by Mike Elliott, Kettle River Canoes
email: artisan@canoeshop.ca
In my book, This Old Canoe: How To Restore Your Wood-Canvas Canoe, I describe how to weave natural cane (rattan) in Chestnut canoe seats. However, most canoe builders used their own weaving pattern for their canoe seats.
The Peterborough Canoe Company (1879 – 1961) installed hand-woven cane seats in many of their wood-canvas canoes as well as many of their all-wood canoes. The pattern they used in their all-wood canoes is similar to the six-stage “quick” pattern used by the Chestnut Canoe Company (1897 – 1978). Only the sixth stage in the pattern is different. In the Chestnut pattern, both diagonal weaving stages (fifth and sixth stages) weave under the vertical strands and over the horizontal strands. In the Peterborough pattern, the sixth stage weaves over the vertical strands and under the horizontal strands.
In my book, I describe the full process of preparing the seat frames, preparing the cane and handling the cane during the weaving process. Here I will present the basic look of each stage and give details for the sixth stage only for the Peterborough pattern.
First Stage ̶ Vertical strands
Second Stage ̶ Vertical strands arranged beside the strands of the first stage
Third Stage ̶ Horizontal strands
Fourth Stage ̶ Horizontal strands arranged beside the strands of the third stage
Fifth stage – Diagonal strand woven under the vertical strands and over the horizontal strands
Sixth stage – Begin the pattern in the empty corner on the transverse rail of the seat. Feed one end of the cane strand through the corner hole from the top-side to the under-side. Secure the strand-end in the usual manner. Secure the strand in the corner hole with a caning peg on the top-side.
Trim the working-end of the cane strand to create a sharp point. This makes weaving easier. Make sure the shiny side of the strand faces up and is not twisted. Start the weaving pattern by going under the diagonal strand next to the corner hole on the transverse rail of the seat. Then, weave over the first set of vertical strands in the pattern and under the first horizontal strands. Continue in this way (over the second set of vertical strands and under the second horizontal strands) until you reach the opposite transverse rail.
Make sure you weave under the diagonal strand on the transverse rail before threading the strand down through the hole. Pull the strand snug (but not tight) and secure the strand with a caning peg.
Continue with this pattern for each diagonal strand as you work toward the empty corner in the bottom transverse rail of the seat frame. As usual, the corner hole has two strands since it is both a hole along the transverse rail and the side rail. The strand going into the corner hole as part of the transverse rail strands weaves under the final diagonal strand before entering the hole. The second strand from the corner hole begins by weaving over the diagonal strand, then under the first set of horizontal strands and over the first set of vertical strands. Continue in the way until you reach the top transverse rail of the seat frame.
I rarely weave the Peterborough pattern. Consequently, I have to check and re-check my work constantly. I work slowly and carefully to ensure that my mistakes are made as quickly as possible.
Complete the sixth weaving stage at the corners of the seat. Make sure the strand weaves under the diagonal strand from the transverse rail and over the diagonal strand from the side rail.
Complete the seat weaving with the usual “couching” to cover the holes in the seat frame. The couching is held in place with loops of cane in every second hole around the seat frame.
All of this (and much more) is described in my book – This Fancy Old Canoe: A Comprehensive Guide to Restoring Antique Canoes.
If you live in Canada, CLICK HERE to buy the book.
If you live in the USA, CLICK HERE to buy the book.
If you live in the UK, CLICK HERE to buy the book.
Si vous vivez en France, CLIQUEZ ICI pour acheter le livre.
by Mike Elliott, Kettle River Canoes
email: artisan@canoeshop.ca
In Canada, the canoes from the Chestnut Canoe Company set the standard by which all others are measured. Now, forty years after the company went out of business, they are still held up as classic canoe icons. So, how can you identify a canoe as a Chestnut and what makes a Prospector a Prospector?
The Chestnut Canoe Company – William and Henry Chestnut started building wood-canvas canoes in 1897. They bought a canoe in Maine (probably a Gerrish canoe) and made exact copies of it which they then sold out of their father’s furniture business in Fredericton, New Brunswick. They incorporated the canoe business in 1905 which most historians view as the birth date of the company. However, the 1972 Chestnut Canoe Company catalogue proudly celebrated 75 years in business. It seems the company viewed its birth as 1897. Be that as it may, the company grew into the largest canoe manufacturer in Canada and, at their height, were producing in excess of 3,000 canoes/year. In 1923, Chestnut Canoe Company and Peterborough Canoe Company (and later Canadian Canoe Company) amalgomated under an umbrella group called Canadian Watercraft Limited. As a result, the wood-canvas canoes for all three companies were built in Fredericton by Chestnut. The Peterborough Canoe Company ceased operations in 1961 while the Chestnut Canoe Company continued until it closed in 1978.
