YC. Morwenna has just won the Belle Classe for restoration at Monaco and our next issue (Dec) kicks off a series on how it was achieved. The post The story of a Linton Hope pocket cruising schooner: meet Morwenna appeared first on Classic Boat Magazine.
Delivered by RIB to Morwenna, whose crew had departed early and were already under canvas in the Baie des Anges off Antibes, upon stepping over her deeply varnished toerail I initially failed to spot my host, until I was instructed to look up. He descended a few minutes later, wiping grime from his hands, looking less like the typical owner than a deckhand. Perhaps nowadays his CV should focus more on the nautical, after his painstaking 10-year restoration of Morwenna at the Chantier du Guip shipyard in Brest. It comes as no surprise to hear that while Morwenna is an immaculate restoration, she’s no museum piece. The Stow yard did not chose just its sails with care, it also produced yachts from the drawings of the era’s best-known designers, Linton Hope among them.
After one or two false starts, she was taken to Chantier du Guip’s Brest yard and there she remained for 10 years. Hope’s book Small Yacht Construction and Rigging, published in 1903, shines a light on many likely aspects of Morwenna’s build, including how to fasten the deck planks, instructing that having bent the plank into place, one should “bore horizontally through it from edge to edge”, and then “when all the horizontal nails are in, drive a skew nail diagonally through the inner edge of the plank into each beam, punching the head well in”. Down below, Loehmann said the floor timbers were kept but the whole backbone and upper and lower stem were replaced.
The main mast and boom, of Douglas fir, and the foremast and boom, of Sitka spruce, were in good condition. Nonetheless, Morwenna is a remarkable example of a pre-war yacht, a 19th century yacht in many ways. The main mast has a Linton Hope-designed worm drive mechanism at the gooseneck to reef the mainsail. Initially, Monnier and crew elected to learn how to sail Morwenna with just her lower sails, no topsails or spinnakers, but for the Imperia regatta of 2014, the goal was to race with a jackyard topsail and a balloon jib, possibly Morwenna’s first time under that configuration since the 1930s.
Kenyon’s experience as mate on the gaff cutter Mariquita meant he’d hoisted these types of sails before and all went smoothly on Morwenna. With a different start in life from the usual Cornish working boat, Matahari has always had that little extra about her. The post Matahari, the Falmouth Quay Punt built as a yacht appeared first on Classic Boat Magazine.
Pat Crockford first came across the Falmouth quay punt Matahari in December 2003 when she was lying in a forlorn state at Martin Heard’s yard at the top of Mylor Creek. Richard Stevens Burt served his apprenticeship with his father Charles, completing it in 1891.
The Burt family was one of three local firms which specialised in building Falmouth quay punts, and is known to have built a total of 61 between the late 1870s and 1934 when RS died. An essential characteristic of the quay punts was a main mast short enough to clear the lowest yardarm of a heavily laden ship, and so the mainsail was gaff with no topsail.
By the early 20th century, with considerably fewer ships calling into Falmouth and motor launches taking over, the days of the working quay punts were numbered.
That had actually been the case for some time, certainly as early as 1879 when WE Thomas built one called Wonderful for Dixon Kemp. In common with most of the quay punts built as yachts, the quality of materials used in Matahari’s construction was superior to that of the working boats. Pat first saw Matahari at a time when his wife had become dissatisfied with the relatively cramped accommodation on board their East Anglian MkI Arecen. Matahari had been sailing as a cutter for more than half her of life after her mizzen mast was removed in 1959, but Pat knew that he wanted to reinstate her original rig.
I first went aboard her one October morning when she was lying on her Falmouth mooring, off Custom House Quay. We hope you enjoy these gorgeous studies in craftsmanship from Fairlie Yachts, taken by Mike Jones of Waterline Media From the April issue of CB. This aft deck bench, about 15ft (4.6m) long, was built from laminated Burma teak slats with solid teak end pieces. In this photo, we are looking aft down a skylight to the front panel ofa foredeck companionway – this is a crew companion rather than the main one.
