There is, of course, nothing new about bowsprits—sailing ships have been using them for centuries. That said, these days they are more popular than ever on
On over 125 types of yachts.
On over 125 types of yachts.
On over 125 types of yachts.
On over 125 types of yachts.
On over 125 types of yachts.
On over 125 types of yachts.
On over 125 types of yachts.
On over 125 types of yachts.
On over 125 types of yachts.
On over 125 types of yachts.
On over 125 types of yachts.
Removable aftermarket bowsprit for yachts up to 21m. On more than 125 types of yachts. For cruising or racing, inshore or offshore, monohull or multihull
The Vulcan® brings the security and reliability of Rocna® to a wider range of boaters. Choose the Vulcan® for a snug fit on the bow of any boat, including those with platforms and bowsprits, for vessels from small runabouts to large yachts and powerboats. Unique shank and fluke geometry combine with an innovative roll-palm™ to self-right the anchor on the seabed. The V-bulb™ extends fluke ballast downward to gain maximum leverage and efficiency. A larger fluke surface area and higher weight-on-tip than competing designs directly equates to more holding power and security. The omission of a roll-bar, along with a carefully designed shank profile, ensures compatibility on bow rollers. These anchors self-deploy from the majority of bow rollers, ensuring ease of use. High-tensile steel and a unique I+V profile™ shank design provides resistance to bending. Style: Fixed-shank scoop Material: Galvanized Application: Many boat styles, especially powerboats with bow rollers Warranty: Lifetime warranty against bending and breakage ROCNA Anchors Sizing Sheet
Waka - Jarrah and Ash timbers with cast glass bowsprit | Mike Cameron Inspired by the Pacific Ocean, Mike Cameron's Waka is a luxurious combination of Jarrah and Ash timbers, delicately adorned with cast glass bowsprits. An ode to Aotearoa's Northland, the piece is created with meticulous care and research, reflecting Cameron's passion and integrity as an artist. Mike Cameron is an established Multi-Media Artist based in Aotearoa's Northland. Born & raised in Whangārei & working as an artist from his home studio. As an artist, Mike approaches his work with careful planning & integrity - he uses rangahau (research) as the basis for all his artworks. This is a real statement piece. Dimensions Length - 730mm x Width - 85mm x Height - 165mm
On over 125 types of yachts.
The Stad Amsterdam under full sail.
These unusual Bowsprits are John Haley Bellamy quality, intricately carved, tapered boards with traces of colored paint in the recessed portions. Later white paint makes these highly attractive as architectural fragments in any marine home or setting. Perfect to frame a cathedral ceiling, entryway, or decorative wall sculpture. Measures: 17 1/2 x 90 inches, each. Condition: wear to paint. Some losses, to edges, expected wear. John Haley Bellamy is famous for his highly stylized carved wooden eagles and other decorative items for ships and homes. Bellamy was born in Kittery, Maine in 1836.
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The East India Marine Society was founded in 1799 in Salem, Massachusetts. Membership was limited to those captains who had sailed around Cape Horn or the Cape of Good Hope. They shared information on voyages, started a library, and provided benefits to widows and children of members who died at sea. Part of their mission was to also collect “natural and artificial curiosities”. By 1824 there were more than 3,000 items In the collections, so a new museum was created in 1825. At the dedication ceremony there were dignitaries from near and far, including President John Quincy Adams, and Salem’s own justice on the US Supreme Court, Joseph Story. John White Treadwell (1785 – 1857), the secretary of the East India Marine Society, read a toast to the president at the dinner that followed. He was my second cousin six generations removed, great grandson of our common ancestor, Nathaniel Treadwell of Ipswich (1677-1723). Marine Hall in March (complete with a pile of dirty snow) Over the years many of my Salem ancestors were part of the East India Marine Society, the Essex Institute and the Peabody Essex Museum. Dr. Andrew Nichols (1785 – 1853) was the president of the Essex Institute from 1836 – 1848). His grandson, another Dr. Andrew Nichols (1862-1897) married Mary Ann Bill (1861-1910) sister to my great grandmother Isabella Lyons Bill. My Great great grandfather, Peter Hoogerzeil (1841 – 1908) sailed around the world collecting curiosities which were donated to the museum. The most famous family member, George Jacobs (1612-1692) who was hung as a witch, was an exhibit himself. His finger bones