LETTER OF THE MONTH SUPPORTED
BY OLD PULTENEY WHISKYNIGEL SHARPCOURTESY OF BRIAN BYRNESTALLSHIPSTOCK94 CLASSIC BOAT APRIL 2016
Letters
Visiting Huff’s birthplace
Mizzen for Fox
Tall Ship lines
At some time in the 1970s a good friend, Jack Sharples, a
dedicated sailor, bought Huff of Arklow and kept her up at
Glasson Dock at the mouth of the River Lune, near Lancaster.
During his ownership he sailed her extensively around the Irish
Sea and in the Western Isles of Scotland. On one very wet trip,
I sailed with him down to Crosshaven and Kinsale. On the way
back in thick fog, we eventually found the narrow gap in
Arklow Bank for a visit to the town of Arklow. No GPS or posh
navigating stuff in those days! He was keen to visit the boat’s
birthplace, expecting an enthralled welcome for this
thoroughbred offspring of theirs. It was a rainy Sunday, there
was nobody at the boatyard and what few there were in the
town didn’t seem overly interested, so after a good night in
the pub, and with Jack having to get back for work, it was up
at the crack of dawn and the sail back to Glasson Dock.
It was certainly a privilege to sail this special boat. A great
experience never to be forgotten...and could she move! More
like sailing a lively dinghy than a yacht. She was inclined to be
a little lacking in space below compared to her length and a
bit privative when it came to the domestic side of things,
when in Jack’s ownership. A stiff-upper-lip domain.
Roger Murray, via emailThis photo of Amerigo Vespucci shows lines trailing in the water from her aft
boats. Don’t trailing lines when returning to port mean someone’s died on board?
Stephan Thomas Vitas, via emailMax Mudie, of tallshipstock.com replies:
I know of no sign to indicate loss of life aboard beyond the ensign at half mast.
These are lifelines that lead from between the davits down to the boat that is
attached to them, used to take some of the weight off when lowering or raising
the gig or whaler. They are usually led into the boat but are running into the
water here as something for a MOB to grab hold of. Most of the UK fleet doesn’t
use davits and have their away or rescue boats on hydraulic cranes.It was fascinating to see in your February issue the interior work
done on the cutter Morwenna and also on Cambria, which when you
break it down is no different to what I did when I refitted my Folkboat.
Yes, it was different in scale, but only in places. Cabinetry is the same
whatever boat you’re on and for most elements of boat restoration the
skills are the same, however big the ultimate job. These boats exist in a
glamorous world, but there is no difference between them and me
when it comes to a refit. The pockets might be deeper in some cases
but the nature of the job doesn’t change. Furthermore, I was impressed
seeing Cambria’s skipper getting stuck in. It’s dirty work.
James Hardy, DorsetBig or small, it’s dirty work!
88 CLASSIC BOAT FEBRUARY 2016 CLASSIC BOAT FEBRUARY 201689CRAFTSMANSHIPThe fi rst stage was to template for^1
head-room, sole-level and bulkheads
Bunk front is original, with a new skeleton.^2
The step also actsas a seatN
ot for the fiboatyard and owner found themselves in agreement for different reasons. Owner rst time on the Morwenna project,
ruled out modern glue for joining the internal cabinetry; but it happens to be standard practice at Chantier du Guip Stéphane Monnier’s authenticity charter
not to glue such tasks as inspecting the keelbolts.In terms of engines, Monnier chose to reinstate Linton interiors, so that they can be disassembled for
Hope’s original plan for two engines (she had one before the restoration) but their smaller size meant changes to the original layout that were probably benefi cial, including
moving the galley aft from the bows. The general plan was to save original material where possible and replace authentically if not, something which kept Stéphane up for
many nights examining catalogues of ficabinetry was made mostly in mahogany by three cabinetmakers at Guip yard over a period of three years: ttings. The internal
Francis Baton, Cyrille Houssin then Bernard Mauffret.A lot of work, but the result is very pleasing.Templating around Owner’s cabin.^3
(in darker wood)original items
Ceiling panels and bunks in. The^4
deckhouse is put on access for this work. later, to improve
Note the settee-back balustraded fi ddle
Trying fabrics^5
Drinks cabinet, with 10-12 varnish layers, in^6
mahogany. Note the original (American) new (African)
mahogany panel on the rightChain locker with two pipecots and sail^7
stowage 8
Original drop-leaf, gimballed saloon table, re-ballasted
and gimballed 9
complete: bunk front slides out on hidden Owner’s cabin
rails over drawers to create small double
9 Main companionway; note handrail^1095 63 4108RESTORING MONTHNEXT
ENGINE & SPARS1914 LINTON HOPE SCHOONERMORWENNA
THE RESTORATIONPART THREE
THE INTERIOR
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2
I have sent you a reproduction of an oil painting that I worked
on back in the late 1950s. As you will see there are two yachts,
Huff of Arklow and also Fred Brownlee’s Flying Fox, as they
pass the Muglins in Dublin Bay. Two things to notice: the
coachroof of Huff was then varnished, not painted white. Also,
the Flying Fox is rigged with a later addition of a mizzen, as
Mr Brownlee discovered that she needed more power to her
original rig as designed by Uffa.
Brian Byrnes, Dublin, Ireland