Fairlie craftsman Mike Barnes is at work on the hinges of one of the many new deck boxes (some originals have also been saved). Renowned Argentine yacht designer German Frers restored one of his father’s 1930s offshore yachts. The post German Frers and his classic restored yacht appeared first on Classic Boat Magazine. Robbie Fabre, young skipper, owner and restorer of Vagabundo II has a Facebook page that seems to bathe him in a tangerine light; triangulating from Europe to Africa to the Caribbean. I have already printed off good plywood repair info from here.I aquired this 26' plywood cabin cruiser, by repurchasing an old family boathouse. A boat building project is usually a very personal adventure one takes on in life, and to start midway in someone else's dream isn't what most people would find ideal. Her captain, Chris Barkham, never raises his voice regardless of provocation, and her spruce mast is one of the largest and most impressive wooden yacht spars in the world.


Few captains know their charge as well as he knows Cambria; and it was apparent during the last refit in 2008 that the time was coming for major work.
The overwhelming success of the work owes much to this ethos, and to the intelligent and dedicated work of the team in interpreting and implementing it. The work mainly involved engineering and included a rearrangement of the engine room – which, incidentally, is forward of the saloon and accommodates a single engine driving the two sets of sterngear hydraulically – as well as rewiring throughout and a new navigation area.
There was no time to attend to this then, but when she was relaunched – with visible plank lines in her topsides reinforcing the need for further work – discussions regarding a return to the yard were already taking place. Cambria still had her original teak centreline components and teak garboards but her mahogany planking had been replaced below the waterline, mainly with pitch pine, in the Canaries in the mid to late 1970s. As soon as this was done, the mahogany planks were coated with Eposeal for fear of them drying out too quickly but there were no such concerns with the pitch pine and teak. The removal of about forty of them forward, along with the teak stem down to the waterline, allowed repairs to be carried out to corroded parts of the centreline steel structure.
Deck leaks had caused its outer face to corrode to the extent that the top planks were being pushed outwards. The crew have done an amazing job looking after the steel work everywhere they could get to and a lot of it was in remarkably good condition. Of all the planks that were removed, about 70% were repaired and refitted while the rest (about the same number above and below the waterline) were replaced.
Other than that all the joinery (mostly original) which had to be removed to allow access for the hull repairs was simply reinstated, in accordance with the declared priorities.
She is one of a dwindling number of large classics that has never had a comprehensive, keel-up restoration in the modern fashion, which often involves total reconstruction and very little if anything original left on board.
Contrary to popular belief, Cambria was and is not a 23mR; that class existed only under the 1st International Rule that had lapsed during the 1st World War. I could see that some of her hatches were original but some had been remade and the interior was similar; a mixture of original details and later alterations, but all done with care and respect for Fife’s work. The suspicion was that the work was comparatively modern, but it is only recently that research is starting to shed light on what had been done. It is perhaps easier for beautiful yachts to find caring owners and loyal crew, but even allowing for this Cambria has been blessed, most especially in her recent past.
Antares was part of his small fleet of boats which didn’t, then, include anything that could be described as “classic”, but that was about to change. She was taken to a 1,000m2 (10,764sq ft) shed in Port Adriano where, it was expected, work would be carried out to allow her to sail again the following summer. He advised that all the centreline structure from stem to stern post would need replacing, showing signs of decay from contact with the heavily corroded iron strap floors, and keel bolts.
It had come about as a reaction to the rating rules of the time, which typically produced extreme boats that quickly became outdated by yet more extreme designs. The new 37-footers were built by John Hilditch of Carrickfergus; an initial batch of seven was shortly followed by two more (only one of which joined the fleet).
In 1912 she was sold again and then had a succession of at least eight owners who kept her in Dublin, Cork and Waterford over the next 40-odd years. During this time her mizzen mast was removed and her counter stern was cut off when some rot was found there. He took her to the Fife Regatta in 2003 – she went up there by truck and he sailed her back – and in 2008 he moved her to Mallorca. Thirteen temporary moulds – made from Fife’s lines plan but also with information gleaned during a visit to Whimbrel – were then set up inside the remaining planking. None of the wrought-iron strap floors were reusable except as patterns from which to cast new bronze ones, although first they had to be faired and filled.