Chestnut produced over 50 different canoes in a wide variety of models. In this article, I will focus on the most common Chestnut canoes — Ogilvy, Cruiser, Bobs Special, Pal and Prospector.
The Chestnut Ogilvy – Although never as popular as the others, fishing guides on the salmon rivers of New Brunswick helped create a working canoe that is unmatched for its purpose. They needed a river canoe they could stand up in all day long. They were often poling the canoe upstream through shallow rapids in order to offer the prime fishing spots to their clients. The canoe had to be stable and tough with a shallow draft so as to avoid many (but not all) of the rocks. They come in six models that range in length from 16’ to 26’ – real, honest working canoes.
The 16’ model has a 36” beam and 13½” depth at the centre. The ribs are 3” wide, 3/8” thick and have only ½” space between them. This creates what amounts to a double-planked hull. The rugged nature of the Ogilvy comes with a price in terms of weight. The 16’ has an average weight of 84 pounds and a carrying capacity of 850 pounds. It has a flat-bottomed hull, straight sides, full entry lines and modest rocker in the ends. This makes for a canoe that is slow and steady – exactly what is needed when moving through shallow, rapid rivers.
The Chestnut Cruiser – This canoe was one of the first canoes that Chestnut developed. It was influenced very heavily by (if not copied directly from) Gerrish canoes built in Maine in the late 1890’s. The lines are sleek, narrow and graceful – designed to handle rivers with speed and efficiency. This narrow canoe has an arched bottom, fine-entry lines and generous rocker at the ends. Therefore, it was not for the novice paddler. However, in the hands of someone who knows what to do, this canoe is a dream to paddle.
Three models are 16’ 17’ and 18’ long. The ribs are 2-3/8” wide, 3/8” thick with 2” spaces between the ribs. The 16’ model has a 34” beam, is 13” deep and weighs 70 pounds. They are also built with ribs 3” wide, 3/8” thick and ½” spaces between the ribs. These heavy-duty models are called the Guide Special. The 16’ model weighs 75 pounds. Both 16’ models have a carrying capacity of 600 pounds.
The Chestnut Bobs Special – This 15′ canoe is one of two lightweight pleasure canoes built by Chestnut. Before I talk about the canoe, I’d like to clarify the name. According to Roger MacGregor in his book “When the Chestnut was in Flower”, Henry and Will Chestnut were real history buffs. The telegraph code for the 15’ 50-Lb. Special was BOBS and made reference to Lord Roberts, a major figure during the Boer War in South Africa. Over the years, as this wide, light-weight canoe became more difficult to keep under the weight limit of 50 lbs (the average weight is 58 pounds while the carrying capacity is 700 pounds), they changed the name. I have seen a variety of Chestnut catalogues call it “Bob’s Special”, “Bob Special” and “Bobs Special”. So, feel free to take your pick.
Many outdoor enthusiasts were looking for a lightweight, stable canoe that would allow them to enjoy fly fishing or just a quiet paddle on the lake. With a 37” beam and 12½” depth at the centre, the Bobs Special is very stable — ideal for those who find a regular canoe too ‘tippy’. At the same time, it is surprisingly quick and maneuverable in the water. This is due to the shallow-arch bottom combined with moderate rocker and fine entry lines in the ends. The ribs are 2-3/8” wide and ¼” thick with 1½” spaces between them.
The Chestnut Pleasure Canoes – It is no accident that Bill Mason used a 16′ Chestnut pleasure canoe in most of his films. It is stable, yet quick; steady, yet agile. It has a 36” beam, 12¾” depth at the centre, weight of 72 pounds and a carrying capacity of 700 pounds. It is as close to being a perfect recreational canoe as you ever hope to get. It had a variety of names over the years and was one of the Chestnut pleasure canoes which also came in 14’ and 15’ lengths. Until 1958, the 16’ pleasure canoe (called the Ajax or Moonlight) had a 34” beam. Then, the mould was widened. The economy version of the 16’ pleasure canoe had been called the Pal for several years (from about 1954). The pleasure canoes came in both narrow and wide versions until about 1960 when the wider versions were adopted exclusively. Over the years, the ribs of the pleasure canoes came in two different sizes – either 1½” wide and 3/8” thick with 1½” spaces between ribs or 2-3/8” wide and 3/8” thick with 2” spaces. The 16′ was called the Pal or the Deer, the 15′ was called the Chum or the Doe and the 14′ was called the Playmate or the Fox.
