Wednesday, 17 January 2018

Two Lovely Sisters


Above is an image of the beautiful sloop Delight, designed by Olle Enderlein for a member of the Danish Royal family and launched in 1955. When I was over in Travemuende in 1999 visiting my sailing friends at the Freundeskreis Klassiche Yachten I spent a nice afternoon sailing on her. The Baltic is an utterly great place to sail and our German friends respect and look after their classic yachts much better than we do. I attribute the partly to the fact that they lost so many after the War, the bigger ones officially when the British Army took them as "Windfall Yachts" and the smaller ones when they were simply pinched by some of the officers who wanted boats.

Shortly after my return I got a message from my host asking if I knew of anyone in the UK who might be interested in Delight's sister ship the Sara Moraea, which had spent her life in Stockholm. I immediately thought of my friend the lovely Jimmy Houston, who sadly passed away last month. Jimmy had owned a number of very nice yachts including Enderlein's Dione and it occurred to me as an outside chance that he might be interested. The following message resulted from that:


And the next thing I heard was that Jimmy had booked flights for himself and Hilary for what he told her was to be a cultural weekend away. The owner of the Sara Moraea was connected with one of Stockholm's orchestras, so this wasn't entirely misleading.

Sara Moraea then made the journey by road to Scotland and a couple of years later I crewed Jimmy in the 2003 Fife Regatta. As you'll see Summer on the Clyde was a wee bit rougher and colder than the Baltic.


We had a cheery time following the fleet around and found that we could keep up quite easily with most of the bigger boats.

What impressed me was the ease with which the Sara Moraea could be worked, everything beautifully balanced, a nice light helm (not that I got it that much), sails of smallish size as these Scandinavian boats and have light tall rigs over slender, easily driven hulls. In fact they're the opposite of the equally narrow but heavily ballasted and canvassed boats that were typified by the rest of the fleet. 

Jimmy was at that time regularly sailing her single handed, with a light steering device that enabled him to make his tea on his trips across to Arran. I was sorry to learn a few years ago that he had reluctantly sold her, having turned down numerous offers over the years. I believe that she's now in good hands down South.

For those interested in the design I'm copying a couple of pages from the article that appeared in Yachting World in April 1955.





Sunday, 14 January 2018

One from the archives


Right now I don't have time to construct new posts, so here is one from the archives, posted to Woodenboat.com in 2005:


Canoe Yawl Sonas by David Ryder-Turner

I built my first boat in 1988, a Nutshell pram, having confined my efforts before then to maintaining Stroma. In 1990 I built the Swampscott dory, a sixteen foot racing dory to a design from about 1880 redrawn by John Gardner of Mystic Seaport. In 1992 I built an eighteen foot Quincy boat, another old American design.

In the late eighties Stroma had been difficult to maintain because I could not get her under cover in winter in Argyll. I feared that rot was getting a hold and was conscious of her historical significance. The Scottish Maritime Museum offered what seemed a good deal. I would lend them Stroma, they would renovate her professionally and she would be available for me to sail as a working exhibit. I did not then know that they had no carpenters among almost one hundred employees, but that is another story. By 1992 I no longer possessed Stroma and the boats I had built could not sail outside of Loch Melfort. Stroma and I are now re-united, but that is a story for another day.

In 1992 I was acting for one of the people involved with Kentra on the Clyde. There was a flurry of litigation of enormous complexity and I got to know my American client very well. Having built some American designs I had decided to build Joel White’s Haven class. My client persuaded me to look closer to home. He told me about David Ryder-Turner’s design number 41, which he had admired. I had never heard of D R-T.

A few weeks later D R-T clumped up the drive at Kilmelford very early one Saturday morning. He must have left the Clyde before dawn. He had under his arm a loaf of bread which he had baked, a bottle of wine and a set of drawings. Number 41 was a little centreboard canoe yawl, very long and slender. The lines and sail plan were pinned on the sitting room wall and studied in great detail over the next few weeks. After the visit we kept in touch by phone. The design became number 42.