She’d also have her original sail plan, with the existing mast, gaff and bowsprit retained. The following week she took part in Vela Classica Mallorca, but her owner didn’t get the chance to sail her until Les Voiles de St Tropez in September, the first time he had seen her since a week before her launch. It was, I was to realise, a characteristic introduction to Stephane Monnier – not a man, today at least, you’d easily mistake for the successful interior designer he is, dressed in a faded T-shirt, shorts, bare feet and a straw hat. Monnier is also a qualified naval architect and has built small boats himself as an amateur. The 1914 Linton Hope gaff schooner is cruised extensively – last season she left her home port of Antibes in April for Naples, Capri, Sardinia and Corsica, before returning to France in September after the late season Med regattas. He’d first seen her as a boy in Brittany in the early 1970s, an encounter that left enough of a mark on him that he recognised her in Cannes more than 20 years later. Hope designed Morwenna with twin 8-cylinder paraffin motors – she was an auxiliary schooner, a motor sailer, with the engines taking up all the space aft of the mast and forward of the aft companionway. The restoration was guided by Monnier’s own painstaking research into Morwenna’s original build. Records show that by the time she took part in an early Fastnet Race in 1927, her owner had reduced the two engines to one. Once afloat, Monnier’s determination to keep with the period saw him try hemp for the running rigging.
Instead of cotton or hemp caulking sealed with putty or tar, a modern adhesive sealant was used between the teak planks.
Kenyon recalled: “The owner flew into Nice a few days before the regatta with the spars hehad made.
He also had Musette, one of the first 6-M boats, built in 1909 and he has long-term plans to reintroduce a fleet of Hope’s well-regarded half-raters to Europe. She was built – not as a working boat but as a yacht – in 1930 by RS Burt at his yard in Flushing, giving Pat an instant connection with her: having served a boatbuilding apprenticeship with a cousin of RS Burt – EJ Burt, just across the Penryn River – he subsequently worked at Falmouth Boat Construction which had taken over the Flushing yard where Matahari first came to life.
He subsequently took over the family business, which was based on the Bar in Falmouth until 1926 when the expansion of Falmouth Docks forced a move to Flushing. Since the early part of the 19th century, quay punts and their owners had provided an essential service to visiting ships: transportation of supplies, messages, and crew to and from the town, as well as pilotage.
With their mizzen masts stepped immediately forward of their transom-hung rudders they are, by definition, ketches, but their small bermudan mizzen sails sheeted to a bumkin give them the appearance of yawls and they have always been referred to as such. But their characteristics – seaworthy, suitable for shorthanded sailing, relatively fast and with roomy hulls – were also highly desirable for cruising, and so not only were retired working boats converted to fulfil that role, but new ones were commissioned to be built as yachts.
So it was in that context that, in 1929, RS Burt was approached by Lt Col RE Saunders with a view to building an Albert Strange design similar to a 1914 gaff cutter called Phantom.
Saunders had already decided on the name – Matahari – which is Malaysian for ‘eye of the day’ – and she would become one of 42 quay punts known to be built as yachts by Burt throughout his career. She was based at various times in Dartmouth, Scotland and Falmouth until her 14th owners – and much the most adventurous – bought her in 1989. It was a relatively simple thing to do as the original chainplates were still in place as was the forged iron tiller (with its distinctive kink to allow it to clear the offset mizzen mast), and the new silver spruce mizzen mast came from an old Warrington-Smyth 6-tonner and just needed to be shortened by 18in (0.45m).
Matahari originally had a Thornycroft Handybilly engine and then a Bukh until that was replaced by a Perkins in Turks and Caicos. This gave me the opportunity for a short sail with Pat and his brother Brian to experience some of these characteristics for myself. The difficulty here was in the compound curves: one for the curve of the bench and another for the deck camber. A piece of this size required a substantial jig to be built, in order to accommodate the camber of the deck. Hull construction: Mahogany plank over oak frame with fiberglass over hull below waterline. She has been in the water for 20 years, in a floating boathouse on the Tennessee River, Huntsville, Alabama. It is about 25 feet long and looks to be made out of plywood.It does have some sealant on the bottom of the boat.
