Sailing Ship VASA c.1628 -Modified /Rex Stewart

Here, we have the complete modified beakhead and stem of the Royal Warship VASA -based on Bjorn Landstrom's research and illustrations at the time the ship was raised from Stockholm's harbor in 1961. The book, itself, was published in 1988...being an invaluable asset to my build in spite of the criticism from various contemporaries.

In this second part series I focus on the beakhead and deck applications... Again,  museum quality model(s) can be achieved from the Airfix kit; but it takes an enormous amount of patience and concentration to bring the build to this level seen in the blog. Furthermore, it takes effective engineering and proper knowledge of Dutch rigging to make this a worthy endeavor.

There are no shortcuts...

The grated flooring of the Airfix kit was rather basic with limited detail. There were no openings for the gammoning or tack leads. So to compensate, I traced the kit version unto basswood -cutting out the outer frame and gluing small miniature slats across to serve as gratings. It was tedious and time-consuming; yet very gratifying after two attempts.

The grated flooring finished and installed...

After the beak's flooring was painted, I went to work on the forecastle bulkhead -modifying the entranceways and replacing the plastic doors with wooden ones (as seen below). But before that was accomplished I scaled down the Swedish Coat of Arms that was featured on main deck rail system (as seen above). This small detail would be the highlight of the bow.

In this image the viewer is shown modified doors, hull stem for sprit mast, and companionway steps.

All information provided by historians is based on the limitation of information. Meaning, we work at what level of truth is evident for the period researched. There are no absolutes, only findings that are probable and concise...And yes, mistakes can be made with research; and a real historian will puth the facts put there and not allow politics to corrupt and/or pollute it. I follow blueprints (and even produce my own) which stem from the blueprints established by others.

Bjorn Landstrom book is a landmark study of the VASA; yet, in some areas he flawed. However, in most areas he shined and that's where many miss the mark.

The next three images will show the completed beakhead and the frontal piece of the forecastle...with some additional details such as the small ladders leading down to the grated flooring from the port and starboard doors.

Closeup detail of VASA figurehead in goldleaf...

Port beakhead overview...

Bow starboard frontal view...

The next step of the build/modification are the decks. These must be carefully planned in both layout and fitting. Also the right scale for the grating, knight, bitt and bulkhead locations are very important for the overall appearance. Furthermore, the rigging has to be considered relative to spacing on the deck and pinrails. There must also be room for cannon to be run in and out by the tackles, so the grating must be scaled to compensate this.

The below image show the new reconstructed deck in comparison to the kit's feature.

Proceeding further into the build, I arrived at this stage of the deck layout

Subtle starboard view of deck looking forward...Notice the 'sweep' as was typical of the Baltic State ships of the period.

As I build my eyes are continuously searching the model from stem to stern. I try not to remain in one area too long, as this will cause neglect and missed detail to other locations. Sometimes my best corrections are when I apply this process.

Working with guns command ongoing attention because it is the main feature to any fighting ship. I could never understand a model with all cannon run out on either or both sides. It doesn't seem realistic -or authentic. In this build I place the gunports in various stages, re: closed, partially closed, partially open, completely open...Along with the flags and sails, this is another one of my signatures that distinguish me from my contemporaries. Below, a waterline image that show the varied gun stages on VASA.

Below, a profile view of the opened gunport variations...Notice on the ports and hull how realistic these features appear (under diffused lighting).

Sixteenth and seventeenth century ships has to be some of the most beautiful  vessels to model...and I've done both. However, my line of work is extensive which cover ships and vessels of all periods. But these two centuries are special because it allow me to go all out with my carving and sculpting skills...Furthermore, I can appreciate the intricate workmanship of those artists and shipwrights who illustrated, designed and carried forth the artistic mastery of that time upon their vessels.

That being said, I now present the last two images of VASA's stern galleries to close out 'part two' of the series.

There is more to address within the ship's interior before stepping the masts. I can only hope the seasoned builders will make good on their 'stash' as they call it and not let those kits sit idle. And of the collector(s), I encourage you to acquire these as they are valuable when modified. The detail is 'there'; it's a matter of choice to how much correction in the detail is preferred...because beauty is in the eye of the beholder.

These last two views show the completed stern galleries of VASA...It is believed that her topsides were red, but there were no evidence of that based upon Bjorn's writings on the subject. What little evidence he wrote about claimed that there were traces of blue pigmentation and gilding. Of colors, some pigmentation were found inboard around the bulkhead doors and interior walls of the cabins. Climatic conditions, sealife and water corrosion took its toll on the vessel...so much of the color had to be derived from master painters of the period. And even in that, not one painting in any museum show red topsides.

With that in mind, I now close this segment of the build and raise my glass (honorably) to Bjorn Landstrom's legacy. This will be a fine study and a most memorable model when finished.

To view my credentials and other fine work(s) please visit https://www.linkedin.com/in/rexstewart and https://youtube.com/c/RexStewartoriginals.

For information concerning commissioned work call 1-774-757-7137 or write for details at: Caseships@yahoo.com.

Thank you for viewing!

Miniature Build of Mayflower II - Rex Stewart

                                                                                                                                                                      Port bow detail -closeup view of Mayflower II miniature.                                     

