41 years - Chris-Craft Antique Boat Club

CE L E
BR ATI NG
41 YEARS
1974
2015
Contents
WE DON’T JUST RESTORE BOATS,
WE RESTORE SOULS.
Katz’s marina is the number one antique boat dealer in the world. With a selection of over 100 Chris Craft, Gar Wood, Century and Higgins antique boats in stock.
We are the only antique boat dealer with a one year warranty on boat sales. We also offer boat repairs, preventative maintenance and refinishing services.
And of course we carry a large assortment of parts and accessories for antique and classic boats. AntiqueBoatSales.com or old school 973-663-3214.
President’s Message................................................................................................................................................ 5
Editor’s Desk................................................................................................................................................................ 6
Withagrin.......................................................................................................................................................................... 8
Carla’s Corner.......................................................................................................................................................... 12
I Wanted a Classic Chris-Craft...........................................................................................................14
Pletcher’s Opinionated Ramblings....................................................................................................18
News Flash................................................................................................................................................................. 23
A Modern Take on a Classic Pleasure Boat............................................................................ 24
Boat Stability: Avoiding Disaster at Sea & Dockside.................................................. 30
When a Shoot All Comes Together................................................................................................ 34
Take the Helm........................................................................................................................................................ 38
No Expectations Part 2................................................................................................................................. 42
Riva Connection.................................................................................................................................................. 46
Gar Wood Connection................................................................................................................................. 48
Century Connection........................................................................................................................................52
CE
L E B R AT I NG
41 YE A R S
1974
2015
On the Cover
2015 marks the 60th anniversary of the famed Chris-Craft Cobra with Finito being the last one of the 21-foot
model to be produced. Up-and-coming Nashville-based singer/songwriter Helene Michele adds a touch of class
to the unique lines of the one-year-only finned design. Finito sports its original Cadillac power plant of 285 hp.
Accompanying story about the cover image included in this issue of The Brass Bell. Photo by Don Ayers
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The
Epifanes
Look
President’s Message
Volume XLI
Issue 2, 2015
It was just an old plywood boat
With a 75 Johnson with electric choke
A young boy two hands on the wheel
I can’t replace the way it made me feel
DON DANENBERG
LIKES OUR DARK RED MERANTI
L.L. Johnson Lumber Mfg. Co.
& Johnson’s Workbench
Toll Free: 800-292-5937
theworkbench.com
Tim Du Vernet Photo
“...this is the closest
I’ve ever seen to what
Chris-Craft used...”
Yacht Coatings
AALSMEER, HOLLAND
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THOMASTON, MAINE
■
ABERDEEN, HONG KONG
FOLLOW US
Your
And I would turn her sharp
And I would make it whine
He’d say, “You can’t beat the way a old wood boat rides”
Just a little lake cross the Alabama line
But I was king of the ocean
When Daddy let me drive
Drive(for Daddy Gene) by Alan Jackson
As summer begins and across the country boating season gets underway, it might be a
good time to briefly reminisce about how our own boating history brought us all together
to where we are today. Whether it was a small pond, larger lake, river or even the ocean,
for most of us, our boating experience began as children when our parents, a relative or a
neighbor put us in a boat with them and shoved off from the dock or bank. Watching as the
familiar homes receded further into the distance but yet excited as we realized the freedom
that allowed the boat to go in any direction that the Captain desired.
As we grew a little older and, hopefully, more responsible, the Captain might allow us, no,
encourage us to take the wheel. What a feeling of freedom to go as a bird in any direction or
as far as the eye could see (or at least to the other side of the pond!).
Connection
With over 60 combined years of experience
with Rivas, why would you go anywhere else?
And then with more experience, we were finally allowed to take out the boat alone! Just like
the scene in the movie “On Golden Pond” when the boy first takes out the family U-22 and
runs in huge speeding circles, the sense of independence is overwhelming and the joy of it is
written all over his face. We are hooked!!
Alan Weinstein 954-609-6485
[email protected]
www.rivaguru.com
Parts, Service, Brokerage
This summer, pass on the experience. Take children of any age out in your boat. Let them
take the wheel and feel how the boat moves through the wind and waves and responds to
their every command.
Children are the future of boating and a love for the water will last a lifetime. Encouraging this love now will pay huge dividends as they age and become boat owners themselves.
Perhaps they will see that a vintage Chris-Craft is the boat of their dreams and they will pass
on that love to their children.
President: Jim Frechette
Vice President: Al Bentonn
Secretary: Jeff Rogers
Treasurer: Don Ayers
Brass Bell Mangling Editor: Bill Baldwin
Brass Bell Science Editor: Seb Borrello
Brass Bell Associate Mangling Editor:
Patti Hinson
BOARD OF DIRECTORS
Bill Baldwin
Allen Benton
Jim Frechette
Paul Harrison
Robert Macaluso
Donald R. Ploetner II
BK Powell
Jeff Rogers
Prior Club Leadership
A.W. MacKerer
Jean Vincent
W. Harvey Moninger
James Irwin
Howard E. Hallas
Wilson Wright
Terry Fiest
Don Ayers
Annual Membership (US) $50.00 USD
Annual Membership (Non-US) $65.00 USD
Magazine apportioned at $9.50 per issue
PO Box 30175, Edmond, OK 73003
Web site: www.Chris-Craft.org
Email: [email protected]
CONTRIBUTORS
Greg Adams
Don Ayers
Bill Baldwin
Seb Borrello
Rob Coburn
Jim Frechette
Carla Gernhofer
Mariella Gibellini
Patti Hinson
Thomas Holmes
Aaron LeDonne
Boyd Mefferd
Anthony Mollica
Evan Peterson
Paul Pletcher
Carlo Riva
Mark Webster
Repeat!
The Brass Bell is designed by
Catalyst Communications | catalystchicago.com
Safe Boating,
Herb Hall 530-546-2551
[email protected]
www.sierraboat.com
4
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Chris-Craft Antique Boat Club President
[email protected]
Printed by Digital 3 Printing
The Brass Bell (ISSN 1527795X) is published
quarterly by the Chris-Craft Antique Boat Club.
PO Box 30175, Edmond, OK 73003 USA
POSTMASTER:
Send address changes to:
PO Box 30175, Edmond, OK 73003 USA
©2015 Chris-Craft Antique Boat Club and
contributors. ©2015. All Rights Reserved.
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Editor’s Desk
Whoopee! It’s Spring! Let’s have boat shows!
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Huh?
Well, while we’re celebrating the wonderful way things are right now, there’s this furtive process called aging
catching up with all of us. My sainted Mother loved to quote a tough old Episcopalian monk by the name of
Gubernor Hans who was famed for shouting from his pulpit, “Ye’re all too rich an’ ye’re all too proud—an’
someday they’ll to be pushing ye down the aisle in a wheelchair.”
2013
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Somehow, this Spring’s boat-show calendar reminds me of last Spring’s and the calendar before that, and the
one before that, and so on. A zillion boat show ads clambering for attention everywhere on the map—grand,
glorious celebrations of the way things are right now! Unfortunately, nearly lost in all this glitzy boat-show frufru is an awkward reality: our Vintage Boat avocation is running wide open with a near-empty gas tank.
NUMBE
8/5/13
1:49 PM
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Okay, you see where this is going! Old Hans’ on-rolling wheelchair—only a allegory for what’s in store for
everybody—means that eventually, each of us will need to be replaced. And, still another surprise: those replacements will necessarily be younger people, most likely boys and girls of Generation Z: the people living in
Western or First-World cultures born 1990 to 2001. They’re also known as the “Google Generation.”
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Whatever you call these kids, volumes have been written about how difficult it is to get them away from the
digital universe in which they live. But are they really any different from Human kids born in any generation—even ours? (Mine is called Pleistocene.) Since all Human heads contain the same “hardware” and most
so-called “Western” thought runs on some form of a Judeo-Christian operating system, what can be so different? My guess, not as much as we suppose.
So where—and how—do we find replacements who will take over our collector clubs and care for the grand
old boats we’ll pass on? The same way our Dads and Moms did! They gave us rides in boats that excited them.
Think about how you got suckered into this insane hobby. Nine out of ten times, somebody took you for a ride in
a noisy, stinky old boat and gave you a unique thrill you could never forgot. Remember the way the engine thundered—not at all like the one in the family car? Wow! Remember the exciting smells of gasoline, hot oil, varnish,
leather? Remember the way the waves blasted by as if you were moving at least 400 mph? Remember slamming
over an occasional wake? OMG! That’s the way you and I got so thoroughly hooked in those moments of utter
magic that we still drive and cherish boats that are so out-of-date only insanity permits admitting they’re ours.
DIFFICULT SUMMARY AHEAD—PLEASE PAY ATTENTION:
If kids are gonna’ keep this vintage boat avocation alive, we need to give them rides in great boats! Our boats!
At every boat show, there oughta’ be provision for giving rides to people with kids! For many of us participants,
that’s gotta’ be a heck of a lot better than standing around in the sun, staring at our own boats and thinking
how nice it’d be to take one out for a spin. Oh we can make lip-service to attracting kids by half-way measures
as “Youth Judging,” and the like. Indeed, it does keep our boats immaculate and protected from parents and
their snotty-nosed kids
But we won’t really grab any of these youthful souls until we take them out in noisy, stinky, old boats like those
that snatched us by the scruff of our own skinny necks!
Bill Baldwin
Mangling Editor
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by Aaron LeDonne
When some look at a wood boat, they only see
work—either the work that goes into build, restoration, ongoing maintenance, or up-keep. Others
focus on the engine—how it runs—while still others
focus on wood grain, colors, and/or shape—what
the boat looks like. Then there are those that focus
on details. Robert (“Bob”) McClain, owner of a boat
named, Withagrin, is one who obsesses over details.
Following the sale of his communications business
and several car restorations, Bob decided that it
was time to learn a craft, i.e., the craft of building
a wood boat.
As an experienced boater, Bob had specific criteria in mind when he decided to undertake the
build of Withagrin.
1. The boat needed to be easily trailerable, as well as
launched and retrieved with relative ease.
2. The hull couldn’t be longer than 20 feet; it needed to fit in
the garage of McClain’s suburban Pittsburgh, Pennsylvania
home.
3. The boat would exhibit design characteristics of boats
from the mid-1950s to the 1960s.
4. The finished boat would have a custom look.
5. The structure must be built using the cold-molded
method with epoxy. McClain enjoyed the aesthetic of
traditional boats, but didn’t want the maintenance associ-
...It’s all in the details
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With the intention of learning a craft, Bob set
up shop in his garage, acquired the best
mahogany he could find, and hired a cabinet shop in Pittsburgh to cut out the frames.
ated with plank-on-frame construction.
As with everything Bob undertakes, he spent hours
researching the craft of building a wood boat, reviewing boat designs, power plants, and the like.
During his research, he came across the Glen-L
boat building website (www.glen-l.com), which
offers boat plans, patterns, and supplies for the
amateur boat builder. After reviewing all of the information available, Bob settled on their Tahoe 19
www.boatdesigns.com/Tahoe-19/products/764/, a
design by Ken Hankinson. The Tahoe was designed
as a midships-mounted, inboard, dual-cockpit
runabout with plans available in 19- and 22-foot
lengths, though the plans offer the ability to lengthen either by at least fifteen inches.
With the intention of learning a craft, Bob set up
shop in his garage, acquired the best mahogany he
could find, and hired a cabinet shop in Pittsburgh to
cut out the frames. While working to set the frames, it
became apparent to Bob that he either needed to
go out and purchase new tools in order to complete
the project or hire someone to complete the necessary woodwork to ensure his desired level of finish.