If you wish to get a fair price for what you have there, it would be a good idea to find and and show a picture of the same design boat finished !
In typical style they have just completed a truly remarkable, major refit at Southampton Yacht Services (SYS) in Southampton, and then quietly departed back for the Med with hardly any fuss. Cambria is composite, with steel frames and backbone all riveted together; it is an integrated form of construction that makes restoration work very challenging, and in some hands this might well have resulted in a multi-million pound complete rebuild of the whole hull. Chris’ loyal, long-serving crew and sub-contractors worked alongside the skilled workforce of SYS, many of whom, such as lead shipwright Barry Argent, had forged close ties with the boat during previous works; it was a set-up that allowed a prodigious amount of work to be co-ordinated successfully in a tightly controlled programme, and the result sets a new benchmark for how to approach major composite hull restoration work. In a subsequent refit in Australia in the late 1990s, after extensive rot was repaired in the bow, transom and deck, the whole of the outside of the hull was sheaved with glass and polyester resin.
This consists of a 0.45” (11mm) thick flat keel plate and “vertical” side keel plates (although their changing angle matches that of the planking), which are connected by forged angled plates riveted to them.
But there were complications in accessing it because the fastenings holding in place the bulwark and capping – which were in perfectly good condition and therefore not being removed – went down through the top plank.
But in total we had a final list of steel repairs which ran into a couple of hundred – some were just a weld mark and one was the whole of the stem and then we had everything between the two. To do this the capping rail had to be cut and removed along with an area of decking that covered the bowsprit heel fitting, but these were re-fitted in a way that will allow easier removal in future. Indeed it is a great testament to the project team’s determination in that respect that, when Cambria sailed away from Southampton at the end of October (?), she still had so much of her original structure intact including the complete centreline, the rudder, the vast majority of her steel framework and much of her planking. Cambria has had her fair share of owners, and her fair share of refits too, but they have been sympathetic to her origins and respectful of her history, and this latest work fits in perfectly. The most obvious change was her rig; the first drawing of a ketch rig for her was by Fife in 1932, and Fife’s successor Archie MacMillan also drew a proposal in 1949, but it was not until the early 1970s that she was finally converted. In the mid-1970s her American owner was attempting a trans-Atlantic when she was dismasted.
Refastened and GRP sheathed, and with additional steel reinforcing in way of the masts and chainplates, her ketch rig was retained but her main mast extended in carbon fibre. She surely looks as good now as she ever has, and as she prepares to return to the Med there are many friends and admirers around the globe looking forward to the next chapter of the story of this remarkable yacht. Fife’s first one design was an 18ft LWL class for the Bangor Corinthian SC (on Belfast Lough) in 1891, of which four were built; followed by the Cork Harbour ODs (such as Jap) in 1896. After lots were drawn to allocate them to their new owners, number 7 went to WA, AG & TJ King – a Belfast family of coal merchants – who named her Tern. During that time she was converted to a yawl (c1915), by 1938 she had a 2-cyclinder Watermota petrol engine, and was described in one owner’s memoirs as “a comfortable four-berth cruiser”.
The fourth of those owners was George Enisto who took her to Penpol Boatyard in Restronguet Creek for restoration.
The ballast keel was re-fitted with new forged iron bolts made by Yorkshire firm Topp & Co. All the new rigging was made by Palma-based rigger Chuck Demangeat, generally using modern materials and traditional methods. We had a cracking breeze but it was probably the big seas left over from the gales which proved decisive: although Tern felt perfectly safe and comfortable in them, the bigger boats inevitably powered through them more easily.
Like many yachts of a certain age, she’s seen good times and bad, but her story began with eight years of almost complete inaction, having been built in the year that Europe went to war.
The deck was originally planked in the New Zealand timber Kauri, unusual for a Northern Hemisphere yacht, but large quantities would have been shipped to the naval dockyards for use as spars. But signs of her age began to show, not least in 1995 when he found himself caught in a big thunderstorm off Corsica.