Design number 42 was basically Sonas. D R-T was offering to supply drawings and help if I would build two boats, one for each of us. It was drawn in three sizes and the largest was selected. This meant the boat would not fit in my workshop. A redundant industrial unit was found, which I could rent for one year before the owners needed it. This meant that many parts would need to be prefabricated. By October 1992 I was persuaded to make a start.

Over the winter moulds were made, the stems laminated and D R-T got on with the drawings. I started working out the building schedule and wondered how to build a boat while keeping on top of a demanding day job. Eventually this led to shifts of 8.00am to 4.00pm in the office followed by 5.00pm to 11.30pm in the shop a couple of days per week and two full shifts at weekends. D R-T was to visit, do some work and supervise. Early on he decided against having a boat of his own. This meant that the overhead got a bit heavy for one boat, moulds etc were only used once, but saved on the amount of work involved.

Sonas was to consume about two thousand hours of work, from me mainly but also D R-T himself and the late Duncan McKay, who scheduled his work as a taxi driver to allow him to attend eventually almost daily. Boats have that effect on people. With the experience I now have I could build the hull very quickly, but finishing would always take a lot of time. As the man said, building a boat is ninety percent sandpapering.

The bow and stern stems were laminated Douglas Fir, an excellent wood used for the keelson, beam shelves, deck beams and much else besides. The stems were set up on a ladder, which supported the blockboard moulds. The beam shelves were temporarily slotted into the moulds and protected by plastic to stop them becoming glued in. The moulds were taped up for the same reason.

Originally the hull was to be covered with mahogany veneer and I bought enough for two hulls from McGruer. I should have realised they were only selling it because they had machined it too thinly and it was useless. I was left with enough wood to make model boats for about two centuries. However experience is a valuable commodity. The hull was eventually planked with red cedar from Joe Thompsons of Sunderland. This was machined 18mm thick with a concave/convex profile, a product now largely replaced by Speedstrip. The strips were glued with Balcotan, as the prospect of mixing epoxy hundreds of times was daunting.

Western Red Cedar had the advantage of being rot-resistant, very light, long-grained and strong. It glues beautifully with Balcotan or epoxy. Thompsons’ product was very mixed in quality. A lot had been machined with no regard for the grain and was discarded. It is poisonous and if you get a little skelf you really feel it a few days later. I think it was probably used for arrow heads at some point. Thompsons’ strips had a lot of splinters. Doing the job again I would use Douglas Fir or Honduras cedar and get it specially milled with straight edges. These could easily be planed, or epoxy squeezed into the spaces. Of course this would also be heavier, but you could reduce the dimensions to compensate.

D R-T insisted that the individual strips be scarf-jointed to get the complete lengths, most needing to be about 27 feet. To do so I built a scarfing box through which I could run a portable circular saw. I also made a jig in which I could glue up five at once. D R-T called sometimes and condemned a joint here or there. About 150 joints passed his test and were used. This work was quite unnecessary. Butt joints would have been quite adequate. Planking up should have taken about 100 hours and took about 300 because of this.

At the end of 1992 the hull was complete, epoxied, glassed and faired while upside down, then left to cure over the Christmas break. In January 1993 I held a turning over party to get the man and woman power to lift Sonas safely. She was so light she nearly flew up to the roof.

I had glued MDF boards to the outside of the hull, octagonal in shape, to facilitate turning over. I found that I could roll the hull over unaided, which meant that later I could do all sorts of jobs single-handed. For example, drilling for keel bolts was done with the boat on her side, checking the drill bit with a spirit level.

I decided to build the floors from scrap Bruynzeel ply stacked to form blocks, which were spiled and fitted. Had they been shaped when the moulds were set up a lot of time would have been saved. The inside of the hull was cleaned off (horrid work) epoxied and the bilges glassed. D R-T instructed that the glass should be fitted between the floors. Doing it again I would glass throughout, then fit them. This would be easier and I think stronger. What was done has proved very strong however.