Following several conversations in the fall of 2010,
Bob hired YNOT Yachts to complete the woodwork,
with the intention of completing the build himself.
The frames arrived in late fall 2010, and construction
resumed. While Bob loved the hull lines of the Hankinson design, he wasn’t crazy about the usability
(or lack there of) of the dual-cockpit configuration.
Engineers were consulted and the go ahead given,
Bob’s dual-cockpit Tahoe 20 was reconfigured as a
walkthrough utility.
Throughout the build, Bob was a fixture in the shop
assisting where able; obsessing over details, and
polishing anything within his line of sight, including
all of the hose clamps and fasteners, whether they
were visible or not. With the hull nearing completion
in the spring of 2011, Bob decided two things
1. It was time to go fishing so the project would be put on
hold until fall.
2. YNOT Yachts would complete the finishing of the hull,
while he would install the driveline, wiring, and electronics.
Early in the project, Bob decided to power Withagrin with an Ecotec Marine 2.2 liter four cylinder engine. The Ecotech Marine 2.2 liter engine is
based on GM’s Ecotech 4 cylinder engine that is/
was found in their smaller automobiles. The Ecotech
Marine 2.2L is available either naturally aspirated
or with an additional supercharger that produces
approximately 220 horsepower.
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ABOVE LEFT: The WYNOTYacht-created engine box—
with owner-required cup
holders.
ABOVE RIGHT: Withagrin’s
Ecotec Marine, 2.2-liter, four
cylinder engine. The Ecotech
Marine 2.2 liter engine is based
on GM’s Ecotech 4-cylinder
engine mounted in well-insulated engine box.
BOTTOM LEFT: Running fast
on the Ohio River near Pittsburgh, Pennsylvania
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ate deck hardware, as most new marine hardware
wouldn’t provide the correct look and the cost of
sourcing and re-chrome plating vintage hardware
wasn’t favored by the owner. If the hardware selection seemed relatively straightforward, the windshield selection was anything but.
As the hull and decks of Withagrin were being completed, a 1959 Chris-Craft Silver Arrow entered the
shop for restoration. With the Silver Arrow sitting next
to Withagrin, it seemed, that maybe, just maybe,
the Arrow windshield would provide the right look. In
short order, a reproduction of the Silver Arrow windshield was fabricated, with a slight modification to
deepen the Plexiglas to fit the deck of Withagrin.
Countless hours were spent choosing the appropriate deck hardware, as most new
marine hardware wouldn’t provide the correct look and the cost of sourcing and
re-chrome plating vintage hardware wasn’t favored by the owner.
ABOVE: Beautiful cockpit.
Note: Cole Herse switch knobs,
Porsche steering wheel, and
Morse shift/throttle lever knob,
all painted to complement the
up holstery.
While the allure of a supercharged engine was enticing, Bob chose the naturally aspirated version engine which produces 167 horsepower. The all-aluminum engine is incredibly compact and lightweight,
weighing only 400 pounds with the transmission
attached. The naturally aspirated Ecotech pushes
Withagrin to speeds close to 40 mph.
wood encapsulated in epoxy to make up the ½”
bottom and hull sides. The fore and aft decks are
comprised of a layer of ¼” Okoume BS1088 marine
Plywood and a combination of light and dark mahogany laminated to the Okomue. Bass wood was
used to highlight the planking in the center of the
decks as opposed to painted or caulk seams.
With an engine this compact, lightweight, and powerful, one might ask why more boats aren’t powered with this engine. Well, Ecotech Marine is based
in New Zealand, and while there was a company on
the West Coast of the United States importing and
maintaining the USCG certifications, they stopped
doing so right as Bob committed to this power plant.
The dark mahogany and bass wood were used
through the cockpit to provide a cohesive feel
throughout. All of the ceiling boards are book
matched and were polished to provide a mirror
finish. As the Tahoe 20 is a smaller boat, light colors
were selected for the hull sides and upholstery to
create the illusion of a larger boat. Additional width
was added to the foredeck, which helps to differentiate this Tahoe from others, acts as a spray rail, and
also provides the appearance of a larger boat. Tying the cockpit colors together is the flooring, which
is a woven vinyl from Finland that is impervious to
moisture and fade resistant.
Undeterred, Bob sourced a surplus block in Texas
and purchased the proprietary marinizing pieces
from Ecotech in New Zealand. Bob assembled the
engine and transmission package and worked with
YNOT Yachts to complete the install; Mark Fitzgerald of Fitzgerald Marine Architecture in Thomaston,
Maine provided driveline engineering.
Withagrin is constructed with mahogany frames
and multiple layers of Okoume BS1088 Marine Ply-
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An additional requirement of the owner was that
the boat needed to include some automotive
styling elements. Some of those elements are the
rolled and pleated upholstery with piping reminiscent of Jaguars from the 1950s and 1960s, the 1954
Buick side-intake ports, and a 1955 Porsche steering wheel. The Cole Herse switch knobs, steering
wheel, and Morse shift/throttle lever knob were
painted to complement the upholstery.
While talking about the details, it is important to
note that the engine box was designed to provide
as much cockpit room as possible—while also providing for two large cup holders, which were also a
design requirement. The end result is an engine box
that mimics the shape of the sheer and carries the
same deck striping as the fore and aft decks. Sound
insulation was fitted inside the engine box and a
gas strut was added to provide ease in accessing
the engine.
Storage was built into the three seat bottoms for life
jackets and cleaning supplies, while access hatches
were installed in the floor to provide storage for fenders and ropes. The access hatches were trimmed
in aluminum T-molding that was painted to blend
into the woven flooring. The electrical system was
discretely installed under the helm seat, and in the
bulkhead behind the seat. In the bulkhead opposite, a matching door was installed to house a fire extinguisher and throwable Personal Flotation Device.
LEFT: Now, THAT’S varnish!
RIGHT: View of Withagrin on
Lake Chautauqua heading at
speed toward Bemus Point,
New York. In center distance,
the famous Lawson Center
Boating Heritage Museum
BELOW: Overall view of
Withagrin on trailer.
Some may ask, “Why Withagrin?” It’s quite simple:
through it all, the research, the work, and the dreams,
any time Bob McClain thought or talked about the
boat, it always brought a grin to his face!
Check out YNOT Yachts, creators of the renowned
Eulipion at www.ynotyachts.com
While Glen-L provides the plans, they leave hardware and windshield selection up to the builder.
Countless hours were spent choosing the appropri-
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Carla’s Corner
Hagerty Losses & Lessons
Accidents happen. That’s why we work to ensure that our clients’
prized vessels are properly covered should diaster strike.
Five Examples of Great Fiber Classics
For a Relatively Low Initial Expense
By Evan Peterson
Hagerty Marine
Insurance
Every collector remembers his or her first boat, and
for most of us it wasn’t a $100,000 Gar Wood or
Hackercraft. New enthusiasts enter the hobby looking to get the most bang for their buck – a reliable
boat that will stand up to regular use. Below are
five examples that any collector would be proud to
have in their boathouse, and they can be had for a
relatively low initial expense.
Century Resorter (16-foot model, 1950-1967)
– Beginning in 1950, Century began producing a
16-foot version of its iconic Resorter model, and
within a few years, Resorters were pulling skiers on
lakes across the country. By 1967, nearly 3,000 examples were produced. In today’s market, examples
in average condition can be had for $7,000-$10,000.
A very small number of fiberglass Resorters were also
produced during this time, and due to their rarity
their values are comparable to the wood version.
returning them to the water. Survivors can be had
for as little as $500, while fully restored examples
can typically be had for $6,000-$8,000.
Lyman Sleeper – The largest boat on our list,
the Lyman Sleeper, is a 25- or 26-foot cuddy cabin
produced throughout the 1960s. Due to its size, the
Sleeper might not be a great choice for those new to
boating in general, but it’s a good option for those
looking to bridge the gap between a traditional
runabout and a larger weekender-type boat. With
very good examples going for $15,000-$20,000, the
Sleeper continues to be a popular choice for its size.
Chris-Craft Archives
at The Mariners’ Museum Library
Chrome Plating
• Aluminum Polishing
• Stainless Polishing
• Brass Polishing
Home to the complete
paper history of
Chris-Craft boats.
For over 60 years, your complete
source for quality marine plating
For research on your Chris-Craft,
call 1-800-565-6846, email
[email protected] or visit
www.MarinersMuseum.org/Chris-Craft
o: 256.764.9487
f: 256.764.9416
e: [email protected]
Mail to: PO Box 1052, Florence, AL 35631
Ship to: 4230 Chisholm Rd., Florence, AL 35630
www.gravesplating.com
Glastron Carlson (16-foot model) – Although
less well known than the other boats on our list, the
Carlson line of Glastrons have a very devoted following. Glastron Carlsons were built in models ranging
from 16 feet to 27 feet and were available in both
outboard and inboard/outboard configurations. The
16-foot model is your best bet, with values ranging
from $2,500-$5,000 for average condition.
After 25 years ...
we are still at the center of it all.
Thompson Sea Lancer – A classic lapstrake
design and solid reputation make the Thompson Sea
Lancer a smart choice for anyone looking to break
into the hobby. Known for their distinctive yellow
hulls, Sea Lancers were produced throughout the
1950s and ’60s. Expect to pay $4,000-$5,000 for
boats in good condition; fully restored examples can
cost upwards of $10,000.
Glasspar G3 – If you’re looking for a true barn
find, the Glasspar G3 is likely your best bet. Chances
are one of these fiberglass beauties is currently serving as a planter in a garden near you. However, the
beautiful lines of these early fiberglass runabouts
are undeniable, and there is a thriving community
of collectors saving them from the scrap heap and
Antique Boat Center has been a leading marine dealership since 1989, specializing in
the sale, complete service and restoration of antique and classic boats.
10346 Evendale Dr. • Cincinnati, OH 45241 • t: 513-242-0808 • www.antiqueboat.com
12
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by an amazing Boat Builder: Greg Adams
THE BEGINNING
Brand-new vs. classic boats? Talk about
opposites! In my way of thinking,
“Brand New” means completely new,
right down to being made of the latest
materials. On the other hand, I use the
word classic in the same way the ACBS
assigns classifications, i.e., a “Classic”
boat is built between 1943 and 1975,
inclusive. What to do if I want both?
Logically, my only choice is to build a
classic Chris-Craft boat using the latest
techniques and materials. Hmm, Logical, but certainly not easy.
I decided to do it anyway.
First, I had to choose a “Classic” ChrisCraft model as my working model.
Didn’t want anything big. Also didn’t
want complex curves nor extravagantly
shaped covering boards (ridiculously
expensive). And, of course, the boat had
to be mahogany, or facsimile thereof. At
last, I settled on the 17-foot Special
Runabout (1949-1952). It’s on page
137 of Jerry Conrad’s Essential Guide.
With that out of the way, I got
in touch with our friends at the Mariners’ Museum in Newport News—
Hi, Chris-Craft Collection Curator,
Patti Hinson!—and ordered drawings
and lofting tables.
“Lofting tables?” you ask. Well, tables
of offsets, to be exact. I wanted a slightly different boat—18-feet instead of
17—that’s the way I got it: literally
from scratches on paper. If you want
to read more about this “Lofting”
technique than the average Brass Bell
reader will tolerate, check this URL
from Dudley Dix Yacht design: www.
dixdesign.com/lofting1.
THE PROCESS
I started by using the Museum’s lofting tables and drawings to make fullsize patterns for the frames, which
I then sawed and faired from mahogany—same way anyone building
a classic boat would do. Also, quite
normally, I built a ladder frame on
the level floor of my garage on which
to build the hull and immediately set
the frames according to the numbers.