Robin Kenyon, who skippered the boat over the 2013 and 2014 regatta seasons, said: “She was rebuilt as authentically as possible, an ethos adhered to by both the owner and Chantier du Guip. It was taken out and cleaned up, graining pieces where necessary, with only 15 per cent of it replaced.


However, Monnier eventually decided to return to Hope’s original plan for two units, but fitting in modern, smaller engines out of sight.
Kenyon says: “It’s a look synonymous with today’s classics but is not necessarily traditional, but where do you draw that line? There is the possibility that a larger jib will be flown in the future but, contrary to what is done with many Mediterranean-based classics, there are no plans to turbo-charge the rig to suit the light Med airs.
He had just enough time to shape the jackyard and topmast yard, but the balloon jib pole was still octagonal. His admiration for the designer is clear in what he’s achieved with Morwenna and surely Hope would be delighted to see the yacht today, carefully restored but definitely used, scuff marks here, nicks there, just like any family cruising yacht.
To secure the business, the quay punts would race each other out to sea, in all weathers and very often beyond the Lizard, to ‘seek’ incoming ships and offer their services. But from then on, as trade declined and the business became more competitive, the punts grew bigger still – for extra speed and carrying capacity – with the largest around 32ft (9.7m). In the winter months they would normally ship their bowsprits and dispense with their jibs, and in heavy weather with mainsails stowed, their staysails (tacked on to a short bumkin) and mizzens would provide a very handy and balanced sail plan. But Burt didn’t like the look of it and he persuaded Saunders that he should modify the design so that it was more like a Falmouth quay punt.
By fitting an extra plank in the topsides, Burt gave her more freeboard than the typical working quay punt, primarily to give more headroom: 5ft 6in under the deck beams and 6ft 2in below the teak skylight and companionway hatch. Alistair Smith and Elizabeth Wagg took her initially to the Baltic where they cruised for a while before circumnavigating the British Isles anticlockwise and returning to London. Although she needed a lot of work Pat was determined that he wouldn’t miss any sailing, so after he burnt off and repainted the topsides and serviced the engine, he launched her the following spring, and every winter since then he has continually made improvements.
In 2009 Pat realized that this needed a major overhaul and he decided that a new engine – a Yanmar GM30 – was the most sensible option.
He is full of praise for all the characteristics which made her type so suitable for their original working roles: her speed, her weight getting the better of a choppy sea and the versatility of her rig. A team of 24 has been at work for more than a year to replicate weather-deck doors, ladders, boxes and more. The varnish is not yet complete (the grain is still standing proud), but the general recipe has been a layer of Epifanes PP base coat, built up with subsequent layers of wood finish, with a final layer of Epifanes gloss or Awlwood, depending on the item in question. We rode it up the Hudson in 1960 and decorated it with campaign balloons for Gore Vidal's losing congressional bid in 1960.
There is no trailer with it.I am not sure of what anyone might be want to pay for something like this that is why I am posting it here.
Generally amateur boat builders do their best but inevitably they make mistakes along the way, mistakes someone else would have to be willing to take on.
The angled plates were found to be particularly corroded and at some point link plates had been fitted between the bottom ends of the frames and the floors to compensate for this. We did some repairs and renewals to the chainplates as well, partly because they had corroded and partly because they weren’t brilliantly put in. The new topside planking is African mahogany, whereas the original was probably from Honduras or Brazil, in lengths of up to 9 metres; and the new underwater planks are all teak, up to about 6 metres, made from boards which Cambria’s captain Chris Barkham obtained a couple of years earlier with a view to using them one day to renew the deck. Although it proved impossible to get the moisture content of the remaining pitch pine planks below the manufacturer’s official recommendation, an off-the-record assurance that the product was flexible in terms of its usage put the project team’s minds at rest. The cockpit decking was re-laid to match the rest of the deck (it was previously fore and aft but is now swept) and adjustments were made to the seat and backrest angles to make them more comfortable. The YRA imposed restrictions on bermudan rig but revised them frequently; the first change to a taller mast for only Cambria’s second season meant a major additional keel weight was added.
