Herzogin Cecilie 1902 by Jim Lad - Four Masted Barque

[Jim Lad]

A  (very) long introduction to my latest project – the repair and completion of a model of the barque ‘Herzogin Cecilie’ for the Australian National Maritime Museum. I will be working on the ‘Duchess’, as she was known, in my time at the museum, while the ‘Meteor’ model will come home, to be worked on when I can.

The Story Of The Ship

The four masted barque ‘Herzogin Cecilie’ was built in 1902 at Bremerhaven by Rickmers Schiffbau AG as a cadet ship for the prestigious German shipping company  Norddeutscher Lloyd. She was built to the very highest standards as she was designed to not only be a cadet ship for Germany’s most prestigious shipping company, but also a floating ambassadress and showpiece for the German Second Empire. She was met with great excitement and media acclaim wherever she went.

Her name, Herzogin Cecilie, is from the German – Duchess Cecilie – as she was named for Herzogin (Duchess) Cecilie Auguste Marie of Mecklenburg-Schwerin, who was later to become the fiancée and wife of Crown-Prince Wilhelm of Germany.

The ‘Duchess’ as she was affectionately known, engaged in the wheat and later nitrate trades to the Americas prior to World War I sometimes with salt, timber, or coke as the outward cargo. She found herself isolated in the port of Coquimbo, Chile, when war broke out. This put her in a difficult position as she would certainly have been taken as a prize of war if she had attempted to return to Europe from her neutral port.

She remained at Coquimbo until June 1920 when she loaded nitrate at Celata Colosa and sailed for home. As soon as the cargo was discharged at Ostend she was handed over to the French Government as part of war reparations. The French didn’t want the ship and decided to sell her. She was finally purchased by the well-known Åland Islands owner Gustaf Erikson on the advice of his most experienced captain – Reuben de Cloux.

Thus began the final, and probably most well recorded, era of the ship’s career. Erickson sent her to Australia looking for wheat cargos – cargos that could be loaded slowly and cheaply in the small Gulf ports of South Australia – cargos that could survive the long, slow voyage back to Europe without damage and without losing value. His Master of choice for the ‘Duchess’ was the same Captain de Cloux who had inspected the ship at Ostend, a man who sailed the ship hard (and somewhat expensively as he was prone to carrying canvas too long and losing sails in strong winds). She made twelve voyages to Australia in all, mostly to the South Australian Gulf ports, but also to Melbourne – usually with outward bound cargos of timber. In between her Australian voyages she also made several nitrate voyages to South America.

Reuben de Cloux stayed in command of the ‘Duchess’ until the middle of 1929, when he went into retirement as a Ship Master and handed over command to his First Mate, Sven Eriksson, a distant relation of the owner, Gustaf Erikson. Gustaf was evidently not too happy about offering command of the world’s most famous and best loved sailing ship to the inexperienced Sven, however the very tight-knit network of Åland Islands family connections is thought to have forced his hand.

During the period when Sven was in command the ‘Duchess’ continued to regularly win the so called ‘grain races’, with the fastest voyages home from Australia, but this may say more about the speed of the other ships involved than the ‘Duchess’ as there are several extant letters from Gustaf Erikson to his Captain reminding him to always take in sail early and not on any account to risk losing sails in strong winds!

As the 1930’s advanced, luck began to run out for the ‘Duchess’. In June 1935 her donkey boiler exploded while she was discharging grain in Belfast, killing two of her crew and injuring several other people including the Second Mate. Considerable damage was also caused to the ship’s structure and rigging. Only essential repairs were carried out at Belfast, the remainder being completed in Erikson’s own shipyard in Uusakaupunki, Finland, and the ‘Duchess’ sailed on her final voyage around the world on 29^th September, 1935.

The bad luck continued as she sailed up the Kattegat on her way to the North Sea. She sailed straight into the stern of the German trawler ‘Rastede’, causing heavy damage to the trawler, which had to be towed into port. The ‘Duchess’ was held entirely responsible for this collision, and it later cost her owner dearly. After the collision, Sven simply continued his voyage to Australia.