The beam shelves, which had been only loose-fitted originally, were now freed from the building moulds, finished and glued into the hull. They are massively built and much over strength. The boat was set up dead true to her waterline and the sheerline faired down, a process which took lots of time and was enormously satisfying.

The ring frames were cut from 25 mm Bruynzeel ply, spiled and fitted. Again they should have been fitted and shaped earlier. Spiling added about 50 hours.

I found a single log of ancient yellow pine, not in the sawmill’s inventory, which I bought and got machined for deck-planking. It was epoxied in strips on top of 7mm ply giving a finished deck thickness of about 16mm.

Covering-boards and kingplanks were made from mahogany, as were seats and other internal furniture. After some experiments with machines these were hand-sanded.

The keel was cast in Cornwall by Henry Irons from a piece of lead cut from Kentra’s old one. William Fife’s wonderful creation of 1923 was losing a little weight to balance the installation of modern equipment. Thus Sonas has a physical connection with her inspiration. The new keel was delivered to Scotland on the back of a Cornish cream lorry.

The bronzework came from a variety of sources and some was quite indifferent. I would never again buy bronze fittings without inspecting a sample. I suspect there are gentlemen out there who think that if you can cast bronze at all you are a craftsman. This goes for some very big names in the trade.

The blocks came from Harry Spencer and were a delight. They seem too nice to leave out in the rain.

The spars came from Collars and were beautiful. D R-T had supplied a spar drawing in great detail and this was complied with. The mast later proved so light that it had to be rebuilt. The lesson in this is not to tell the expert how to do his job. Had I asked Mr Collar for a mast to do the job and left the dimensions to him there would have been no problem.

Gayle Heard made the sails. They are pretty good.

The name Sonas is Gaelic for a type of happy experience and was the name of one or two famous boats in the past.

The boat proved very strong and virtually maintenance-free. She is extremely fast and must be reefed in strong winds. This was a deliberate part of the design as I did not want to bother with a spinnaker and our winds are usually light. She will scare the unwary and should be treated as a fine piece of sports equipment rather than a serious yacht. Her looks are quite outstanding and when you are on the water you had better be ready to have your picture taken.

With the experience gained in sailing Sonas I suggested to D R-T that he should draw out the design to twentyeight feet, widen the hull by nine inches and include a centreboard. This would have increased the displacement and made her more sea-worthy, as well as increasing the cockpit space. The centreboard, which I had discarded because we have plenty of deep water, would have made her easier to handle out of the water and enable easier transportation to sailing events. You could also explore shallow coves and picnic places more easily.

D R-T had originally suggested the yawl rig and I had rejected it, because I considered it fussy in such a small boat. I am now convinced that it could be very useful, as it would enable you to sail home comfortably under foresail and mizzen when the wind got up. 

The UK yachting press showed no interest in Sonas, probably because there would have been nothing in it for the commercial interests that dominate our publications. Oddly she was written up in Classic Boat in June 1993 before she was built. Wooden Boat ran an article on the modified design.

Ewan G Kennedy, Kilmelford, Scotland, April 2005.

Sunday, 17 December 2017

Kyla Sails Again!


Earlier in this blog I've posted the saga of the Kyla and the struggles by the Russells to bring back a trophy from the United States, here : Scots in Oyster Bay I'm delighted to report that I've heard from Kyla's new owners and one of them, Jean-François THAU, President of the Cercle de la Voile du Bois de la Chaize has contributed the following guest post. Blogging has very few direct rewards and this is one of them!

Act One : The Boat

Cornered by machines, a boat of traditional construction sits on her shores. A quick look shows that she’s definitely a six metre that’s undergone a less than aesthetic modernisation. Her name is Blue Monday, date of construction 1934, origin Scottish. Acquired by three pals in 1992, the Blue Monday had seen the start of a restoration that sadly hadn’t been finished by the trio.

In 2006 the Blue Monday is donated to the Conservatoire Maritime du Havre, an organisation that takes on classic yachts and boats, supports their restoration and sells them on.