and canes were exhibited in the museum as curiosities when I was a child, but I haven’t seen them on display in many years. I guess it's not politically correct anymore to display something like that. In 1992 the Essex and Peabody Institutes merged into the Peabody Essex Museum. There are more than 840,000 works of art and culture, from maritime and American art to Asian, Oceanic and African art and export art. Today it is more of an art museum, and the mummies, stuffed animals and curiosities I remember seeing as a child are only a small portion of the exhibits. We visited the PEM again last weekend, and I saw more things related to our family’s long history in Salem. Some I remember from years ago, and others were new to me. I guess that with nearly a million items in storage, they are constantly showing new things, and changing the displays. Here are a sampling… Chest built by Symonds of Salem for Benjamin Putnam (1664-1715) brother to my ancestor Elizabeth Putnam, who married George Flint in 1679 This is a logbook by Thorndike Proctor (a descendant of my ancestor John Proctor (1631-1692) hung as a witch) from the brig Ocean on a voyage to Hispanola in 1783-84 M856 1783o / Log 1783o The salon of the yacht Cleopatra's Barge built by Retire Becket (1754 - 1831) my 2nd cousin many generations removed see the story from January 2011 for the Becket family of Salem. The yacht was sold to King Kamehameha II, and it sunk off the coast of Hawaii Chest by Symonds of Salem built for my 7 x great grandparents Joseph Pope and Bathsheba Folger married in 1679 (see the inscription with their initial and date) see this link for more on the Pope Valuable Chest- it's a long, interesting story! If you have ancestors who lived in Salem or nearby, the PEM's Phillips Library should be on your list of places for research. The website contains schedules, which is important because it is only open two days a week. You can also check out the card catalog online. Their collections are superb for early colonial, maritime and trade history (especially Aisian export trade), containing manuscripts, newspapers and other rare documents. The museum also has photographs and nautical navigation charts. Peabody Essex Museum http://www.pem.org/ East India Marine Hall http://www.salemweb.com/tales/eastindiamarinehall.shtml A list of the original 1800 members of the East India Marine Society can be found at this link: http://en.wikipedia.org/wiki/East_India_Marine_Society ------------------- Heather Wilkinson Rojo, "Peabody Essex Museum - Not so Wordless Wednesday", Nutfield Genealogy, posted March 9, 2011, ( https://nutfieldgenealogy.blogspot.com/2011/03/peabody-essex-museum-not-so-wordless.html: accessed [access date]).
The notion of bowsprits on caravela latina is an unusual one for me. On purely lateen rigged vessels, bowsprits should serve very little purpose. Yet, is it possible that some caravela latina carried them? It was when I purchased a copy of Robert Marx's "The Voyage of the Niña II" in 1991 that I had my first view of such a rig. The Niña II, built by Carlos Etayo, was a hybrid, capable of carrying both square and lateen. Based upon the rather critical review given it by Jose Maria Martinez-Hidalgo in "Columbus' Ships", I, too, gave it very little consideration, though I did build a model of it. I started giving this slightly more consideration in 2000, when examining a drawing found in "Columbus' Ships". On page 20, there is a drawing, an "artistic interpretation" by Joaquim Melo, of a Portuguese caravela latina with a bowsprit. This is based on an original located in the Convento da Madre de Deus in Lisbon. The caravel carries a bowsprit as well as an unusual spritsail that appears to be bent directly to the bowsprit. I did an interpretation of the drawing, changing the spritsail to a more regular design. Otherwise, I tried to keep the details as close as possible to the original. This is where the problems arise. Portuguese Caravel, interpretation by Joaquim Melo R.Little interpretation, July 2000 On Melo's interpretation, there is a mainstay running from the bowsprit to the top of the main mast. Such an arrangement would interfere with the operation of the huge main yard. This isn't to say that it can't be done, but the way the caravel tacks would have to be considerably different. A similar rig is to be found on a piece by artist Joseph Wheatley in "Historic Sail". His "A Caravela Latina of 1480" carries three masts and a bowsprit. The text states that the drawing is based upon models found in Lisbon and Faro, Portugal, but trying to pin down a prototype has proven difficult. In many ways, the design is similar to the d'Albertis Niña, but more closely resembles the replica built for the 1892 