But that’s where I began deviating
from 1940’s construction. Before I
did anything else, I coated each frame
with epoxy. With all the frames set, I
cut notches for the stringers by hand,
set the keel, faired everything, and
again coated the whole assembly with
epoxy. No dry rot for this boat!
By this time, I’d decided to use cedar
for the boat’s sides—nobody would see
it—so I bought cedar siding from a local lumber yard, ripped it to about 4¾
inches wide, then planed to 1/8-inches
thick. Finished, the sides are two layers of cedar stapled to the stringers. Of
course, I coated everything with epoxy
as I went along.
cloth that I epoxied on the inside. The
thought here was that there is always
water inside the boat, and the continuous glass will protect the ply. It was
glued, screwed, and layered.
stringers and coated everything with
epoxy. Now this is when I was tempted to paint the inside, but I elected not
to, as a clear finish lets you know when
you have moisture problems.
At this point, I had a hull with a true
Chris-Craft shape that, with a little
care, would last a lot longer than anything that came out of Algonac or
Cadillac. Next, I pulled the staples,
and spent a lot of time fairing the entire assembly; it was time to make the
boat Chris-Craft mahogany.
I started framing out the topside. As
usual I coated everything with epoxy
before installation. Framed and faired
the deck as getting the dip out of the
stern sheer was tough. I covered the
deck framing in 3/16” ply. I covered
the top with ply so the butt seams of
the ½” mahogany would not separate.
I also used biscuits covered in epoxy to
help keep the seams tight.
In nearby East Aurora, New York
I found a world of veneers at Certainly Wood, Inc. www.certainlywood.
com. Here, I bought 1/8-inch by
8-inch by 12-foot mahogany strips
which I epoxied to the sides using
staples over plastic banding found
at the local lumber yard. Normally,
the straps are used to band piles of
lumber. I got them used and stapled
over them so the wood wouldn’t
dent. (When occasionally it did dent,
I used water and an iron to steam it
out.) The faux planking turned out
great when finished with glass. You
have to look real closely to see the
staple holes. It’s also a clean look, as
there are no bungs.
At this point, I turned the boat over
onto a cradle I’d made—I’ll spare you
how easy it was. Once right side up, I
used thick epoxy to make filets on the
The wide boards at the gunnels were
5/4 stock that I cut to ½-inch with a
Sawzall®. Still difficult to believe that
worked well enough to use. They were
epoxied and screwed into place. I epoxied and lightly nailed the thinner
boards with my brad-nailer. I would
have liked to use Holly, but it’s hard
to find in any length that would work
for me so I opted to use common tile
spacers for gapping and a thickened
pigmented epoxy for a faux look.
Sanded the top to my satisfaction and
covered it with epoxy, too.
Floor boards were easy. Went with
¾ AB ply for the floor and that was
coated with epoxy. The ply was easy
to fit. I just lined it up with the stringers, cut close, and then scrubbed to
cut perfect.
I made the bottom in two layers of 3/8inch AB Plywood. But here I made another, very important deviation from
the norm: I covered with 6-oz glass
14
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15
Antique Boat Shop
Features:
Epoxy inside and out
Every screw hole coated with epoxy
Carbon fiber accents
Retractable cleats
Lift rings that lift
Automatic bilge pump
2 blowers
Water strainer
Fuel filter separator
For the fitting out I added wood
planks for the interior side, accented
with blond mahogany, and if I had
found it earlier I would have used it
on the deck.
After spending hours on the Internet,
I found a Volvo 4-cylinder gasoline
engine and a transmission that couples
the shaft at eight degrees, keeping the
engine as flat as possible in the boat. I
used the strut and a wooden dowel to
calculate where to drill for the shaft.
Once the hole was drilled and fitted,
I made a fiberglass tube to insert into
the hole. I did the same procedure for
the thru-hull water intake. Next came
the engine and transmission. It took
only about six hours to fit the whole
assembly to the shaft.
You’ll notice that I fabricated much of
the boat’s deck hardware myself, including the cutwater, which I made by
using the boat as a mold, then layering
glass before covering it with carbon fiber. I could then cut and shape before
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glassing it onto the boat. In not-so1940s style, I decided to make a swim
platform, but it had to be removable
so I can keep the boat in the garage.
Stainless brackets and a modified
stock ladder tucked under make for a
great clean look.
Overall it was a great project in every way. Everyone has a story about
someone they know that has a connection to some old wooden boat.
The best part is when I’m out with
friends and family, anchored on the
lee side of a point, swimming, and
just enjoying the Summer.
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16
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230 South Clinton St.
Olean, NY 14760
www.woodiesrestorations.com
653 Lakeway Dr. | Russell Springs, KY 42642 | 270-866-BOAT (2628) | [email protected]
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P let c her ’ s
Pletcher’s Opinionated Ramblings
ra m bl i n g s
In 1969, for one year only, along with the one-year
production of the 19-foot Commander SS, Chris-Craft
produced a 17-foot Ski Boat under the Cavalier name
only 100 were built, with 53 more hulls produced the
following year marketed as the 17-foot Corsair Ski Boat.
the 20-foot Sea Skiffs were built, with production
commencing in late 1965 and concluding in early
1967 when the last ten were finished, powered with
a choice of 283 or 327F power. Brian Gagnon,
President of the Antique and Classic Boat Society,
has Sea Skiff #12 from late 1965, and I have #39
from mid-1966. Not many other fiberglass Sea Skiff
boats have been found to date, although I did see
a well-kept survivor sitting on a trailer at Fontana,
on Lake Geneva, a few years ago. A relatively few
of the Sea-V versions have been found, and I am
hopeful that an increased awareness of this model
will help save the remaining boats.
Chris-Craft Classic Fiberglass
Inboard Runabouts
The Chris-Craft Corsair Sport Boat Division was formed immediately after
Chris-Craft acquired the Thompson Boat Company of New York in 1962, in
Cortland, New York, a small town located in the center of the New York Finger
Lake Region. Thompson had been producing some great looking wood lapstrake
hulls, and they had already embraced outdrive technology with Eaton power at
the time of the acquisition.
By Paul Pletcher
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Chris-Craft made some gentle modifications while
giving due deference to the Thompson history,
style, and reputation, and continued wood production for these “Thompson by Chris-Craft” hulls
for a period of time while a new factory was built
across town for the specific purpose of building
fiberglass boats. Shortly thereafter, a fiberglass
“dead ringer” for the wood Sea-V hull appeared in
18- and 20-foot lengths under the Corsair name.
This put Chris-Craft in the perfect position to transition from wood to fiberglass by having identical
looking boats in the showroom at the same time,
giving customers a great choice between wood and
fiberglass. Much could be said for either choice, and
the choice may not have been easy at the time; but
now, 51 years later, the choice is limited to the fiberglass version because most of the wood Sea-V boats
are sadly gone. In fact, I know of only one remainB E L L
ing example of the wood 20-foot Sea-V (this one
has small block Ford power and Eaton outdrive).
Hopefully there are more, because they are really
interesting boats.
Production of the fiberglass 20-foot (Transdrive)
Corsair Sea-V began in 1964 with 225B (Buick
V6), Eaton (Ford 221 V8) 140, or OMC HUE 150
power, using the Thompson tradition of power options, which was eventually followed by an inboard
version using the standard Chris-Craft flywheelforward 283 power in 1965, and this inboard hull
was produced through model year 1968.
During the five-year production run of the 20-foot
Sea-V (1964-1968), Chris-Craft produced an
almost identical low-production Sea Skiff version
from the same molds, all with green gel-coat, except
for the very last few, which were white. Eighty of
OPPOSITE: Chris-Craft marketing
photo for the 1970 17-foot Ski Boat,
proclaiming top speed of “fortythree howling mph from a monster
327 cu. in. center-mounted ChrisCraft V-8.”
ABOVE: Chris-Craft marketing
photo of the 1964 20-foot Sea-V
Inboard with optional side rails.
RIGHT: Chris-Craft marketing photo
for the 1966 20-foot Sea Skiff.
Chris-Craft produced a total of 300 of these
20-foot inboards, and they all use the same basic
motors and transmissions that many traditional
wood Chris-Craft boats used as far back as 1959
when the first 283 was used. Early flywheel forward
283-powered boats with manual transmissions use
the manual chromed shift lever in the traditional
manner; later boats with the flywheel aft 327F and
hydraulic transmission use the single-stalk Morse
control. These boats have beautiful lines with large
bow flair and large windshield for a dry ride. The
“Thompson by Chris-Craft” hulls have a unique
“fiberglass lapstrake” bottom with hard chine, small
keel, and 16-degree deadrise.
The Sea-V and Sea Skiff fiberglass boats were
utilitarian in nature, reasonably affordable, and not
as flashy, expensive, or prized like the thousands
of mahogany inboard boats Chris-Craft produced
during this same era. As a result, I think most of
them were used for utilitarian purposes, and were
probably eventually put aside when they suffered
the inevitable engine or transmission issues as
all boats eventually do. We all know that when
any boat is set aside for eventual repair, the cost
never goes down and procrastination can cause
further deterioration and eventual demise. Thus,
I think many of these modest hulls were eventually discarded because they were overshadowed by
the bright mahogany boats that were plentiful and
undoubtedly got more attention, and the fiberglass boats were just not perceived as collectible
at the time. Although fairly good numbers were
produced, we have seen very few of these 20-foot
hulls show up during the last five or ten years, but
I suspect (and hope) a representative number are
still hidden away in garages, sheds, barns, and boat
houses in the New York Finger Lake region. It is
possible that some owners don’t even know these
“old boats” have an appreciation level and following today, so if you know someone who has one, let
them know how special they are!
When this initial run of 20-foot boats stopped in
1968 Chris-Craft did not have another fiberglass
inboard in the showrooms and the market was
flooded with all kinds of inboard mahogany and
plywood boats at the time. Keeping things in perspective, it was 1968 when the 23-foot fiberglass (vdrive) Commander was introduced, and 1969 when
the 19-foot Commander SS (v-drive or Transdrive)
was introduced. Chris-Craft was really ramping
up production during this time, introducing many
new models of large and small boats, and there
appeared to be an internal shuffle within the sales
department because after 1969 the 19-foot ComT HE
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P let c her ’ s
ra m bl i n g s
LEFT: Wilson Wright’s 1970
17-foot Ski Boat, photographed
at Mt. Dora, Florida, in 2006.
RIGHT: The 23-foot Lancer
Inboard is a heavily built 24-degree deep-vee ideally suited for
rough water.
P let c her ’ s
mander SS was rebadged as the XK-19 in 1970, and
the 1968/1969 Commander was rebadged in 1970
as the Lancer Premier.
In 1969, for one year only, along with the one-year
production of the 19-foot Commander SS, ChrisCraft produced a 17-foot Ski Boat under the Cavalier name--only 100 were built, with 53 more hulls
produced the following year marketed as the 17-foot
Corsair Ski Boat. This short-lived model is basically
a fiberglass reincarnation of the 17-foot Chris-Craft
Ski Boat of 1967-1968 which incidentally had an
option of fiberglass sheathing on the bottom. The
hulls have a traditional flat aft hull profile for speed,
and they were powered by 307Q or 327Q small
block V8 motors and direct drive transmissions.
No fiberglass inboards were produced in 1971
because most of the runabout-size market was
going to Transdrive boat production at the time,
but in 1972 Chris-Craft introduced an inboard
version of the original 1966 23-foot Lancer, with
a 350 small block V8, 1.5:1 gear reduction, and a
prop-pocket configuration intended to keep the
draft within reason with that deep-vee hull. During
1972-1977 a total of 643 inboard 23-foot Lancers
were produced.
