Process
Lord Nelson, a Legacy in Oak
1. Conceptualization and Design
This massive project began with gathering reference images and historical details of Lord Nelson’s likeness. I studied historic data of his accomplishments, victories and iconic physical features. This helped me visualize the figure's expression, posture, and attire. The design was sketched out, paying attention to the figurehead’s aesthetic and period accuracy.
2. Material Selection and Historical Significance
For this project, I used two beams of ancient white oak, salvaged from the Mariner gallery during a massive renovation in 2016. These beams had once supported the floor of this historic colonial American structure, infusing them with a sense of time and place that added an extra layer of reverence to the carving process. White oak was commonly used for ship figureheads due to its resistance to rot and its incredible strength. This ensures the carving is both sturdy and able to weather the elements. I inspected the grain and quality of the wood, carefully considering the best positioning of the face and body. Significant cracks ran one side of the beams, making them perfect for the back of the piece to show the age of the wood and as to not interfere with the detailed face and front torso. The front of the piece showcases the majority of the fine detail work and facial features. Knowing the history of the wood gave the project a deeper purpose beyond simply crafting a figurehead—it felt like preserving a part of American history and intertwining it with a legacy as iconic as Lord Nelson himself.
3. Rough Shaping
The wood’s age and its role in a centuries-old structure posed unique challenges. I began by carefully inspecting the beams, ensuring they were structurally sound, despite their age. The natural grain of the white oak, a strong and durable wood, was evident, and I could see traces of its past use in the irregularities of the grain, knots, and wear marks. This texture told its own story, one that I aimed to respect while carving. I began the process by preparing the block, marrying the two beams together using west system epoxy and 6 inch oak dowels that I turned from antique oak chair legs. After a complicated glue-up using every clamp I own, much time was spent filling, repairing and replacing sections of wood where years of water and insect damage would compromise the integrity of the carving. I then used a chain and handsaws, mallet and chisels, to block out the rough shape of the figure. During this stage, I focus on establishing the overall silhouette and posture of Lord Nelson, such as his stance and the draping of his naval uniform.
4. Fine Detailing
Once the basic form is in place, I move on to adding finer details such as facial features, the buttons on the uniform, and the texture of his hair and cloak. His right hand is shaped out of the existing wood but his left hand was carved and added to the piece for structural stability and projection from his body. At this point, I switched to smaller chisels, gouges, and rotary burrs to carve out the delicate features of his face – his eyes, nose, and mouth – aiming for a dignified, strong and yet recognizable expression. The layering of his clothing and the bow extending from his waist give the piece depth and presence. The ancient oak and the repairs made added unique challenges, but it also provided a sense of connection to the past with every stroke of the chisel. The result was a figurehead that not only honored Lord Nelson’s legacy but also the centuries of history embedded in the wood itself.
5. Texturing and Refining
After the main features are shaped, I refine the textures. This includes adding the texture of his clothing, such as the folds of his uniform his hat and the intricate shoulder epaulets, all essential elements for a realistic representation. The key here is precision and patience, as the details must be consistent with Royal naval regalia of the period.
6. Bringing it All Together
As the figurehead took shape, the process felt like a conversation between the past and present. Every tool, every decision was guided by the wood's unique history—its weathered surface and intricate grain patterns speaking as clearly as Lord Nelson's likeness did. The end result was a powerful figurehead that not only honored the famous naval hero but also the very structure and legacy of the Mariner gallery, forever intertwined.
7. Finishing Touches
Sanding and refining the wood, I worked to smooth out the rough surfaces while preserving the natural texture that the centuries-old oak provided. The subtle imperfections in the wood—small grooves, nicks, and uneven grain patterns—became part of the figurehead’s charm, giving it a timeless quality that tied the sculpture to its origins.
8. Finishing with Authentic Marine Oil Paints
The final step in the process was the application of high-quality marine oil paints, carefully chosen to replicate the colors used by early ship carvers. These paints, designed to withstand the harsh maritime environment, were matched to early 19th-century hues, ensuring that the figurehead not only reflected the historical accuracy of Lord Nelson but also mirrored the kind of decoration found on the most prominent features of early vessels. The paint was meticulously layered, starting with base coats, followed by fine detailing of the uniform, facial features, and decorative elements. This finishing touch brought out the grandeur of the figurehead and allowed the natural beauty of the oak to shine through, just as it would have when first carved and mounted aboard a ship.
The rich tones of the oil paints contrasted beautifully against the oak’s grain, while the paint’s durability and depth ensured that the figurehead would stand the test of time, both in terms of craftsmanship and aesthetic appeal. The result was a striking combination of history, artistry, and functionality—the perfect marriage of wood, paint, and technique.