four hundredth anniversary. That vessel was considered an abject failure; it was a converted sail coaster, and was almost completely unsailable. This was due to the fact that the stern was shortened during the conversion, leaving the run of the hull too short. Niña, 1892, Courtesy US Library of Congress It seemed, therefore, that the subject of the model used by Wheatley was based on the 1892 replica, leaving the subject of bowsprits and caravela latinas a potential dead end. It took researching another caravel interpretation for me to stumble upon yet another bowsprit equipped caravela latina. I was researching the d'Albertis caravel designs and decided to see how they influenced later designs. It was when I did a search for information by Adm. Julio Fernando Guillen y Tato, who designed a replica of the Santa Maria as a caravel, that I stumbled upon a page that showed a model of the Niña designed by Luis Segal and based upon the work of Guillen y Tato. Carabela Española A little more searching, and the plans themselves were located online. These plans date back to 1945, and are really meant for a model. The rigging plan, though, makes sense, and the bowsprit figures into the plan logically. When I investigated further, I found that I had seen this design before, in an illustration by John Bachelor for the Time-Life book "The Explorers". As before, I assumed this was based upon the 1892 design. This plan appears to be very similar to the caravela latina model used by Joseph Wheatley, though it also appears to be more a source of inspiration. If, indeed, the Segal design is based upon the work of Guillen y Tato, then we can at least rest assured that there is a fair degree of scholarship behind it, though his work was wrong about the Santa Maria (something he later admitted). I must admit, however, that I remain skeptical as to this caravela latina model's heritage; it is simply too similar to the 1892 vessel. The Luis Segal (Guillen y Tato?) Niña, from "Modelismo Navale", 1945 The second item was an order for a "calavera" by one Gracia Amat in 1465. Martin Malcolm Elbl, in his paper "The Portuguese Caravel And European Shipbuilding: Phases of Development and Diversity", has, on page 571, an appendix dedicated to the subject. There, based upon the information from the initial contract, is a line drawing of the vessel. It is rather caravel-like in appearance (one can't help but wonder if calavera was a transcription error; it means "skull"), and carries a bowsprit as well as two masts. According to Elbl, it may have carried a square sail (pg. 563), and was fairly small. "Calavera" of Gracia Amat, 1465, by Martin Elbl This design was clearly an inspiration to Carlos Etayo and his work. In the line drawing, you can see how very closely it resembles Etayo's Niña II (and later Niña III). So, we come full circle, back to Etayo. Etayo's Niña III Whether Etayo's design was faulty or not, it does appears that he had a basis for the mounting of a bowsprit. We can only speculate on how common a feature this was though it does show how diverse a category caravela was.
Step back in time to 1954 and meet Douglas Kelvin Gowland, a visionary inventor who revolutionized the world of model ship building. He understood that crafting intricate and accurate ship models was a daunting task, often reserved for the highly skilled. With his groundbreaking invention, Gowland created a user-friendly construction kit that made it possible for anyone to assemble detailed and faithful ship models. This innovative kit featured preformed parts and locators, which simplified assembly and unlocked the joys of ship modeling for enthusiasts of all skill levels. From barkentines with bellied sails to ships with dolphin-adorned bowsprits, this versatile invention expanded educational and recreational opportunities for model ship lovers everywhere. Display this historic patent print in your home or gift it to a maritime aficionado to celebrate the ingenuity that set sail a new era of model ship building. Unframed patent print available in three different colors and two different parchment paper weights: Ivory - 65lb Parchment Gold - 65lb Parchment Copper - 24lb Parchment Size: 8.5 by 11 inches