The lighter weight 20-foot Corsair hulls are reasonably fast smooth-riding boats capable of handling a
moderate chop better than most of the Chris-Craft
mahogany runabouts I’ve been in, certainly far better than our 17-foot 1956 Sportsman Utility, and
they utilize direct drive transmissions and 13-inch
props. The 23-foot deep-vee boats with
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an extra 1,000 pounds of weight are so brawny they
are almost like small cruisers, using 15-inch props,
a 1.5:1 gear reduction, and they are extremely well
suited for rough water conditions. The 17-foot
Ski Boats are fast smooth-water boats befitting of
their name, capable of doing the tight slide-turns
that the 20-foot hull with the keel and the 23-foot
deep-vee can’t match, but they are not comfortable
in rough water. These three models represent the
great choices we have for early collectible inboard
fiberglass Chris-Craft boats.
Now that the models and chronology are outlined,
what is it like to actually own or restore one of these
fiberglass inboards? From a towing point of view,
the 17 is just like any other 17 you’ve ever towed,
and a two-wheel single-axle trailer will do. The
20-foot boats weigh-in at around 2,700 pounds
and they are about as heavy as many wood boats of
similar size, and they need a two-axle trailer. The
23 Lancers weigh in at 3,700 pounds and they have
an eight-foot beam, so two-axle trailers and surge
brakes are needed, towing vehicles and driving
styles need to be adjusted accordingly. Regarding ownership, let’s just say they are simply a joy
because you can experience the fun of a true classic
boat, they can be heavily used, easily repaired, and
the hull maintenance requirements are very low. In
addition, the cost of these boats has remained remarkably low, so they are a tremendous value today.
These three models used the same gelcoat, fiberglass
resin, and many of the construction techniques
of the highly revered Commander series, and this
ra m bl i n g s
Although fairly good numbers were produced, we have seen very few of these 20-foot hulls
show up during the last five or ten years, but I suspect (and hope) a representative number
are still hidden away in garages, sheds, barns, and boat houses.
LEFT: The husky 23-foot
Lancer utilized a prop pocket
to keep the draft at 28-inches,
which incidentally is the same
as the 31-foot Commander.
TOP RIGHT: Mike Gibson’s
1973 23-foot Lancer in the
process of being stripped
down for refinishing and new
interior.
BOTTOM RIGHT: Here is a
view of Mike Gibson’s topside
work, restored in his garage to
a very high original condition
standard.
means they are much better built than many of the
other fiberglass boats of this same era. Early 20-foot
Corsair Sea-V and Sea Skiff boats used a double
plank engine stringer on each side of the motor that
spanned between fiberglass pedestals, and the motor was positioned in the middle of the span. The
design kept all the wood out of the wet zone but the
curved upswept end shape of the stringer exposed
the wood grain in a vulnerable position and many
cracked. This design flaw was quickly changed to
an all fiberglass box beam system, so the latter series
of Sea-V boats would be the better buy. I very successfully repaired the cracked stringers on my 1966
#39 Sea Skiff with through-bolting and epoxy,
along with the addition of a form-cut aluminum
plate on each side of the stringers which functioned
like a flitch beam, so don’t run if you see a deal with
one of these early hulls for sale because they can
be fixed. Because the 17-foot Ski Boat has a nearly
flat aft hull section, the wood engine stringers are
in a similar location to what one would find in a
mahogany 17-foot Sportsman with similar hull
profile, and they are glassed into the bottom and
therefore subject to getting wet if not properly cared
for. The good news is that any rotted stringers can
be relatively easily de-capsulated, removed, and replaced in original fashion, and these boats are well
worth this sort of an inconvenience because they
are a very attractive design with the performance to
back up the good looks.
The 23-foot Lancer hull followed a similar construction system as the highly revered Chris-Craft
Commander series, with hollow fiberglass box
beam construction for great strength and imbedded
non-structural wood engine stringers well above the
wet zone. Early 23 Lancer models have wood floor
structure which can be easily repaired or replaced,
while later models have a cast-in fiberglass floor,
and a plastic foam was used under the forward seats
to control vibration and give even more rigidity. I
would consider the 17-, 20-, and 23-foot boats to be
relatively easy restorations (compared to any wood
boat) because there will be little to no work required
on the wetted part of the hull. What work may be
required can be patched with the appropriate resin
and glass, faired, and painted quite effectively.
The mechanicals, upholstery, fuel tank issues, instrument restoration, and cosmetic issues are quite
forthright in nature, and anyone with reasonable
tool-skills can do a good restoration if he takes his
time and gets some help if and when he needs it.
Because Chris-Craft used a “shoebox construction
technique,” the entire top deck can be removed for
special repair or reinforcement if necessary.
Although we have focused on the inboard models,
the Corsair and Lancers were also available with
outdrive systems (called Transdrive by Chris-Craft)
and by nature, the outdrive boats are mechanically
T HE
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21
P let c her ’ s
WS FLASH
NE
ra m bl i n g s
The mechanicals, upholstery, fuel tank issues, instrument restoration, and cosmetic issues are
quite forthright in nature, and anyone with reasonable tool-skills can do a good restoration
LEFT: Kris removed the engine
and transmission, and flipped
the boat in order to give everything a bright new finish.
RIGHT: Kris Kotter’s 1970 17foot Ski Boat under full restoration and looking great.
more efficient, have a somewhat better interior
space layouts, and they are also to be considered
highly desirable early Chris-Craft fiberglass classic
boats. The reason I have focused this article on the
early fiberglass inboard boats is because they are the
ones the traditional Chris-Craft enthusiast is going
to be most comfortable with if he/she is considering
a fiberglass classic. They offer the most direct connectivity back to the wood boats many of us grew
up with.
JR
Any one of these three inboard models would be
able to pull into any waterfront restaurant, swanky
yacht club, gas dock, or boat show, and gain positive attention and recognition. They represent some
of the best looking quality-built classic runabouts
on the market today, and they are an important
chapter in the history of Chris-Craft boats.
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Family-owned and operated.
To All Members
ctors
for CCABC Board of Dire
Candidate Submissions
to fill four Director
to consider for nomination
ates
is seeking qualified candid
selection process
The Nominating Committee
participate in this important
5 election. We ask that you
201
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Nov
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who are interested in
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willingness to devote some
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[email protected], and/or
If you, or someone you kno
mittee Chair Don Ayers at ccb
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Florida in late
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face-to-face at the Sunnyla
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JR Custom Plating
39374 Grand Ave l North Branch, MN 55056
[email protected]
www.JRCustomPlating.com l 651-464-0761
22
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23
Photo courtesy of The Mariners’ Museum
TOP LEFT: The
turbo-charged,
147-hp Weber gas
engine.
TOP RIGHT: Each
boat built to date
has had custom
decks.
By Rob Coburn
BOTTOM LEFT:
After a final fairing,
the bottom is covered with seven
coats of epoxy
barrier coat.
BOTTOM RIGHT.
The entire hull is
encased in Dynel
cloth and West
System epoxy
for abrasion
resistance.
Don’s article struck a chord with Glen
Shivel, a custom builder in Kennebunkport,
Maine. His shop, Callinectes Boatworks
builds a model that completely fills the bill:
the Callinectes-16. Recently, I had a chance
to catch up with Glen in his shop and learn
more about him as well as his boats. “Glen,”
I asked, “what was your inspiration for that
16-foot runabout you build?”
“Really, there are two different types of
inspiration at play,” Shivel replied. “One is
where and how people enjoy boats today. The
second is what can I learn from the classics
to help me make a boat that uses the best of
24
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modern technology—and at the same time
captures the essence of a classic boat.”
He started with the idea that small ponds
and protected waterways can be a lot of fun
in the right boat. And he wasn’t thinking
about function (like waterskiing) other than
enjoying the boat. Also, he wanted to use the
best modern construction techniques and
power plant options to make a super-light
boat with plenty of get up and go.
In terms of the actual classic boat inspiration
it’s a tale of two craft. The bow and roughly
first two thirds of the boat are spot on with
the classic Chris-Craft Riviera. One hundred
seventy-four of these 16-footers were produced in 1950 and 1951.
The similarities start with a fairly plumb bow
and nice covering boards with a really sweet
radius. The deck hardware from Bud Bracket
at Maine Classics is almost identical to the
Riviera’s including the bow light, windshield
brackets, and engine cowlings aft are visually
the same.
As you go aft on the Callinectes-16, you’ll
see the inspiration from another favorite of
Shivel’s: the classic, Italian-made Riva. They
T HE
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25
days. The best way to describe it is “goose
steering” with quick short throttle boosts. It’s
a lot easier to feel than describe.
CLOCKWISE FROM TOP LEFT: Infusing the hull. Deck castings.
Business end of the Jet Drive. Completed Callinectes-16.
Callinectes-18 drawing. Custom foredeck.
The Callinectes-16 is made from infused
fiberglass hulls and decks. Vacuum bagging
allows better control of the glass-to-resin
ratios, resulting in lighter structures with the
same strength. The hull is cored with 7-mm
Lantor Soric®, while our decks are cored with
¾-inch foam. In addition to composite hulls,
Callinectes Boatworks cold mold wood hulls
are encased in Dynel cloth and West System
epoxy for abrasion resistance. After a final
fairing, the bottom is covered with seven
coats of epoxy barrier coat.
Each boat built to date has had custom
decks. One went out the door with caulked
seams, another with ash inlays to set off the
hand-laid mahogany deck, and the latest
runabout is going out the door with white
fiberglass decks surrounded by raised mahogany covering boards.
Callinectes built the molds to accommodate
various power plant options. The jet pump
requires an insert in the split-hull mold to
accommodate the jet housing. The boat also
has a flat mold insert for an in-line shaft
and engine option. This option requires the
engine compartment to be moved forward so
a small, four-cylinder engine can be squeezed
behind the forward seat bulkhead.
The company is currently working on an
outboard version.
About the builder: Glen Shivel had a very successful career as an engineer in the
corporate world. He read about The Landing School in Wooden Boat and was hooked.
After completing his education he stayed on to help run the school for seven years and
is currently on the board of trustees. His dad’s passing motivated him to dust off an
old business plan to make beautiful boats using modern engineering and materials to
his own design for enjoyment on protected waters. Everything about his timber-framed
shop in Kennebunkport, Maine is a testament to craftsmanship as well as stewardship
to the environment.
have more tumblehome aft where the bottom
wraps more up and around and the shape
rocks back in.
Rivieras are more curvaceous aft than
Shivel’s—with a slight rake—but fusing the
best of the Riviera and Riva resulted in a very
visually pleasing boat. The Callinectes-16 has
a full-length chine for a dry, stable, and efficient ride. The nearly flat aft running surface
common on most classic runabouts of any
stripe causes pounding and rider discomfort
in any but a mirror-flat sea. Shivel replaced
this with a 10-degree transom deadrise to
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soften the ride and improve straight-line
tracking.
The 16-foot Riviera had a much-deserved
reputation for being underpowered with 60
horse power. Shivel took a hard look at power and ended up with a jet drive that weighs
187 pounds and produces 147 hp from a
turbo-charged Weber gas engine www.weberpower.com/mpe-marine-143hp.html. The
German company has been making engines
since WWI, and this model is based on their
light airplane engine. It’s been available for
boat propulsion since the 1990s. Part of the
reason the engine works so well is the weight
of the boat. At 1,400 pounds fully equipped,
it’s very light. The fuel efficiency is incredible;
it cruises at 30 mph; and uses about 2.5 gallons of gas an hour. The jet drive is efficient
at higher rpms and the whole power plant
nicely fits the engine envelope of the boat.
