dave moore

Hi Steve and welcome to the forum. You have a lovely old can there, a proper job in my old eyes but I’ve no idea who the painter might have been. Painted in the early days of pleasure boating, it doesn’t reflect the work of dockyard painters of the period. I suspect it’s the work of a friend or fellow enthusiast, lovely somewhat naive work but a gem to be cherished for sentimental reasons, certainly. Hopefully another old greybeard will be able to shed more light. Thanks for sharing. Dave .

A strapping post is the upstand on th trailing end of the top gate on a narrow lock. It is there to provide a boater to apply a rope when working downhill, both closing the gate and bringing the boat to a halt. It follows the ethos of working boaters who , where feasible, allowed the boat and water to do the work. Properly done it is an efficient way of working, seldom used these days. The wider locks of the GU had stout bollards in appropriate positions to facilitate efficient working. I wouldn’t trust the skimpy concrete offerings of today, bollard wise to do the same job. I won’t add comments on the offside 3 posts fitted to many narrow locks some years ago….

I know……

Duck hatches? What about the coot flaps? Side doors for me.

To my eye, the prices are optimistic. Ron was indeed a fine painter but also a prolific one and there is no shortage of his output…. I’ve several examples among my historic collection. These days, there are folk around who can afford to pay dearly for historic painted ware, I remember Phil Speight telling me of bidding for a can by Frank Nurser, Ron’s mentor. He lost out and congratulated the new owner who told him that he would outbid anyone to acquire it. Hopefully these folk will seize the chance and pay the premium. I won’t be among the bidders. Perhaps my work will fetch monumental sums in future times….maybe…..

It’s certainly Ron Hough and from his earlier painting days. He was a very prolific painter and there’s no shortage of his work still around. The seller is a tad optimistic to my eye, but you never know. I’ve several of his pieces here at home as part of my historic collection.

I was told that one of the Lichfield and Hatherton chaps had taken Laurence’s archive. I hope so.

Ah, the one company providing signwriters paints and brushes that I’ve never dealt with. Thanks!!

Hi Tonka Ive never come across Johnstones scumble, it’s a new one to me. Trying to match new scumble to existing stuff isn’t an easy job and I normally tell customers to expect something a bit different. I suggest that you get the light oak stain. That comes in 50g bottles and I suggest using half of it to a litre of glaze to get something similar to Ratcliffes light oak. It will need thinning with white spirit before applying. I’m happy to speak to clarify further, message me for my number. Dave

Many thanks for the link to my paintbrush. They do have the clear scumble glaze in stock and Polyvine still sell the stainer to tint it down. I’ve just ordered 2 500ml tins ( no 1l in stock) , more than enough for the future graining jobs. All is not quite lost… yet!

I’ll check it out tomorrow and report back.

I wouldn’t consider anything under 14’, preferably 16’…hence the old term “ long shaft”. Brinklow Boat Services sometimes have these available through the good offices of Bernard Hales, owner of Enterprise.

The festival of turd polishers for me. Haven’t been for years, won’t go again.

The Admiralty class had a lever on a pivot for the throttle with a pawl attached that tucked into a set of teeth allowing engine speed to be set. Sorry this is vague, it’s many many years since I used one.

I’ve had similar issues with Polyvine scumble merging after combing. My solution was to leave it for a short while after brushing on then applying combs, flogger, knotting rubber etc. The original oil based stuff was much more accommodating. I’ve always varnished scumble when dry. Internally a coat is sufficient in the main, externally then several coats followed by regular re coating is a must.

Birmingham is in the middle of a dispute with the refuse collectors, hence the accumulation of rubbish. Another uninformed comment.

The best choice, in my opinion. Any attempt at touching up would lead to a striking contrast between old and new paint unless hours are spent to colour match existing paint. I’ve been asked to do this many times before and I’ve always offered to repaint completely rather than bugger about. In working days, decorative painting was often refreshed at docking times. Any restoration would be a long and costly exercise.

Yes, I’d use a Scotch cloth or fine abrasive paper to remove loose bits then coat with varnish. My choice would be Craftmaster Clear, it’s good stuff.

Those look to be the work of friend and colleague Phil Speight. They are well gone, I think, but to prevent further deterioration I’d apply a couple of coats of decent yacht varnish, not polyeurothane. Good luck!

The museum is now closed until Jan 25th for maintenance, I understand.

Older forum members may be aware of Malcolm Pearson, a shell builder with a fine reputation. I’ve just had news of his passing, on Christmas Eve, after a long illness. I first met him at Brummagem Boats where he was building in a shed next to the offices. His output then was a mix of private commissions and shells for BB. He spent a while at Norton Canes and then moved to Sirius Yachts on the Severn. Another good man gone.

I’m here! I used to thin the stuff in the tin- or some of it- with white spirit and the odd splash of boiled linseed until it dripped off the brush or mixing knife. A little such can go a very long way. Straight from the tin , the contents resemble a baby’s nappy on a very bad day!!😀 As long as the combed scumble doesn’t run together again, the consistency is good.

I have no comment to make on the above picture, at least nothing printable! I’ve been boating today with a friend and customer who owns Lancing, an historic big Northwich. Like me, he appreciates old artefacts from working days and has the good fortune to own a water can once the property of Arthur Bray, one of the last old timers. He also owns, as do I, a small windlass made by Harry Neal of Smethwick. Here on the slide of Lancing are his original No 2 and my cast, chromed job from the days of BW in the 70s. The chrome was my idea.

I’m local and know the area well. I suggest that you turn into the Stourbridge Arm at the bottom of the 16 locks and use the visitor moorings by the Bonded Warehouse. You have water and waste disposal facilities there, access to the town for shopping etc and a winding hole to turn in. On foot, walk towards the main road from moorings, turn left at the end by Grandad’s Attic vintage store and the museum is adjacent to the Red Cone, another worthy place to visit. If you are coming down the flight then you pass both directly below lock 12. There are moorings at the cone itself on the offside but I’m not sure about depth of water there.

I was aware of these but unable to identify the painter other than Braunston style. Nurser ish, I think but not quite like other of his work.