She sailed from Port Lincoln, in South Australia on 28^th January, 1936, arriving at Falmouth, for orders, on 23^rd April and on the 24^th she sailed for her discharge port of Ipswich on what was to be her final, very brief, voyage. At 0350 on the 25^th April, in heavy fog, she struck the Ham Stone in Soar Mill Cove and, leaking badly forward, settled to the bottom with her poop still above water. Several attempts were made to get her off, but it was not until 19^th June that she was finally refloated and towed to Starehole Bay near Salcombe, where she was once more allowed to settle on the bottom. On 19^th July Sven Eriksson wrote to Gustaf Erikson that several seams had burst and a bulge in the plating was noted on both sides near the mainmast.

Her back was broken. The ‘Herzogin Cecilie’, the beautiful ship, was now a total loss! Her rusted remains can still be seen in the sand at Starhole Bay to this day.

 

The Story Of The Model

The model of the ‘Duchess’ has a long and complex history.

Back in 2007, one of the museum’s model makers, Col Gibson, was asked by two friends if he would be interested in seeing a model of the ‘Duchess’ that was owned by their neighbour. Of course, Col said, “Yes”, and in February 2008, while he was having lunch with his friends, they introduced him to their neighbour, Vera Grainger, and her model of the ‘Duchess’.

Vera’s husband Malcolm, the builder of the model, had passed away and Vera expressed an interest in donating the model to our museum however the model couldn’t be accepted into the National Collection unless complete, and thus the “Duchess” model’s long association with the Australian National Maritime Museum and the museum model makers began.

 Work on the model had commenced in South Africa prior to the Grainger family migrating to Australia in 1978 and had continued here up to the time of Malcolm’s retirement, however after he retired the model languished with the hull and most of the deck fittings completed, and some of the spars completed but quietly resting in a box. Vera expressed an interest in the model going to the National Maritime Museum, and wrote a letter and report to the museum concerning her gift.

The model as received by the museum

 

Nothing further happened for about two years, when Col had an unexpected visit to the model makers’ bench by then Senior Curator Dr. Stephen Gapps, who was enquiring about the fate of the model described in Vera’s letter and report. This visit finally resulted in the model being collected from Vera’s home and taken to the home workshop of another of the museum’s model makers, George Bambagiotti, as he had agreed to complete the model.

George Bambagiotti holding the stripped down model

 

Malcolm Grainger had commenced the model using plans for the ship as she was originally built, but many major and minor alterations had been made to her structure over the years, even when still under the ownership of Norddeutscher Lloyd. It was finally decided that the model should be altered and completed to show her as she was when she was engaged in the grain trade to Australia, as that was the most relevant period of her life for Australian maritime history, and the way most of the world remembered her.

George started cleaning and disassembling the model while Col started on the required research. Researching such a well-known ship sounds easy – there are literally hundreds of photos of her and many books; but the books usually don’t mention alterations to the ship, and almost all the photos are undated, so trying to find out exactly what the ship looked like in early 1936 was no joke.

Progress was much slower than anticipated due to many factors, sadly including George’s increasing bouts of ill health, but he was not easily put off. I remember sitting on his bed at a Rehabilitation Hospital together with Col as we tried to work out exactly how various parts of the ship actually looked at the time of her final departure from Port Lincoln.

As time started to drag on, Janos Nemeth and I were asked to contribute to the build. Janos, because of his well-known expertise with small carvings, was asked to make a new figurehead for the model, and I was asked to build a new suite of boats. I was also asked to consider rigging the model, with Janos asked to assist with this if needed.