The bottom has a shallow-arch hull with tumblehome extending through the entire length of the canoe. The fine entry lines and moderate rocker make it very easy to paddle. In his film, “Path of the Paddle: Solo Whitewater”, Bill Mason demonstrated very well that the Pal (or Deer) was not designed for Class 3 rapids. But, that didn’t stop him from trying. The Pal (or Deer) is a great general-purpose canoe and was the canoe of choice for many generations of canoeists – even if many of them called it a Chestnut Prospector.
The Chestnut Prospector – This is the real deal – often copied, never matched. A quick search on the internet produces at least ten modern canoe companies with a “Prospector” in its catalogue. However, the Chestnut Canoe Company invented this winning combination. With high sides, substantial arch in the bottom and lots of rocker in the full ends, it is designed to transport heavy loads quickly through rapid rivers and large, challenging lakes. It is essentially a deeper, wider Cruiser and is still regarded as the ultimate wilderness tripping canoe. Like the Cruiser, many people unfamiliar with these canoes find it a little “tippy”. The round bottom of the Prospector makes for a “shaky” feel when you first get in. However, it becomes much more stable as weigh is loaded into the canoe — making it perfect for extended trips. It also settles into a stable position when heeled over to one side. As a result, many people love it as a solo canoe.
They were made in five lengths from 14’ to 18’. The 16’ model has a 36” beam and a 14½” depth at the centre. The 16’ model weighs 76 pounds and carries 850 pounds. Although there is good tumblehome at the centre, the hull flares about 4’ from the ends in order to throw water away from the canoe while hitting big waves in rapid rivers. The ribs are 2-3/8” wide, 3/8” thick with 2” spaces between them.
All of this (and much more) is described in my book – This Old Canoe: How To Restore Your Wood Canvas Canoe.
If you live in Canada, CLICK HERE to buy the book.
If you live in the USA, CLICK HERE to buy the book.
If you live in the UK, CLICK HERE to buy the book.
Si vous vivez en France, CLIQUEZ ICI pour acheter le livre.
A Restorers’ Guide to Tremblay Wood-Canvas Canoes
August 16, 2026
by Mike Elliott, Kettle River Canoes
email: artisan@canoeshop.ca
Of the lesser known canoe manufacturers in Canada, Tremblay Canoes Limited (Les Canots Tremblay Limitée) from St. Félicien, Québec stand out from the crowd. They are well constructed with mahogany trim and their sweet lines make for a lovely paddling canoe.
The specifications I present here are for the general-purpose pleasure canoes produced by Tremblay known collectively as the Chibougamau canoes. There were six canoes in the Chibougamau line ranging in length from 14’ to 20’. As in all of my blog articles presenting specifications for canoes, I do not present the lines for the hull. I am presenting specifications for anyone faced with the restoration of a Tremblay canoe. As such, it is not a builder’s guide but rather a restorer’s guide. Most of the dimensions can be taken from existing components in the canoe.
One little note here: I am listing all of the dimensions in inches. I apologize to all of you who are working in metric. The canoes were originally built with imperial measurements, so I find it easier and more accurate to stick with the original measurements.
One more note: In the later years of production, Tremblay canoes were known for their use of vinyl impregnated canvas (Verolite). Although a couple of canoe builders still use this material, I have yet to find a single canoe restorer who will touch the stuff. The vinyl coating acts as a plastic bag wrapped around the canoe and effectively holds water against the hull for extended periods of time. This lack of ‘breathing’ in the canvas cover results in extensive rot through many (if not most) Tremblay canoes that were paddled on a regular basis.
Inwales – Tremblay inwales are made of mahogany with nicely rounded edges. The ends curve sharply necessitating soaking the wood and heating the wood with hot water. This facilitates the bend through that section. I have repaired inwales that were cracked through the bend originally. Mahogany is temperamental at the best of times.
Outwales – The outwales are also mahogany, but being only 7/16” wide, they do not require heat-bending. For such a thin outwale, they are surprisingly robust. The 3/8” rabbet helps keep the piece stable.
Decks – Tremblay usually made their decks from birch or maple, but I have seen mahogany used as well. They are simple in design but nicely finished.