There are several advantages to not having a
spinning prop. The most obvious one is that
it is impossible to knock off the running gear
in skinny water or wrap a stray line around
the prop. However, with a light boat and
no prop, there is a learning curve on windy
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s , i t ’ s t h e b o at
Sometime
t h at r e s t o r e s t h e m a n .
Photo: Shaun Fenn © Woody Boater
L I V E TH E WO O DY B OATE R L I FE . I T AL L STAR T S O N WO O DY B OATE R .CO M
Stepping into or out of a boat can be problematic.
Why? Well first of all the boat is most likely floating so
it can move around somewhat as you put your foot
on the gunwale, seat or even boarding ladder. Small
boats can really move fast making for a very ungraceful spread of your legs. It can be embarrassing and
even dangerous. This is why most skippers stand by
to lend a hand. I remember once trying to help a guy at
least one hundred pounds more than me. This could
be the end of me, I thought, as he shakily climbed the
short ladder—“Deck hand gets crushed on old boat,”
the obit would read. But wouldn’t it be nice to have a
sturdy grab bar for boarding and exiting.
By Seb Borrello
Second, a boat, especially a small boat, responds
unnervingly to a sudden change in the center of gravity
not to mention the center of buoyancy. The center of
what? These two centers are quite important. All rigid
objects have a center of gravity (CG) which means that
the force of Earth’s gravity acts as though it was pulling
on one point of the object. For example take a loaf
of bread, say a ciabatta (one of my favorites). It looks
kinda like a slipper, thus its Italian name. Take a broom
handle, put it under the ciabatta the short way and
move the loaf until it balances on the round handle. Do
this the long way. The crossing point is just below the
center of gravity which is actually up inside the loaf. So
the center of gravity is sort of in the middle. Boats have
a center of gravity. Stand on the gunwale of a runabout
and notice how the gunwale goes down with your
added weight. The boat’s center of gravity and your
center of gravity (near your middle) combine to cause
a shift in CG. The new combined CG moved a little
outward and upward from just the boat’s CG.
Now for the center of buoyancy (CB) which applies to
things that float. Buoyancy is a bit tricky. Water doesn’t
like being pushed on. It pushes back. Take your life
jacket. It’s technically a floatation device. It doesn’t try
to save you; it just floats you, that is, if you are wearing
it. Try to push it under water. It’s hard to do. It displaces
maybe 22 pounds of water and weighs two pounds.
Thus it pushes the PFD up with 22-2 = 20 pounds
of force. This is enough to keep your head out of the
water in calm weather.
Your boat is a big flotation device. Let’s say it’s a 2,000
pound boat. While floating, the water is pushing up
with a buoyancy force of 2,000 pounds. The CG is
located near the middle of the boat and about one foot
up from the keel. The center of buoyancy is above the
keel near the center of the displaced water. If your hull
draft is say eight inches, the CB is about four inches
above the keel. So gravity pulls down on your boat as if
all the weight is at the CG. Buoyancy is the push up on
the boat’s CB point. Of course we know every part of
the boat is pulled by gravity and pushed by water pressure. Defining centers of both are handy schemes for
nautical engineering on rigid things like our old boats.
So let’s say my old boat is a runabout with a hard chine
as indicated in Figure 1. At rest at the dock the boat
is level because the center of gravity and the center
of buoyancy are at the midline of the boat (above the
keel). Gravity is pulling down at CG with a force equal
to the weight of the boat (includes all stuff in the boat)
and water pressure is pushing up at CB with the same
force. It is all in equilibrium. When I put my foot on the
step pad the gunwale goes down a little. More water is
displaced by my weight, and the CG and CB move in
response. The CG moves upward and outward toward
me and the CB moves outward and downward a bit.
Both these forces act as a lever arm acting on the boat
over the right angle distance between both centers
producing the “righting moment.” Let’s go for a run to
see how this works.
I head out to Bartlett Point and as I clear the headland
I’m suddenly in big waves produced by a brisk westerly
wind. If I maintain my northerly heading I’m taking the
waves broadside on my portside. It’s not too rough so
I blast away. Ooops, I didn’t see the rogue wave soon
enough. It lifts the boat to a twenty degree angle as
shown in Figure 2, which puts the starboard gunwale
just inches above green water. Yikes!! I throttle back
but the boat hangs at twenty degrees. I’m still on the
wave. The righting moment of CG and CB is not strong
enough for recovery until at last the big wave goes
through and we’re back to near level and pounding on
the waves.
CG
CB
Fig.1
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www.acbs.org
The Antique and Classic Boat Society
Best Preserved ~ 2014 Boats of The Year ~ Best Restored
Metacenter
BF
Z
GF
A well designed boat has a high enough metacenter for
boat tilts of less than about 25 degrees, assuming good
baffling in the gas tank and a nearly dry bilge. Most hard
chine runabouts have a bit too high metacenter which
means the boat tends to snap back to level giving a hard
ride in choppy water. If the metacenter is near the CG the
ride is smoother but the long return time to level can lead
to a discomfort called sea sickness. You can check the
stability and comfort of return. At the dock with one foot
on the gunwale and one on the dock, get the boat rocking and with a stopwatch measure the total rocking time
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Fig.2
The lower part of Figure 2 shows what CG and CB are
doing when a wave strikes broadside. The boat is lifted
on one side. CG remains the same and the gravity force
is always directed downward to Earth’s center. The tilt
shifts the water displacement to the lower side moving
the center of buoyancy to that side which is good. The
buoyant force is upward and its projection intersects the
gravity line at a point called the Metacenter. The forces
combine on the line Z as a torque or righting moment
tending to upright the boat. As long as CB is outside CG
the torque returns the boat to level. But if there was a big
enough cargo shift--passengers sliding across the seats
to the lower side, gas sloshing to the lower side of the gas
tank, bilge water sloshing to the lower side--the center of
gravity could move out beyond the center of buoyancy.
When this occurs, the torque arm is reversed and the
boat is pulled over by its own weight. It sinks. Now where
are those life jackets?
Awarded at the 2014 ACBS International Boat Show in Skaneateles, NY
~ Best Preserved ~
Michael & Elaine Jakubowski’s 1938 Gar Wood Streamliner “BlythE Spirit”
just after you release the boat. That is total time out, back
and out again. It should in seconds have a numerical
value equal to the beam measured in meters. A twometer beam boat should have a rocking time of two
seconds for safety and comfort.
The movements of centers of gravity and buoyancy are
subtle on runabouts and cruisers, but both are the essence of sailing, especially with day sailors and racing
sailboats. Sailboats have a beautiful if complicated dance
among sail, centerboard, rudder, helmsman and crew.
On a fast reach, the crew hikes out on the upper gunwale
moving the CG well off center to counter the wind on the
upper part of the sail. The CB on the other hand is well
out to the low side where the boat is deep into the water.
This puts the Metacenter up high giving the sailboat good
stability in steady wind. What a great place to be. When
the skipper yells “ready about,” giving the crew time to
untangle their feet, and ready to move the CG to the other
side. The boom swings, the wind grabs the sail and the
crew dives for the other side because it would not do to
have the CG and CB close together with wind trying to
push the boat over. It’s a good idea to be aware of how
buoyancy determines stability. A swamped or capsized
boat can be a problem.
www.LoadmasterBoatTrailer.com
2354 E. Harbor Rd. Port Clinton, OH 43452 | [email protected]
1-866-369-5970
~ Best Restored ~
Kirk & Sharron Smith’s 1941 Century Sea Maid “Dreamboat”
Win. Place. Show Off.
Check out: www.uscg.mil/hq/cg5/cg5214/pfdselection.asp
for Coast Guard PFD information.
rebuild Myth # 1:
Partial-skirt, automotive (ie:Dodge)
pistons are a reliable, money-saving
swap for full-skirt, marine pistons in
Chris-Craft Model K engines.
Wrong! Call David Van Ness at
(201) 445-8685 for the co‡ect
parts for your rebuild.
Whether you need 100% visual accuracy, 100% Reliability, or both, van ness engine restorations
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e n gi n e e r i ng
to help. Call (201) 445-8685 or email [email protected].
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At one time
or another,
we all experience a moment when everything seems to come together as it were meant to be.
Some call it an aligning of the stars, others serendipity. Whatever your views on why this
happens, when unique, single events coalesce, the result is a great memory—the kind we keep
for a lifetime.
Photos catch an instant in time, and, most likely, the vast majority are spontaneously captured. It’s quite the opposite when you’re planning a Photo Shoot for specific purposes, say
for the cover of our beloved Brass Bell. A Photo Shoot involves a specific idea, some planning,
a great deal of hope, and always people. This short story involves a small cast of characters
from both coasts of the U.S. and two Continents. How it all came together is just amazing.
The mission was simple: at the upcoming Tavares, Florida Sunnyland show, shoot material for
a possible Brass Bell cover, for which success
is never guaranteed. From that notion things
started looking interesting.
First on the scene was Brass Bell author Paul
Pletcher. Late in the Fall of 2014, Pletcher
posted a request on his Facebook page that
caught my eye. He was introducing Helene
Michele, an up-and-coming singer/song writer
living in Nashville, Tennessee—an “acquaintance” if you will—whom he and wife Janet
are very proud to know. Pletcher had the idea
to put out a request for a photo shoot of this
young lady. I responded that I was interested
and wanted to learn more. After reviewing
Helene’s biography, and actually downloading
some of her music, I was excited to move forward, so we started to exchange ideas merging the Chris-Craft Cobra’s 60th anniversary
theme—as well as Helene’s—at the Sunnyland show.
As in years past I reached out to Chris-Craft
Antique Boat Club members Paul and Karen
Harrison for the use of their venerable ChrisCraft Sea Skiff as the photo boat. The Skiff is
a great platform: stable, roomy, and the front
deck is excellent for elevation shots. Next, I
contacted Seth Katz of Katz’s Marina. Seth
has been great to work with during the past
number of years at Tavares. Through show
chair Terry Feist, I had learned that Katz was
involved in a number of Cobras coming down
to the show. Seth knows the quality photography we strive to achieve for the covers and
was most accommodating in connecting me
with a customer’s 21-foot Cobra for the shoot.
A digression: In the early Fall of 2014 I was
contacted by a gentleman named Mike
Moore who lives in the United Kingdom. He
was looking for a Riva project and wanted
to learn more about specific models; he also
wanted to know about the American classic
boating scene. We talked live several times,
Photos & Story by Don Ayers
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an third-world and combat zones. Mike was incredibly
gracious as I humbly tried to explain my amateur shutterbug status once he arrived with his professional
cover blown. That day our conversations changed to
our love of photography and he helped me understand
some fundamentals about my equipment and the way
it shot that will forever make me better.
Um, did I mention before that you can’t control mechanical breakdowns, either? Well, it’s true: you can’t.
and I could tell he and his wife Helen were pretty serious about the latter when they scheduled a trip over in
January, 2015. When Moore mentioned they were going to be in the Orlando, Florida area I immediately suggested they connect with the Harrisons in the Mt. Dora
area, as I knew that Paul and Karen were down from
Canada early this year. Long story short, the Moores
and Harrisons hit it off so well that Mike and Helen decided to return for the show in March and look for some
property in the area. Back to our UK connection below.
Flash forward to about three weeks before the 2015
Tavares show; this is when things got really interesting. I contacted one of the owners recommended by
Seth and Terry and set up with a 21-foot Cobra. Then I
received an email from good friend Steve Hanst of Las
Vegas/Tahoe fame. For those who don’t know, Steve
grew up around Lake Tahoe. Aside from being crew on
the famous Tahoe 55-foot Thunderbird for a decade,
Steve also holds a 100-ton license and ran a charter
service on Tahoe for many years. Check that box; I now
had a volunteer professional boat driver!