The two final blows were the closure of the museum due to Covid in March of 2020 and, far worse for his colleagues and friends, the death of our dear friend George on 27^th February, 2020. George’s death was a shock to all his friends at the museum, but most especially to the team working on the ‘Duchess’! While we coped with our grief at the loss of our friend, we also had to consider the future of the model, as the ever-worsening Covid pandemic with its threats of lockdowns made future actions uncertain. We also had to consider relieving Lyn Bambagiotti of the worry of having the model stored in her garage.

Fortunately, the museum was able to arrange to have the model moved to the museum prior to everything locking down, but we then lost track of our lovely ‘Duchess’. She had been sitting dreaming on one of the museum store shelves while Col and I wondered what had happened to her until a recent visit to the modelmakers’ desk by one of the museum curators. Not only was the safe ‘Duchess’ in the model store, but the museum wanted the model’s status to be resolved!

Things then started moving quicky. Several of the museum’s senior staff became involved, and the project was suddenly moving again. Our beautiful ‘Duchess’ is now on the upper gallery of the museum in her own secure display case and work table, and will be starting to sort our the mess on the model and the mass of possibly relevant bits and pieces that were collected from George’s home starting next Monday.

 

Sorry for it being such a long introduction, but it's been a pretty complex story!!

 

John

[Javelin]

It's a great story John. 

I'm definately curious where this will go. I'll be following this build.

[ccoyle]

6 hours ago, Jim Lad said:

In June 1935 her donkey boiler exploded

 

I already feel a connection to this ship. John Dolbeer invented the steam donkey in Eureka, California, in 1881 for use in Humboldt County's redwood forests. Dolbeer was a partner in the Dolbeer and Carson Lumber Company. The now-defunct company's timber holdings were sold off long ago. I had the good fortune to work on some of them back in my fish habitat restoration days. William Carson had a home built, the Carson Mansion, which is one of the most famous and most photographed examples of Victorian architecture. The site of Carson & Dolbeer's main mill in Eureka is now occupied by a community center and boardwalk.

[Jim Lad]

Thanks for the comments, gents!

 

John

[jerome]

Following this new old build/restoration.

Quite a story for this beautiful model.

 

[KeithAug]

That looks like a great project John. 

[Jim Lad]

Work has finally started on cleaning, restoring and completing our model of the 'Duchess'. Unfortunately, the cleaning process has revealed some damage on the model - it looks like an object has been dropped across the well deck, with the gangway and the boat skids damaged (both removed at the moment) and damage to the topgallant railing on both sides - a bit of extra work I don't really need! Cleaning has also revealed some unfinished areas on the deck - holes where fittings have been removed and the holes left unplugged. I'll simply fill those as I work my way along the model completing it.  She also has all four lower masts fixed. I would have preferred them loose, as the lower fore stays of the after three masts secure to the deck right bedside the masts ahead of them, so it will be pretty tight getting the stays secured when i get that far.

 The images below show the model as she is now, except that by the time I left this afternoon more cleaning had been done.  I hope to complete the cleaning next time i'm at the museum and acrually start some work on her.

 

John

 

The model on her work table secured inside her display case - sorry about all the reflections, but there are large picture windows to the right.

 

The 'Duchess' out of her case and ready to work on.

 

Looking down on the decks. At this stage I'd finished cleaning the forecastle; down all but one cleaning run on the well deck and swept the dust off the poop.

 

 

 

 

[Mirabell61]

Thats a beautiful model John,

I wish you all the patience and success to get her "afloat" again

 

Nils

[Dr PR]

It is a beautiful ship, and the model deserves to be finished!

 

How large is this model? What scale? From the photo looking down at the decks it is clear from the chair beside the model that it is pretty large!

 

The ship had a lot of sails (the first photo). The square sails appear to be typical late 19th and early 20th century clipper rigs, but the mizzen mast is different. I knew that some vessels  used a two-part driver on the mizzen, but I think this is the first picture I have seen.

 

I am not sure what the  upper "driver" sail is called. Underhill (Masting and Rigging the Clipper Ship and Ocean Carrier, page236) describes a "unusual rig" on the barquentine Transit that had three fore-and-aft sails on all but the fore mast. Underhill says these were called the "course," "topsail" and "topgallant." These were gaff sails and not square sails. The lower were two four-sided gaff sails, and the top triangular sail a more or less normal gaff topsail.

