A Boat Portrait Carved In Wood

Much of my business in the past 27 years or so has been portraits of ships and boats. It all began at a crafts show at New Hampshire’s Lake Winnipesaukee. I had been making trays out of mast hoops for some time. I carved a variety of themes including an elegant Compass Rose design I had created. Towards the end of the day, a woman stopped by and asked if I could carve her husband’s Eltro 19″ powerboat onto a tray. That was the tray that started a line of products that have proven to be a gratifying part of my business. I’ve even made some money on it.
I have carved portraits in hoops from eight inches ( internal radius) up to about twenty-seven inches. Not all designs look great when overly compressed, and you have to be honest with potential commissioners about what is realistic in a standard size hoop. A carving of the Titanic won’t work in an eight-inch circle! Most people want something modest in a twelve-inch hoop. I try to avoid anything smaller than a ten for a portrait.
I prefer to carve my portraits in cherry. Carving in cherry is not for the faint of heart who do their carving in basswood. Cherry is hard, durable, and it is tight grained. Cherry takes and holds fine detail, an important consideration when carving a hull which might measure out to be six inches in length. The cherry grain pattern behind the boat gives the appearance of water, waves, sky and horizon lines; saving you from having to carve in those features. Nature’s provision looks more natural than what you can carve with a tool.
I’ve selected a series of pictures from completed portraits to illustrate boat portraiture in wood. No robot carving.

An Eagle Commission

by Lou Carreras

 


The eagle presented here was a commission. It’s an all-time favorite design that I first carved in the 1970’s when I saw Jay Hanna’s take on this classic 19th-century carving trope.
After carving four or five variations on Hanna’s redesign of the classic, I moved on to other designs. About twenty years ago a client saw a photo of my first effort at Hanna’s eagle in my scrapbook. He decided that it would be the perfect launching gift for a boat his friends were building. After settling on a price, deposit and timeline I went hunting for the wood. Although I love to carve in New England white pine, I opted to do this eagle in Western sugar pine. It is not too easy these days to get good quality sugar pine, but I was fortunate in finding a short piece locally that was just what I needed. Western sugar pine has an enticing odor when carved, but mostly I love it for its straight grain and ability to take and hold fine detail. The photos show the progression of the project from pattern through gilding. Although this is a small eagle, meant for a cabin interior, the underlying essentials are the same for most relief eagles in which the head and banner are not separately added pieces. And…yes it is true; on eagles like this, I do carve the head first so the eagle can watch what I do.  So far I haven’t been bitten.

Medora turned out to be a game changer for me. Okay, this is where it gets weird. One night after finishing the carving I dreamt that I was in my favorite coffee house in New York City ( Cafe Rienzi). Seated with me was the famous carver John Haley Bellamy and my favorite painter Salvador Dali. Dali and Bellamy were pointing out that many things took on compelling interest when pulled out of proportion. Bellamy looked at me and pointed out that the wings on his eagles were exaggerated for precisely this reason. Dali smiled and agreed.
After waking up, I thought lots about that dream. Since then I’ve always added a bit more length to my eagle wings.
I heartily recommend to you Jay Hanna’s book on marine woodcarving: The Ship Carver’s Handbook, as well as anything you can find on John Haley Bellamy and Salvador Dali! Carving the eagle head first, and ghostly conversations with dead artists remain strictly optional.