The notion of bowsprits on caravela latina is an unusual one for me. On purely lateen rigged vessels, bowsprits should serve very little purpose. Yet, is it possible that some caravela latina carried them? It was when I purchased a copy of Robert Marx's "The Voyage of the Niña II" in 1991 that I had my first view of such a rig. The Niña II, built by Carlos Etayo, was a hybrid, capable of carrying both square and lateen. Based upon the rather critical review given it by Jose Maria Martinez-Hidalgo in "Columbus' Ships", I, too, gave it very little consideration, though I did build a model of it. I started giving this slightly more consideration in 2000, when examining a drawing found in "Columbus' Ships". On page 20, there is a drawing, an "artistic interpretation" by Joaquim Melo, of a Portuguese caravela latina with a bowsprit. This is based on an original located in the Convento da Madre de Deus in Lisbon. The caravel carries a bowsprit as well as an unusual spritsail that appears to be bent directly to the bowsprit. I did an interpretation of the drawing, changing the spritsail to a more regular design. Otherwise, I tried to keep the details as close as possible to the original. This is where the problems arise. Portuguese Caravel, interpretation by Joaquim Melo R.Little interpretation, July 2000 On Melo's interpretation, there is a mainstay running from the bowsprit to the top of the main mast. Such an arrangement would interfere with the operation of the huge main yard. This isn't to say that it can't be done, but the way the caravel tacks would have to be considerably different. A similar rig is to be found on a piece by artist Joseph Wheatley in "Historic Sail". His "A Caravela Latina of 1480" carries three masts and a bowsprit. The text states that the drawing is based upon models found in Lisbon and Faro, Portugal, but trying to pin down a prototype has proven difficult. In many ways, the design is similar to the d'Albertis Niña, but more closely resembles the replica built for the 1892 four hundredth anniversary. That vessel was considered an abject failure; it was a converted sail coaster, and was almost completely unsailable. This was due to the fact that the stern was shortened during the conversion, leaving the run of the hull too short. Niña, 1892, Courtesy US Library of Congress It seemed, therefore, that the subject of the model used by Wheatley was based on the 1892 replica, leaving the subject of bowsprits and caravela latinas a potential dead end. It took researching another caravel interpretation for me to stumble upon yet another bowsprit equipped caravela latina. I was researching the d'Albertis caravel designs and decided to see how they influenced later designs. It was when I did a search for information by Adm. Julio Fernando Guillen y Tato, who designed a replica of the Santa Maria as a caravel, that I stumbled upon a page that showed a model of the Niña designed by Luis Segal and based upon the work of Guillen y Tato. Carabela Española A little more searching, and the plans themselves were located online. These plans date back to 1945, and are really meant for a model. The rigging plan, though, makes sense, and the bowsprit figures into the plan logically. When I investigated further, I found that I had seen this design before, in an illustration by John Bachelor for the Time-Life book "The Explorers". As before, I assumed this was based upon the 1892 design. This plan appears to be very similar to the caravela latina model used by Joseph Wheatley, though it also appears to be more a source of inspiration. If, indeed, the Segal design is based upon the work of Guillen y Tato, then we can at least rest assured that there is a fair degree of scholarship behind it, though his work was wrong about the Santa Maria (something he later admitted). I must admit, however, that I remain skeptical as to this caravela latina model's heritage; it is simply too similar to the 1892 vessel. The Luis Segal (Guillen y Tato?) Niña, from "Modelismo Navale", 1945 The second item was an order for a "calavera" by one Gracia Amat in 1465. Martin Malcolm Elbl, in his paper "The Portuguese Caravel And European Shipbuilding: Phases of Development and Diversity", has, on page 571, an appendix dedicated to the subject. There, based upon the information from the initial contract, is a line drawing of the vessel. It is rather caravel-like in appearance (one can't help but wonder if calavera was a transcription error; it means "skull"), and carries a bowsprit as well as two masts. According to Elbl, it may have carried a square sail (pg. 563), and was fairly small. "Calavera" of Gracia Amat, 1465, by Martin Elbl This design was clearly an inspiration to Carlos Etayo and his work. In the line drawing, you can see how very closely it resembles Etayo's Niña II (and later Niña III). So, we come full circle, back to Etayo. Etayo's Niña III Whether Etayo's design was faulty or not, it does appears that he had a basis for the mounting of a bowsprit. We can only speculate on how common a feature this was though it does show how diverse a category caravela was.
Products Archive | Trogear Adjustable Bowsprits
Red sailing boat moored at Meols, Wirral coast. Captured on Kodak Porta VC160. Scanned from 5inch x 5inch print.