 

I haven't see these terms used for fore-and-aft sails anywhere else. But the Transit was unusual in almost every way, so unusual terminology can be expected!

[Jim Lad]

Thanks, Nils. I think she'll certainly use up all my patience! 

 

Phil, the ship was 102 meters long and the model is at a scale of 1:100, so the hull of the model is 1.062 meters. The double spanker rig was quite common on German ships of the period. I think it looks good and adds extra interest on an otherwise fairly bare jigger mast.

 

John

[Jim Lad]

Another small update.

 

The first image is an overhead view of the very long poop deck - now cleaned of dust, dirt and general grunge. 

 

The second image is of the forecastle, showing the first tentative steps towards correction of some errors on the model. Part of the railing has been removed on each side of the deck, as these sections were removable and had chain, rather than steel bar railings.

 

More thinking and study of photos has brought to light another major problem. The original ship had a beautiful teak capping rails all around the poop rather that the pipe rail shown on the model. The Senior Curator would like to have this changed to conform to the original, so - yet another major alteration. My current thinking is that the simplest way around this will be to file down the tops of the stanchions a little to bring them to the height of the bulwarks forward, and then to run the wooden capping around on top of the current steel piping. A lot of work, but I think easier than ripping out all of the railing and starting again. If anyone has any better ideas, I'd love to hear about them as I'm not looking forward to all that additional work.

 

Another problem is the number holes and gaps in the deck caused by the removal or alteration of items that were no longer on the ship at the time of her last voyage. I need to find some kind of filler to close up all those holes and make them a little less obvious.

 

This model is turning into a real lesson for anyone thinking of taking on a restoration; the number of problems on deck on this model that have come to light since I started serious cleaning operations is amazing!!

 

John

 

[KeithAug]

On 5/18/2024 at 2:08 AM, Jim Lad said:

Another problem is the number holes and gaps in the deck caused by the removal or alteration of items that were no longer on the ship at the time of her last voyage.

John - It is quite difficult to see the extent of damage but my inclination would be to use a round file to make the holes circular then plug with a matching wood and sand back flat to the deck before drawing on the caulking. I'm a bit adverse to filler.🙁

[Jim Lad]

Good idea, Keith. Thanks for that.

 

John

[Roger Pellett]

A while ago, I bought  a set of broaches on Amazon, Made and shipped from England.  They are triangular files without teeth. The smallest is about 1/32” and the largest 1/8”.  They would work for truing up your holes.  They would be less aggressive than than files.

 

 Roger

Edited Monday at 04:01 AM by Roger Pellett

[Jim Lad]

Thanks, Roger!

 

John

[Mirabell61]

Hi John,

I think its always a task to find a solution in model ship building, that makes out the "spice" of this hobby. You will find a good solution that gives you satisfaction on restoration of this beautiful model.

The long poop-deck is also shown on the "Padua" fourmaster, flying P-liner, (now still sailing as Krusenshtern, Russian cadett training ship )

 

Nils

Edited Monday at 09:08 AM by Mirabell61

[jerome]

I’ve restored a number of ship models over the past 27 years and can honestly say you never know what the original builders intent was, you can only guess that what you are about to do is in line with there thoughts.

And with a bit of luck what you add to the model will not be noticeable to the average viewer.

You will find something’s are not able to be fixed or adjusted.

You just have to live with it and not fall in love with the restoration.

once it’s completed everything will be fine.

 

[Jim Lad]

Nils, thanks for that. I had forgotten about the 'Padua', but she is in many ways a similar ship.

 

Jerome, this restoration is a little different to most, as we want the model to accurately represent the ship at a particular period in her history. While we are keeping as much of the original work as possible, some has to go in the interests of accuracy for a museum model.

 

John