Show time: Late March arrived, and I was feeling pretty
good about the shoot. I had a human subject—and not
just two old guys with ball caps but an attractive singer
who is no stranger to being photographed. I also had
one of the most iconic craft ever produced by ChrisCraft as the subject boat, a great photo boat platform,
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and to top it off, a professional photo boat driver. Piece
of cake right?
Wrong!
Still in store for this whole plan were two variables
no one can control plus one huge surprise that would
make this the most memorable and quality shoot I’ve
had to date. The first thing that went south on us was
the weather. Cold and rain weere in the forecast for
the first several show days. Thursday was not worth
even breaking out the camera; then most of Friday was
overcast with rain showers here and there. However,
Saturday and Sunday morning held promise.
Here’s where Mike and Helen Moore reenter the story. Even though the photography was on hold during
the rainy season, the social scene was in full swing, and I
had an opportunity to get to know both Moores much
better in person—we hit it off smashingly!
The stage was set at last!
Saturday morning arrived and we had arranged to do
a shoot with Frechette’s Moxie, a 1930 20-foot ChrisCraft and well as the new Chris-Craft v-drive Capri
supplied by Katz. The night before, I had invited our
UK guests to come along and, while waiting to pick
them up at the dock, Paul Harrison revealed what
Moore does for a living. He is a world-class, awardwinning, British Press photographer—a 26-year veter-
At the Saturday night dinner, the evening before the big
shoot, our Cobra owner informed me that his engine
has just blown an oil seal and he was out of action.
Seth Katz to the rescue. His trusted boat driver Tommy
Segond volunteered to get up early and splash Katz’s
personal 21-foot Cobra for the shoot. An unbelievable
turn of events in just a few minutes as we now had an
expert driver in the subject boat who had done shoots
with me before and knew the ropes.
Sunday morning came and it was picture perfect, not
a cloud in the sky. Here we were with all the elements
of a great shoot: Paul and Janet Pletcher taking care of
Helene Michele’s needs, Steve Hanst driving the photo
boat, Tommy driving the Cobra, and Moore providing
expert art direction to our subjects while holding on
to my belt as I stood on top of a box on the Skiff’s
foredeck to get increased elevation. For the next hour
and a half, we worked the light and different poses and
positions. Tommy drove or paddled the Cobra exactly
where we directed and Steve put the Skiff through its
paces getting Mike and me exactly where our mind’s
eye wanted to be.
It’s amazing to think about all these elements coming
together—and it authentically demonstrates the team
effort it takes to produce specific shoots for a cover.
All in all it was a tremendous experience, and I want to
thank everyone involved. We look forward to our new
friends from the UK coming back to the United States,
perhaps for an extended period.
For more information about Helene Michele, visit
www.helenemichele.com.
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TA K E
Take the Helm
T HE
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Take The Helm of a 1973 Chris-Craft
XK-22 Plastic Fantastic
By Mark Webster
The ’73 Chris-Craft XK-22 is some 180 degrees
from what most people imagine when someone
mentions a “classic Chris-Craft.” The XK is a big,
angular, go-fast brute whose shape, power, and
speed practically shout, “Seventies!” The only remnant from the great Don Mortrude’s wooden-boat
reign as Chief Designer (Not architect, mind you!)
is the bow-to-stern, white skunk stripe that harkens
back to the massively-imitated blond king planks
that made Fifties and Sixties Chris-Craft hulls
genuine American icons.
Oh, and have I mentioned that the XK-22 is all—
as in entirely—fiberglass? Yeah, so that white stripe
has nothing at all to do with Mortrude’s, famous
“king planks.” It’s just a fake.
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The particular XK-22 we tested is magnificently
maintained—and enjoyed—by Mark and
Elizabeth Webster, Chris-Craft Antique Boat Club
members from Dallas, Texas. The name, Plastic
Fantastic, is the same as a surf shop in Huntington
Beach, California. “I never imagined how well the
name on my surfboard would apply to my boat,”
Mark declares with a chuckle.
And the boat’s color? Again, according to Mark,
“A wise man once advised me: ‘Never own a red
car; own a red boat.’” Therefore, in contravention of
Jerry Conrad’s Chris-Craft, The Essential Guide
(Revised Edition), this 22-foot bad boy sports the
’63 Corvette’s “Signet Red”—a bright, totally inyour-face red instead of the prescribed white-andbronze. It’s got upholstery to match. Sorry, Jerry!
OPPOSITE: That’s me holding
on for dear life as my buddy
and engine consultant, Jim
Wolfe powers into a hard starboard turn, in search of a big
wake to jump. He has always
been committed to the “quick
break-in technique.”
Webster’s first impressions of the boat make
immediate sense”:
TOP: Plastic Fantastic’s
mighty heart.
Plastic Fantastic’s seating arrangement consists of
two swiveling cockpit seats forward, and padded,
bench seating for four aft. “With the swiveling
front seats,” Mark adds, “it’s easy to have
cocktail seating.”
BOTTOM LEFT: Plastic
Fantastic temporarily parked
at the shops of The Wooden
Boat Association of North
Texas.
BOTTOM RIGHT: Like any Vhull, she’s comfortable running
hard in choppy water and solid
enough to love jumping wakes.
First impression on the trailer: “Damn, that’s big!”
First impression on the water: “Wow that’s sleek!”
First impression underway: “OMG! So smooth and
powerfu!”
The upholstery is red-on-white, with white-padded,
vinyl crash boards along the sides and forward.
Dark-shaded carpet covers the floor, “Very cool and
easy to clean.” Deck hardware includes an Ivalight
and dual horns. At the helm, the boat features
standard Chris-Craft instruments, as well as a
Plymouth-style, hood-mounted tachometer, and
compass. Plastic Fantastic came with a 1965 Ford
Mustang, wood-grain, 3-spoke steering wheel, and
a Morse shifter.
Climbing in this roomy boat, one is immediately
surrounded by the familiar odors of upholstery,
engine oil, and gasoline—but no dry rot! The upholstery both forward and aft is quite comfortable, and
a little slippery. In the swiveling helmsman’s seats,
you sit like you are piloting a roller coaster—without a seatbelt. These seats also slide fore and aft,
making it easy to get comfortable at the controls.
Aft in the big bench seat, you sit as if you are in the
queen’s Rolls with the windows down: “On display
and on the move.”
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Marine
Gauge Restoration
At low speeds, she’s. “…like skiing on deep, fresh powder: just keep
your tips up and your bow headed forward.”
Kocian Instruments
INSTRUMENT RESTORATION & REPAIR
Dale Kocian
LEFT: Now, that’s one gorgeous
interior!
RIGHT: Mark and Elizabeth
Webster at warp speed on Lake
Lewisville, Texas.
Powered by a Chevy 350-ci LT-1 engine—marinized version of the ‘73 Chevy Corvette engine—
Plastic Fantastic will get a whole crowd of passengers up on the plane like she’s running downhill.
The engine turns over with a deep-throated gulp
followed by a hair-raising roar. Mark swears the
boat’s theft proof, because, “…she’ll never sneak out
of a marina unnoticed.”
Like any V-hull, she’s comfortable running hard
in choppy water and solid enough to love jumping
wakes. Cruise speed is 35-45 mph—depending on
all the zillions of factors that affect a boat’s speed,
including the helmsman’s inclination. At low
speeds, Mark claims she’s. “…like skiing on deep,
fresh powder: just keep your tips up and your bow
headed forward.”
Because the boat has an outdrive—an “aim-able”
propeller—she’s much easier to maneuver at a dock
than standard prop-and-shaft hulls. But she’s also
prone to all the myriad problems all boaters face
when attempting to moor: wind, rain, shallow
water, and just bad luck. Mark says, “Sometimes
docking is harder than landing the space shuttle;
other times it’s easier than floating downstream.
It just depends”
2341 Indy Court | De Pere, WI 54115
Phone (920) 336-1591 | Fax (920) 336-1591
www.ccgauges.com | [email protected]
ARCHITECTURAL+COMMERCIAL
INDUSTRIAL+MARINE
PAINTS, COATINGS & SUPPLIES
1401 Sycamore Line, Sandusky, Ohio 44870
419.626.2461
www.sanpaco.com
TECHNICAL DATA
Boat Maker
Chris-Craft
Boat Model
XK-22
Year Built1973
Length22 feet
Beamfeet
ClassGo-fast
Normal Seating Capacity
up to 6
Fuel tank capacity
60 gallons
Estimated draft (full tank full)
34 inches
Estimated Price When New
$7,500
Estimated Current Price Range $
Engine
Cylinders8
Displacement
350 CI
Horsepower 350
Transmission Chevy
One thing Plastic Fantastic can always depend on:
Mark and Elizabeth Webster love that big,
noisy boat!
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and stuffing box, direct from Midwest
Marine’s exceptional inventory.
The continuation of “No Expectations – Part 1” from Issue 1.
By Boyd Mefferd
By some miracle, the original six-hole
instrument panel survived,…just
barely. We’d heard good things about
Dale Kocian from Depere, Wisconsin, and had tried him with a couple
straight forward jobs. We sent him a
bunch of exotic junk; he sent back a
gorgeous panel.
We’d tried a number of steering-wheel
restorers over the years and found
some who produced a handsome
product—but they would always start
to crack over the years. Eventually,
we found Dennis Crooks of Quality
Restorations in San Diego, California.
Crooks claimed his jobs had a “lifetime” warranty. I asked him if it was
his lifetime, mine, or the customer’s?
“Whatever suits you,” he replied.
“They simply don’t break.” Sometime
earlier I’d found—and grabbed—a
used, 1937 Chevrolet Master wheel
mentioned in the small print of Hemmings. We sent that to Crooks, and a
little more than a year later, Millard
had a spectacular banjo wheel to hold
while he drove what we hoped would
be an equally spectacular boat.
Through the years, our best restorations have featured plating by Micky
Dupuis of D & S Custom Restoration,
in Holyoke, Massachusetts. D & S
has done cars that won Best in Show
at Pebble Beach. Dupuis’ “superstars”, as he calls his technicians, can
straighten, grind, weld and whatever
else to make badly damaged parts
new again. Previously, he’d done Millard’s Upswept, so we all knew what
to expect.
Also through the years, all of our
jobs—not just our best jobs—had
featured upholstery by George and
Nancy Hicks in Easthampton, Massachusetts, who produced one incredible set of seats after another. They
had done Millard’s Upswept and immediately started looking for enough
surplus tan leather—the color listed
on the 27033 hull card—to do all
three sets of seats, cushions, and crash
pads. They found wonderful hides, on
the brown side of tan, and we had them
go ahead with the job even thought we
were not ready to install them. Sadly my
friend George contracted lung cancer,
made a seemingly miraculous recovery,
and then unexpectedly passed away in
September 2010. I still see the jobs he
and Nancy did for us over the years, but
I don’t need the seats to remember this
remarkable person.
In the early 1990s we had installed a
new Marine Power fuel-injected GM
454 engine (with cold-air intakes) in
the Upswept, and it had served Millard
well. There were quite a number of
26-foot Upswepts produced, but relatively few 27-foot Customs, so we began
to think about finding a restorable
A-120 engine for the 27 as a way
of saying that a special boat should
have a special engine.
Millard, himself, contacted Dan Acierno of Long Island Boat & Motor Works
in Sayville, Long Island, a man whom
Photo Courtesy of The Mariners’ Museum
T
he original stringers in Hull number 27033 survived in remarkable condition.