I often wondered what it would be like working around the clock researching notable ships of the past. If the effort would have brought reward or become futile and useless. It was, for the most part, a judgement call that required all my abilities and focus.

Such work had a special class of application that was totally separate from conventional methods. It just wasn't enough to have skill with miniatures, but a sense of purpose relative to the workmanship applied to them. It is an art form like no other...and every detail placed in one of these can truly be appreciated in its presentation. There are no shortcuts, just long hours of dedication.

There have been countless models made of the MAYFLOWER...in every form and fashion. I was always fascinated with this vessel because it was symbolic of the American spirit with its origins beginning in England c.1620. Many kits were surfacing in the 1960s on this ship and 15 years later American maritime featured scratch-built types on the floors of its galleries. From this, I explored and researched the possibilities of honing in on mastering a miniature to the exact detail of the one built in England in 1957. It took forty years, but I was finally able to accomplish it.

                               This photo show the beginning process of the build.

I purchased a book on Mayflower II during the early '80s. This was the decade when much of my maritime art was making its debut in and around New England and my native New York. As I built my ship models I discovered a great quality in one particular wood. This wood was pine. My contemporaries were using pear, boxwood, mahogany, etc., all fine woods. But I chose this wood because it was not just durable, but carried qualities which assisted my hand skills.

In the photo I utilize the pine effectively, cutting the hull to align with the grain. This process make it easier to simulate planking and trunnels on a solid hull model. Careful application of pencil drawing is necessary for it to work and be believable to the naked eye.

As planking is applied to the outer hull, it usually start at the waterline in the early stage so that I can achieve definition for the topsides. My second, and most important concentration, lie with the interior deck furniture. This may take from two weeks to several weeks -depending on the detail involved. When building the H.M.S. PRINCE c.1670 the interior took a month to endeavor. Here, the MAYFLOWER is less complicated, so her interior was a two-week process which included the ship's boat.

                         


Fast forwarding...

The MAYFLOWER miniature hull and masts are complete and the rigging process now begin. With all these models I keep the hull from being scratched by setting them on a tissue-covered cradle which I custom make out of styrofoam...Portable containers are also made from this material which makes it easier to transport and store the model away to prevent damage to intricate parts. I also use this material to ship the models with a 100% percent success rate.

                                   
                                    

Here, I am working on the foresail rigging after all the spritsail details are applied. Because running lines are tedious, ratlines (standing lines) are applied in balance so not to fowl the process. By this method I am able to bring to my models true realism with actual threads -as opposed to glued wires.

When taking on this genre, I studied the work of my contemporaries and appreciated the skill of their workmanship. However, in the process, I found that more could be done by going a 'step further' with using antique threads and running them through tiny wood blocks down to their belay points on deck. At shows and other venues, I was always questioned about this process. As a result, serious collectors have commissioned this work based on its accuracy.

                        

This starboard overview show the exquisite detail of the miniature. The beauty of the work is centered around the entire model. Much credit for this work is to God's glory for giving me the fortitude and ability to achieve a work that so many have produced; yet, build it in a unique way that captivates the imagination when taking a 'second look'...Second acknowledgement go to Mr. William A. Baker who put Hingham, Massachusetts on the map when he designed the ship and sailed with her from England to America. But all that could not have happened had it not been for those individuals in the forefront and behind the scenes that brought this ship into reality. My model is just a reminder of what people can do when they become a united front for mankind. I document my miniatures based on this premise -a united front.

This photo show the rigging symmetry of the 16th-17th century and its romanticism of the period. It is not enough to just build a model without, first, studying its history. Better work can be achieved when one can familarize with the subject to such a degree where a foundation for excellence can be realized. The rigging methods of this period has long been a fascination to me. Working with the builder of the contemporary HALF MOON in 1988, I was able to learn and add to my expertise, as both historian and ship model builder, that experience which assisted in my preparation to produce classic sailing ship miniatures such as the one featured on this page.

 

MAYFLOWER II in her original colors when first built in 1957...

In April of 1957 a sailing ship set out on a 54-day voyage across the Atlantic from Plymouth, England to Plymouth, Massachusetts. This small vessel was MAYFLOWER II, a reconstruction of the original MAYFLOWER that carried the Pilgrims to North America in 1620.

I have meticulously captured this famed vessel in miniature, based on the plans established by her designer, William A. Baker, who in his own right was a leading authority on early shipbuilding and naval architecture.

                                   

Video of the historic voyage of MAYFLOWER II circa 1957 from England to the United States.


                             

The finished model...

This miniature is one of a series of ship models I built in a ten year period, beginning with my model of HALF MOON in 2005. This model is the result of a 45 day process and is built in three woods of pine, birch, and bass. Much of the work is handcrafted in minute detail with accurate interiors and color. The model is full-rigged with linen thread and miniature wood blocks. The sails are especially unique because of its paper content which is carefully treated for longevity under climatic conditions.

The scale of this miniature is 1:200 with an overall length of 8 1/2" inches. All work is accompanied with a custom hand-scripted plaque and display case. For further information, contact the artist at Caseships@yahoo.com or rexstewartoriginals@gmail.com. Phone contact 1-774-757-7137. Websites that feature my works can be viewed by visiting https://youtube.com/c/RexStewartoriginals and https://www.linkedin.com/in/rexstewart.

Thanks for viewing!