Limping into Gran Canaria, she ended up going through a prolonged refit at Astilleros Canarios (Astican) that went on until at least 1979.
The following year he designed two new ODs for Belfast Lough; a 15ft LWL and a 25ft LWL class, which were 24ft and 37ft on deck and known as Class II and Class I respectively. Ratsey and Lapthorn’s Gourock loft made the sails for all the new boats and were under such pressure to do so before the first race at the end of May, that when they found they didn’t have a number 7 for Tern’s mainsail, they used an upside-down 2 instead.
In the late-1950s she was sailed to Falmouth by two young men, possibly just for the adventure but otherwise futilely, because they then had to sell her to pay for their return home.
Areas of the bilge where water might otherwise lie were levelled with tar, and the hull was caulked with cotton, white lead and linseed oil putty above and below the waterline. The standing rigging is 7×7 unpolished stainless steel wire – to give the appearance of traditional galvanised wire without the maintenance issues – all hand-spliced and served, leathered at the top and looped on the mast, and with solid thimbles and bronze rigging screws at the bottom. Eventually, as the fleet ground to a halt in mirror-like seas and the ghostliest of airs, with several marks still to round, Monnier did not worry about motoring for the marina early on the Friday and Saturday.
With characteristic understatement, he said it was clear there were issues with the riveting.
Some of the frames had been sawn, some steamed, and almost all were replaced, the steamed timbers sourced from around Brest. With the engines now tightly packed in beneath the chart table and counter top, this area has become a nav station and galley – the cook in 1914 had been expected to knock up a boiling broth from up in the bows – and also features separate pilot berths for the skipper and mate. It was the accepted custom that the first quay punt to reach such a ship would then attend to all its needs the whole time it was in port. At the same time, the punts’ owners looked for other ways to make a living: pleasure trips for the increasing numbers of tourists, commercial fishing, or transporting cargo between the various shoreside villages in the estuary.
By contrast, when racing in the summer they would fly everything they could: topsails, big genoa-type staysails and lug-rigged mizzens, and much more downwind.
They then went to Brazil, the West Indies, and up to Maine before bringing her back to Cornwall in 1994.
The biggest single job has been to remove the 1?in (32mm) Oregon pine deck, replace it with ?in (18mm) ply – with false seams routered into its underside to the exact same spacing as the original deck – sheathed with glass cloth and epoxy.
At some point during the course of all this work he found the original builder’s plate hidden in the depths of the bilges, and it gave him great pleasure to fix it to his new cockpit coaming. There didn’t seem any likelihood of the toerail going underwater, and Pat told me that he had never had it under, in any condition. An interesting feature is the turned and spindled legs: each has a hole bored through the entire length, to allow a long bolt to secure the bench firmly to the deck. Regrettably as it is, it probably isn't worth a great deal of money, not nearly as much as what he put into it, or what it would be worth completed. These link plates were now removed, the flat keel plate was renewed down to the waterline, and the angled plates to a position just aft of the mast step, fabricated this time and welded to the neighbouring components. The steel sheer strake was then made good with needle guns and grinders, and just a few local repairs – rust being ten times the thickness of its original material, it had looked much worse than it was – before being epoxy coated. We had three or four welders on site for nearly seven months to get it all done.” Even though Cambria is no longer in Lloyds class, all the new steel used was Lloyds Grade A, and it was all coated with Intershield 300.
A total of 6,240 new stainless steel bolts were used to fasten the planks to the framework with Tufnol washers isolating the stainless steel washers and nuts from the steel. All the brightwork was taken back to bare wood and recoated by the crew – the deckhouses were moved to an adjacent workshop for this – and the rich dark red mahogany colour has now been brought back. In the form of a shoe underneath the original keel, it had the effect of burying the ends of all the keel bolts (they were then unseen until 2015, during the refit, when some were removed and inspected; they proved to still be in excellent condition). In practice she was strong enough for David (by then the sole owner) to ask his skipper Peter Mandin to ship her up to the UK for the 2001 America’s Cup Jubilee regatta; in the weeks leading up to that, Harry Spencer once again stepped up and helped execute her rapid conversion back to cutter rig. If we went out there for a fortnight we might spend 7 to 10 days working on her.” Things got worse in 2013 when Jon’s eyesight was damaged in an accident and he lost the confidence to go sailing, so he put Tern on the market.