From holes in them, we determined that the boat was equipped with a horizontally
swinging lever to shift gears, rather than the vertical lever that most Chris-Crafts
of that period used. Millard had been in touch with Irving Jensen Ill in Sioux City, Iowa,
owner of Whirlwind, a totally original and beautifully restored 1937 27-foot Custom.
Did she have the same shifter? Steve Dyhrkopp from Blue Water Restorations had Whirlwind in his storage and was kind enough to crawl around under the dash to measure and
photograph this contraption in detail. It consisted of a hand lever with a curve to help
it miss the captain’s knee, then a vertical rod that pivoted in a bronze bracket, bolted
to the stringer. At the bottom of the rod was an arm to move the shift rod going back
to the gear.
I’d never before seen such a device,
and tried to convince Millard that a
traditional vertical lever would probably work better (and nobody would
know the difference), but he would
have none of it. We needed to tap further into our resources and friends.
One of those friends was Joe Morrison. He’d run the final Algonac
operation for Chris-Craft Industries
before it closed; after that, he went to
work for Midwest Marine, a distributor of many lines for the general
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marine trade. Under Morrison’s
guidance, Midwest developed
an inventory of many of the most
commonly used parts for vintage
Chris-Crafts, but none for our 27.
Next, he contacted Algonac Casting,
Chris-Craft’s old supplier, which is
still in business.
Bingo! From somewhere, Algonac
Casting found the mold for the
bronze bracket that mounted on the
stringer and held the vertical rod for
our shifter. When it was finally cast,
it fit the existing holes perfectly. Space
under the dash was tight and John Carl
insisted on making the shift mechanism
first from wood to be sure it fit and had
enough swing and travel to shift the
gear. Once Carl got everything right
we sent the wooden pattern to Joe Rembock of Accurate Welding in nearby
Barkhamstead, Connecticut. I always
trusted Joe could make anything out of
metal, and he did not disappoint.
Oh, and Friend Morrison supplied us
with the correct rudder, strut, shaft-log
LEFT: Dennis Crooks of Quality Restorations claimed his
jobs had a “lifetime” warranty. We sent him a used, 1937
Chevrolet Master wheel, and a little more than a year later,
the 27 had a spectacular banjo wheel.
ABOVE: The boat was equipped with a horizontally swinging
lever to shift gears, rather than the vertical lever that most
Chris-Crafts of that period used. It had a hand lever with a
curve to help it miss the captain’s knee, then a vertical rod
that pivoted in a bronze bracket, bolted to the stringer. At
the bottom of the rod was an arm to move the shift rod going back to the gear.
T HE
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43
I’d known for years but had never
used as an engine restorer. Acierno
discovered the remains of an A-120
in the Buffalo, New York area. Upon
inspection of the engine, he told Millard that it wasn’t great, but he could
work with it—and it was probably
as good as he could expect to find.
(Chris-Craft made fewer than a thousand of the big engines, and I doubt
that two dozen exist today.) Like
other talented people who make old
things like new, Acierno was in great
demand, and Millard waited his turn,
which came in 2008. Two years later,
Acierno called to say that the engine
was together and running.
Now, questions rose as to whether
Acierno’s shop or our shop should
TOP: the fall of 2011 we had
everything ready for the finishing
process.
RIGHT: Dan Acierno of Long Island
Boat & Motor Works in Sayville,
Long Island discovered the
remains of an A-120 in the Buffalo,
New York area. It wasn’t great, but
he could work with it. Two years
later, Acierno called to say that the
engine was together and running.
FAR RIGHT: George and Nancy
Hicks in Easthampton, Massachusetts found wonderful hides,
on the brown side of tan, and we
had them go ahead with the job
even though we were not ready to
install them.
44
T HE
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install it in the boat. Inasmuch as
Acierno had done A-120s before—
and we had not—we decided to take
the boat to Long Island just before
Thanksgiving, 2010. Later, because
27-foot Customs have special details
like copper vent tubes and varnished floor boards in the engine
compartment—all details confirmed
by Whirlwind— Acierno asked me
to bring the boat back to my shop,
carry out the work, then return her
to him for final wiring, hook ups, and
the like.
By the fall of 2011 we had everything
ready for delivery to Millard so he
could start his finishing process.
Everything except Millard, himself,
who by now wisely understood the
magnitude of the work remaining
to be done, how it would rob him of
time with his family, and further
delay his first use of the boat—
which, after all had been in the
works since 1999.
Looking back, I made a pretty
quick, “Yes” when I initially agreed
to purchase the boat sight unseen,
but probably my, “Yes” was even
quicker when Millard asked if we
could do the finish work and put
everything together that Winter so
he could have her for the Summer of
2012. Getting to see this boat finally
completed was an unexpected
privilege.
LEFT: The finished product.
I personally delivered the 27 to
Carlinville late in the Summer of
2012 after what seemed to be a successful sea trial here. Unfortunately
Millard—who needed the patience
of biblical Job— had engine trouble
during his own sea trials, serious
enough to result in the A-120 being
removed in Spring 2013, with Acierno spending the previous Summer
locating parts.
Rather that take the repaired engine
back to Illinois, I brought the whole
boat back to Connecticut so she
could get a few more coats of varnish
and Acierno could install the engine
here. By now the boat had a name,
Sanibel, after the island in Florida
which is a Millard family favorite.
By this Spring, the A-120 was ready
to go back in and we again were
befriended by Jim Murdock Jr., who
by now had moved to a spacious restoration facility in Bristol, Connecticut, complete with twin overhead
travelling hoists. Those hoists made
relatively quick—if not easy—work
of the re-installation. More importantly, Murdock had purchased a
$25,000 dynamometer so he could
load-test the engines he rebuilt
and be certain that everything was
working as well as possible before
installing them. He generously
tested the A-120, and allowed me to
look in on the process. His first test
produced only 160 hp, and set both
experts, Murdock and Acierno, to
brainstorming to find the problem or
problems. After making a number
of changes they were able to reach
260 hp, and were confident that with
a little more breaking in, the A-120
would reach the advertised 275
horsepower. The dynamometer is a
more comprehensive test than a sea
trial, and this time we all were confident that Millard’s patience would
finally be able to take a rest and the
boat would provide the enjoyment
he had anticipated for so long.
At a time when our country imports
so many—and produces so few—
of the things we use and enjoy,
boat restoration has remained a
collection of extremely talented
American individuals each of whom
play their part in putting “stuff”
together again.
I’m lucky to have somehow fallen
into an occupation that enables
me to meet so many remarkable
people. We’re all getting older, and
some like George Hicks have already passed, but the talent assembled in the restoration of Sanibel is
a tribute to American strength and
resourcefulness. The Millard family
is in the steel-supply-and-delivery
business; they see the strength of
American manufacturing every
day. Maybe it is that knowledge that
gave Chris Millard the vision and
patience to undertake this 15- year
project, which, knock on wood, is
finally complete.
T HE
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45
Riva Connection
From the beginning, Riva has been inextricably
linked with Chris-Craft, as a young Carlo Riva took
his first inspirations from post-war Chris-Craft boats
and the first Rivas ran with Chris-Craft engines. This
continuing column honors that link between the two
great lines of boats and the organizations that preserve
their various heritages by sharing features from the
RHS publication, Vivariva. Contact the Riva Historical
Society at: www.rivahistorical.org • Milan, Italy
www.rivaclubusa.com • Walnut Creek, California
R I VA
C O NN E C T I O N
Eventually he decided to give me a trial
period, leaving me free rein in the yard.
Mind you, though, without opening
his wallet.
Tribute to Serafino Riva
Helmsman of the Yard from 1919 to 1949.
By Carlo Riva
My father was definitely a great interpreter of that
spirit of Italy that, on the first half of the 20th century, in the wake of the development of mechanics,
wanted to speed on the water.
Lightweight, streamlined, fast and unbeatable on
National and International race courses, his outboards and racers caught the attention of the pilots
and the press and also attracted some envy. The
cutouts of sport papers that I keep in my archive
are yellowed by time but still crisp in the memory
of my youth. I remember that Rivas always kept
the front page on the Monday issue of the Gazzetta
dello Sport. Just browsing the Riva roll of honor of
records and winnings collected until 1953 we real-
46
T HE
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ize the significant contribution that my father gave
to the development of motor boating. In addition to
being a skilled carpenter, my father was also a good
pilot, loyal to the point that he would not hurt the
susceptibilities of his racing clients.
The roaring engines and the acrid smell of the fuels
excited my youthful love for racing.
I had my personal little boat, class A 250cc, and I
trembled from the desire to cross between sprays
and turns, but dad Serafino, like all worried fathers,
always found excuses to say no. I was particularly
infected by his enthusiasm for shipbuilding; I still
remember his unmistakable satisfied sigh when
varnishing, because the last layer on each boat had
OPPOSITE: Serafino and Carlo
Riva in front of The Yard in 1960
TOP: Serafino Riva in a runabout of the Thirties.
BELOW: The arrival of Serafino
Riva and Luigi Calvi at the 1932
Pavia-Venice race.
to be stretched by his brush. Following the example
of my father, I made friends with the work, a great
good that made me discover my innate creativity;
thus I was able to cultivate my dream which, as you
know, was pleasure boating, comfortable, reliable
and, above all, safe. I dreamed of building boats on
an industrial scale, perfectly duplicating long tested
prototypes, an inconceivable idea for my father,
who used to have both feet firmly on the ground.
Luckily there was mom Irma, who calmed the
high tones of our inevitable discussions at dinner
“Do you think you are the Ansaldo?” she teased
me. Maybe it was my insistent stubbornness, or
maybe even the coincidence of a short illness of my
father’s, the fact is that eventually he decided to give
me a trial period, leaving me free rein in the yard.
Mind you, though, without opening his wallet.
I know that my father worried for me, though he
never told me. But I know that his chest swelled
with pride when he saw my dreams come true.
T HE
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Gar Wood Connection
In 1916 Garfield “Gar” Wood, renowned American
Industrialist, needed an experienced boat
builder who understood the dynamics of speed
on the water to achieve his ambitious goals. Gar
Wood chose Chris Smith and Sons to take on the
challenge of building his world-class speed boats.
So began a racing dynasty that eventually shaped
the world of pleasure boats from that moment
forward. This continuing column, specially
written by Anthony Mollica, honors that link
between the two great lines of boats.
Contact Anthony Mollica at [email protected].
The topics they asked me to include were: The 1920 Harmsworth Trophy Race,
Gar Wood’s Teddy Bear Mascots, and the acquisition of Government surplus
Liberty aircraft engines.
Commodore Gar Wood,
In His Own Words
By Anthony Mollica
I’m often asked when my interest in Gar Wood boats began. It’s a question
that I always enjoy responding to because it takes me back to a very pleasant
time in my life.
In 1945, my parents purchased a cottage on Oneida
Lake just a few miles north of Syracuse, New York.
Our cottage was very close to the Syracuse Yacht
and Country Club where I enjoyed swimming
with friends nearly every day all summer. One of
our neighbors owned a 1930 Gar Wood 28-foot
limousine and frequently invited a group of us to
go for a boat ride—we’d then swim from the boat
in different parts of the lake. It was a very luxurious boat with a powerful Scripps engine, a plush
interior, and an aft cockpit that offered a special
place to enjoy the ride. Everything about this boat
fascinated me each time I rode in it.
It was just a year later that my father surprised me
by purchasing a 1940 Gar Wood utility. The boat
had been stored during World War II and was in
nearly new condition. It was our first family boat
and it soon became my responsibility to make sure
48
T HE
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it was always clean and in good order. This new responsibility motivated me to learn all I could about
Gar Wood boats. After the boating season ended,
my father made plans for the two of us to attend
the National Motor Boat Show in New York City.