At the lecture celebrating her acquisition we learn that her original name was Kyla. The first step in her restoration is the decision by the CMH is to give her this back.

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Kyle Act Two : Searching for origins


Following some deep research by Dany, the official in charge of acquisitions, the plans are recovered from Scotland. Receipt of these is a great moment for us, because they enable us at last to know Kyla’s true physiognomy. That moment settles some things for us, the helmsman’s cockpit was identical, but we have a different arrangement for the backstays and will have to add two winches.

A visit from Tim Street, the Honorary President of the British International Six Metre Association brings us a whole complement of precious information.

The renaissance has begun!

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Kyla Act Three : The Boatyard


Once the transfer to the yard is done, the work of assessing the real state of the boat and producing an accurate survey follows. This defines the various tasks and how to do them, make provisions, form teams and distribute the work, always remembering that Kyla herself will guide our professional efforts.

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Kyla Act Four : The Group Dynamic

The work proceeds, Kyla’s silhouette takes shape, problems are resolved, such as our blacksmith quickly realising that he has seriously underestimated how much he will have to do on a wooden boat. The dynamic of the group grows in strength, everyone knows his role, every piece of wood has to be perfect, all metal parts solid, aesthetic and brilliant, filling and sanding perfect, the masters words in our ears 

no shitty painting or varnishing, everything solid and lovely”

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Kyla Act Five : The Rigging


The mast provokes an animated debate, because it doesn’t exist any more. What to do? Making a new one is technically possible at the CMH, however Patrick explaining the technique makes us realise that this measures 14.70 metres to a top like the head of a lightbulb. “Look, we’re restoring a regatta boat and we’ve only got ten months to get the whole job done and try out the complete boat on the water.”

The decision is made, we’ve got to find a mast, a task given to Ronan, an active member of the Association.

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Kyla Act 6 : Completion


The project goes ahead full tilt, the restoration goes forward fast, the helm, the furniture, the fittings are put in place.

The first coat of paint goes on, the colour surprises us but gives a touch of originality. Why mauve? To give a nod to the the Swiss, whose waters we are sailing on, the colour of MILKA chocolate bars!

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Kyla Act 7 The Big Day


It’s arrived, the big day! An official presentation and presentation to the public, everyone is there, friends, families, participants.

The trip from the yard to the launch site is a great moment, it rains but who cares because we’re all overheating.

The boat touches the water, bravo to everyone! Kyla is beautiful and floats, now we just need to sail her.

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Kyla Act 8 : Handing over


Busy with the final preparations for another big day with Kyla under sail.

Sadly we’re sorry to miss out on this premiere. Well, one is doing well just getting a boat like this to go, as it’s not at all evident!

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Kyla Act 9 : Welcome to Switzerland


This part of the story consists of us arriving at Lake Geneva just before the historic boat regatta.

It’s lovely to see our Six with all the other classics. What a welcome we got from the Cercle de la Voile Vevay - la Tour

Kyla Act 10 : The boat is acquired in 2003 by Gilles Piette


She is repainted white and re-equipped with racing hardware. She takes part in several regattas at le Havre and Deauville until 2015, when her owner throws himself into the restoration of the Eight Meter Silk …









Kyla Act 11 : Stop Press September 2017

A band of comrades from Noirmoutier buy the boat from Gilles, beefing up the fleet of Sixes at the Cercle de la Voile du Bois de la Chaize .

The latest episode in the story of ten years in the recent history of Kyla happens one Monday in September, when after spending the whole weekend in discussions with Olivia and Valerie, Vincent and Jeff go to le Havre in torrential rain to see the boat.

The charm works at once. The decision to buy Kyla takes a few hours! With Christophe and Geoffroy having joined in the adventure by, the boat will join Noirmoutier in Spring 2018 with a view to the Metric Challenge 2018 Metric Challenge 2018 and the European Six Metre Championships European Six Metre Championships starting in September at La Trinite …

watch this space!




The Wherrymen

The Wherrymen
Two old friends on the water