The deck structure – comprising a pitch pine beamshelf, the clamp and deck beams in larch, and elm carlins – was renewed, prior to fitting a ?in (12mm) plywood sub-deck. Then, in the kind of incident that sends shivers up the spine of any owner, a bilge pump was inadvertently left pumping sea water into the boat by a marina hand, and Morwenna sank on her mooring right in front of the marina capitainerie. Meanwhile, using some of the original American mahogany parts as a starting point, cabinet makers undertook a complete renovation of the interior.
We were all familiar with a three-strand rope made to look like hemp, but in fact using oil-based polyester fibres. In the light airs of the Med, it may be hard to get the most out of her relatively short spars and a hull that has its maximum volume so far forward.
In the summer months they would occasionally take part in races which, although just for recreational purposes, could be every bit as competitive as when seeking ships. They were typically three-quarter decked for ease of handling cargo and astonishingly, considering the conditions in which they often found themselves, there is only one recorded instance of a foundering: Fear Not off the Lizard in 1900, with the loss of two hands. I have done a lot of reading and asking, as knowledge of wood boats seems to be gone from this area. This was a very loved part of our family and we are willing to give it away to the right person.
New top planks were then fitted in two laminations with the inboard one being slid upwards between the sheer plate and the bulwark capping fastenings, before the outboard one was glued in place with epoxy. Also, with no specific Rule to follow, Fife had to build Cambria to Lloyd’s Register’s heavier ordinary scantlings (to +18A1 class) rather than the racing ones; that gave her a margin of strength that helped her survive the relatively few and brief periods of neglect she has suffered, even after she lapsed from Class. In a week full of remarkable sights, that of Cambria in full flight on the Solent after a 70 year absence was for many an indelible highlight. But as the team learnt more about Tern – in terms of her historical significance and her true condition – their approach to the project would change fundamentally. If the south of France had dished up the other extreme of weather it is prone to, she would have been romping along, having fun while others in the classic fleet were scuttling for cover behind Port Vauban’s high stone walls.
Sandeman’s Yachting Chronicles notes that it’s an indication of the quality that the Stows aspired to that they shunned local sailmakers for the well-regarded Ratsey & Lapthorn on the Isle of Wight. Ideally it would be all steamed frames, but for the construction of that time it was useful to have sawn frames as well. This detail came to light mostly as a result of research by Patricia O’Connell – Alan Renwick’s partner – who travelled to Ireland and other places and met, among others, the original owner’s great-granddaughter who had photos and clippings from early regattas.
Morwenna was only in a few feet of water, but the damage and the recent experience of the thunderstorm persuaded him that the boat was due for some serious TLC.
She was meant for cruising Northern Europe with its boisterous winds and seas, and for nestling into estuaries for shelter and exploration. Expect that it won't be what your would like, but remember the buyer is taking on some significant risk and has to manage moving the boat to complete it. Apart from an addition of an engine in 1934, and the adjustment to her ballast keel to compensate, changes were relatively few.
A new mast, replacing the one with the carbon extension, was built ten years ago at La Ciotat with Classic Works; Harry Spencer, then aged 79, was involved again, advising the crew as they built what is one of the largest wooden masts of modern times from Alaskan spruce supplied by the specialist suppliers Touchwood BV. It was also discovered that just one other Belfast Lough Class I had survived, Whimbrel, which was also undergoing a restoration, in Bordeaux. Cambria’s owners evidently maintained her well, and she led a comparatively sheltered life, mostly in the Med, under a slightly smaller but still imposing cutter rig. Having obtained copies of Fife’s original drawings from Fairlie Yachts, it was clear the rest of the hull was out of shape. A couple of foredeck water soaked spots, I believe I can fill in with some type of wood based epoxy?? And one area that is cracked through near the cabin window.The cabin area is mint, cushions shot though.



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