It was during the Show that I began a life- long
interest in gathering the boat brochures that the
exhibitors offered.
As the primary caretaker of the family Gar Wood, I
soon learned how to varnish, paint the bottom and
keep the Chrysler engine in top form. My interest
in other boat builders such as Dodge, Chris-Craft,
Lyman, and Hutchinson continued to grow, with
Gar Wood always leading the way. As time went
on, I became even more interested in the men who
were responsible for operating these boat building
enterprises. Gar Wood became the person who
intrigued me the most.
OPPOSITE: Gar Wood with
his lucky Teddy Bears that
were early gifts from his very
supportive wife, Murlin. He was
convinced that they always
provided him with an important
measure of good luck in
his races.
ABOVE: Miss America was
transported by ship to England
to win the 1920 International
Harmsworth Trophy. She was
the first of ten race boats with
the same name that dominated
racing prior to World War II.
ABOVE RIGHT: A glimpse of Gar
Wood’s Liberty aircraft engines
that Jay Smith successfully
adapted to marine power. They
were purchased as war surplus
from the U.S. Government after
World War I.
Years later, as I increased my research on Gar
Wood, two remarkable events occurred. The first
was that I received a letter from the grandson of
Gar Wood’s former Boat Division Administrator.
The man was working in Bangkok, Thailand at
the time and wrote to me asking if I could provide
information on his grandfather during the years
he administered the Gar Wood boat factory. He
also mentioned that he might know where his
grandfather’s original Sales Ledger was located and
wrote that it contained a list of every stock boat
Gar Wood built from 1925 through 1947. If I was
interested, he would make me a copy when he returned from Thailand. It was an offer of incredible
value and provided the essential details of their boat
production. It could be the most important reference to include in a book devoted to the history of
Gar Wood boats and to provide Gar Wood owners
with the factory details on their individual boats. A
year later he located his grandfather’s original Sales
Ledger and with it I was able to complete the Gar
Wood book.
Another fascinating letter was sent to me by an
antique dealer in Florida. The dealer informed me
that he had purchased a box of papers from Gar
Wood’s former estate on Fisher Island in Biscayne
Bay, and he wanted to know if I might be interested
in purchasing the box of items which included photos, Gar Wood’s auto registrations, a couple of reels
of audio tape, and letters. It sounded interesting
and the price was reasonable, so I decided to take
a chance and send a check.
When the box arrived, I eagerly examined the
contents. The handwritten notes with the tape
indicated that Gar Wood had recorded information
for a writer who expressed interest in preparing a
biography of Gar Wood’s exciting life. However,
that was never fulfilled. The audio tape had been
in a metal storage building and exposed to extreme
Florida heat. It was so deteriorated that I didn’t
dare try to play it. Instead, I brought the reel to the
special audio lab at Syracuse University in hopes
that they might be able to recover the original
soundtrack onto a new audio tape. The staff accepted the challenge. Their work took nearly a year
to complete.
The results were remarkably successful, and Gar
Wood’s voice came through perfectly. I was able to
listen to Gar Wood, in his own words, talk about
important highlights of his life with fascinating
details and the personal anecdotes that were so
important to him. He talked about the gift of his
Teddy Bear mascots; his experiences during the
1920 Harmsworth Trophy Races in England;
T HE
B R A S S
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49
Gar W oo d
Co n n e c t i o n
$ / / 6 ( 5, ( 6
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M ar in e ( 1 * ,1 ( P ar ts
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In the Commodore’s own words, the topic was addressed in the
historic Yacht Club that he helped build some eighty years earlier.
ABOVE: Gar Wood in his formal
attire, when he served as Commodore of the famous Detroit
Yacht Club.
RIGHT: Gar Wood in the foreground displaying a dump truck
with his successful hydraulic lift
system. His carefully prepared
patent protected his invention
and allowed him to dominate the
industry he created.
purchasing Glen Curtiss’ experimental aircraft
engine; his successful bid for the thousands of Warsurplus Liberty aircraft engines, and more. The tape
turned out to be a treasure of Gar Wood stories.
In 2004 I was invited to the annual dinner meeting
of the Michigan Chapter of the Antique and Classic Boat Society held at the famous Detroit Yacht
Club. I was asked to talk about Gar Wood, who’d
served as the Commodore of the Detroit Yacht
Club. The invitation also requested that I might
address a few specific topics during my presentation that the members had expressed interest in.
The topics they asked me to include were: The 1920
Harmsworth Trophy Race, Gar Wood’s Teddy
Bear Mascots, and the acquisition of Government
surplus Liberty aircraft engines.
Their request for information on these topics provided me with a very unique opportunity—I would
let Gar Wood provide the answers, because each of
these topics had been discussed by Gar Wood on
his tape. All I had to do was dub the three specific
passages onto a separate audio tape and play each
50
T HE
B R A S S
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one at the appropriate time in my presentation.
Each segment was about four minutes in length,
and his voice was strong and perfectly clear. Three
times during my presentation I was able to say,
“Tonight, Commodore Wood will answer your
question,” and I would play the recorder through
the dining room’s speaker system. In the Commodore’s own words, the topic was addressed in
the historic Yacht Club that he helped build some
eighty years earlier. His voice left the audience
surprised and amazed. For nearly everyone, they
heard Gar Wood’s voice for the first time and in the
yacht club he helped build. It was an occasion that
they may not soon forget. It still remains as one of
my most significant presentations and one which I
may never exceed.
The complete tape of Gar Wood speaking has been
given to the Gar Wood archives at the Antique
Boat Museum in Clayton, New York.
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T HE
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51
Throughout the history of vintage boats, the
Century Boat Company was consistently a keen
challenger to our Chris-Craft Corporation and
certainly one of the style-setting giants of that
Golden Age. So many members of the ChrisCraft Antique Boat Club also own Century
boats that, starting with this issue, we have
instituted this continuing column to honor the
historic link between both great lines of boats
and the organizations that preserve their various
heritages by sharing features from the Century
Club publication, The Thoroughbred.
Ce n t u r y
Co n n e c t i o n
Pat Di Benedetto of Kenosha, Wisconsin bid, of $6,700, was the highest bid
without going over the actual retail price of $7,623. Pat shouted out “I can use
that on Lake Michigan this summer, Bill.”
It was Christmas night in 1961 when The Price is Right on NBC rolled out the
final item going up for bids.
“A power boat. A 1962 dashing 21-foot Coronado
inboard boat by the Century Boat Company of
Manistee, Michigan” crooned Don Pardo. “A sleek
design with rich African mahogany planked hull;
gleaming chrome trim, an Ivalite search light and
Sparton trumpet horns; it also has a wraparound
windshield and a smart permanent hard top with
detachable fiberglass gull wings for open air cruising; it is styled with luxurious cushion Naugahyde
on the foredeck, padded dash and throughout the
interior. It seats nine and is equipped with an
Interceptor V8 260 horse power engine.”
“This fabulous inboard power boat is yours if the
Price is Right,” concluded baritone Don.
Bill Cullen exclaimed “Look at that; isn’t it lovely”.
52
T HE
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The four contestants’ bids were fast and furious
with anticipation of owning that new luxury
Century boat. With the live audience encouraging
them on, all of the players impatiently over bid the
Coronado so Bill called for a final one bid do-over.
Pat Di Benedetto of Kenosha, Wisconsin, bid of
$6,700, was the highest bid without going over the
actual retail price of $7,623. Pat shouted out, “I can
use that on Lake Michigan this summer, Bill.”
And with that, everyone across the USA had a
very Merry Christmas in 1961 dreaming of a new
Coronado to enjoy next summer.
The Century Boat Company gave away more than
a dozen power boats, mostly Coronado models
TOP LEFT: TV Guide with one of
twelve Coronados given away
The Price is Right.
TOP CENTER: Host Bill Cullen.
TOP RIGHT: Coronado staged
on show.
CENTER: Coronado gull wings.
BOTTOM: Pat DiBenetto wins a
new Coronado.
from 1958 to 1963 on the popular Price is Right
show. The Price is Right is a television game show
originally produced by Mark Goodson and Bill
Todman on NBC and later ABC. It was hosted
by the very popular Bill Cullen from its beginning
in 1956 until 1965 when it went into hiatus until
1972. It was not only the most watched game show
from 1959 to 1961, it also hit the top ten of all TV
shows in the Nielsen ratings.
Mrs. Ann Wittig, the Century Boat VP of Sales
and William Wittig’s wife, had connections with
the Broadway theatre district in Manhattan where
the show was staged. Known for some of its quirky
prizes The Price is Right also provided a nationwide
publicity stage for consumer products.
As a young man, I recall watching the show one
night in small town Manistee when a Century
came out for bidding. I was plenty excited to see
a Coronado on national TV and called out to my
dad to come watch. He calmly stated that Ann had
provided a boat and sat down to watch the show
with me. I was certainly surprised when my dad
announced which contestant had the Price is Right
before Bill Cullen did. Leonard Holmes was the
treasurer of the boat company at the time and help
set the prices of the boats. I simply thought he was
plenty smart.
T HE
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53
i
q
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n
u
e
A
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a
r
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t
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Club
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IF YoU
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KNOW THE DIFFERENCE BETWEEN ROPE AND LINE
LIVE LIFE ONE COAT OF VARNISH AT A TIME
GIVE ALL DIRECTIONS USING PORT AND STARBOARD
SEARCH OLD BARNS FOR BOATS
LOVE THE FEEL OF A FRESHLY SANDED PLANK
DON’T LIKE STAYING BETWEEN TWO PAINTED LINES
SET YOUR DESTINATION AS THE HORIZON
then we need to talk.
ARCHIVE FILM
SERIES DVD
Film strips from three fascinating periods in
Chris-Craft history are included in this DVD.
1929 Promotional Film - takes us back to the
glory days of boat building in Algonac just
before the stock market crashed.
1939 Graymarine Film - features the powerful
Engines that would be installed in thousands of
Chris-Craft built Landing Craft during WWII.
1950’s From Keel to Cruise - Watch as a
Chris-Craft Boat Kit is delivered and soon
becomes a Kit Boat. A family affair.
VIEW FROM
THE BILGE
BY DONALD MACKERER
This fabulously illustrated book from the
Chris-Craft Antique Boat Club Press puts readers
directly on the streets of Algonac, and inside the
old Chris-Craft plant at the time when the Smith
family was building a boating empire the likes of
which will never again be seen.
SuggeSted donationS: (Includes Shipping & Handling)
Book only:
$27.95 US Domestic Only | $47.95 (USD) Non-US
dVd only:
$16.95 US Domestic Only | $36.95 (USD) Non-US
Book & dVd: $39.95 US Domestic Only | $59.95 (USD) Non-US
CLASSIC BOAT INSURANCE
See “Special Offer” at www.chriS-craft.org webSite to order online while SupplieS laSt.
Donations made by Check (U.S. Dollars only). Please mail to:
Chris-Craft Antique Boat Club, Attn: Special Offer, P.O. Box 30175, Edmond, OK 73003
Chris-Craft Antique Boat Club is recognized by the Internal Revenue Service as a 501(c)(3) oraganization, which authorizes our club to extend
tax-exemption credit to persons making contributions or gifts.
877-922-3398 | HAGERTYMARINE.COM
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almost 30 years ago. Today we offer coverage tailored to your needs, extensive
lifestyle resources, club discounts, initiatives that help get young people
involved in the hobby, vintage boat expertise and best service available.
So keep your eyes on the horizon and the wind in your hair. With Hagerty.
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