Stem-Top – It is unlikely you will ever have to replace the entire stem. However, I rarely see an original stem-top that is not partially or completely rotted away. The top of the stem-profile is straight thereby making the repair fairly straight-forward. The end assembly is held together with a 1½” #8 bronze wood screw.
Keel – If you want to keep the keel as part of the canoe, it is a simple piece to make. Use a piece of hardwood and taper each end gradually to ½” wide. It will accept the brass (or copper) stem-band which is ½” wide.
Ribs – The ribs are simple slats 3/8” thick and 2-1/8” wide. The edges are chamfered 10° on both sides with the top cornered rounded off slightly. There are 1¾” spaces between the ribs.
Planking – Tremblay did a nice job on the planking. The boards are usually 2¾” wide and 5/32” thick.
Seats – The seat frames are made of ¾” birch or maple that is 1-1/8” wide. Both seats are attached to mahogany braces on either side of the canoe with 1½” #8 bronze wood screws. The seats are approximately 2” below the inwale. The body of the seat is laced rawhide done the same way snowshoes were laced.
Thwarts – The thwarts are made of 5/8” birch or maple that is 2” wide. They are simple pieces with no taper. They are attached directly under the inwales with steel 10-24 bronze carriage bolts.
Portage Yoke – If present in your canoe, you will appreciate the lovely shape of this yoke. It is made of ash 5¾” wide tapering to 2¼” at the ends. Like most designs that are pleasing to the eye, it is also very comfortable to use.
Hand Thwarts – These are used as carrying handles on both ends of the canoe. They are positioned about 7” back from each deck. They are made from birch or maple 3/8” thick, 1½” wide and about 13” long with nicely rounded edges.
Here is a specification sheet with most of the components on one page.
All of this (and much more) is described in my book – This Old Canoe: How To Restore Your Wood Canvas Canoe.
If you live in Canada, CLICK HERE to buy the book.
If you live in the USA, CLICK HERE to buy the book.
If you live in the UK, CLICK HERE to buy the book.
Si vous vivez en France, CLIQUEZ ICI pour acheter le livre.
How To Buy or Sell a Wood-Canvas Canoe
August 9, 2026
by Mike Elliott, Kettle River Canoes
email: artisan@canoeshop.ca
Frequently, I get an email from someone who is looking to sell their wood-canvas canoe. Typically, they tell me, “The canoe has been stored under cover for the last twenty years and is in excellent shape. What would be a reasonable price to ask for my canoe?” Conversely, a person is considering the purchase of an old canoe and wants my opinion on whether or not the asking price is a reasonable one. In both cases, the best I can do is refer them to what I see on classified ads offering other wood-canvas canoes for sale.
I guess the simplest answer is: “It is worth whatever someone is willing to pay.” I have a hard time seeing these canoes as commodities. That is why I am in the business of repairing and restoring wood-canvas canoes. My clients tend to value their canoe based on a set of criteria far removed from monetary concerns. That said, wood-canvas canoes are bought and sold. Most of them are at least thirty years old and range in condition from pristine to ‘ready for the burn pile’. So, let’s look at the market and what tends to be ‘the going rate’.
Fully restored wood-canvas canoes tend to be listed in classified ads in a range from about $3,500 to $7,000. Bear in mind that a brand new 16′ Old Town Otca canoe – made by hand on the original building form – currently sells for $6,000 – $6,700 USD (about $8,300 – $9,300 CAD). Serviceable canoes that need some work tend to be offered somewhere in the neighbourhood of $1,500 to $2,500. Canoes requiring a full restoration can be picked up for $50 to $500 (and sometimes you can get the canoe because you are willing to cart it away).
When people ask for my opinion on a specific canoe, I base my answer on what a professional canoe restoration shop would charge to bring it back to ‘like new’ condition. Almost any ‘original canoe in mint condition’ will require a new canvas. Unfortunately, the original canvas will only last about forty years (Oh, how I long for a return to the days before planned obsolescence). If the work is done by a professional canoe restorer, you are looking at spending about $2,000 to $3,000 after you have bought the canoe (all of these prices are in Canadian dollars). If the canoe ‘needs a little work’, be prepared to pay for a full restoration which could cost in the range of $3,500 to $5,500. And if it is a ‘basket-case’, the bill could far exceed what you would get for it if you ever decided to sell it (not unlike the cost of renovating an old house). So, when you see a fully restored canoe listed in a classified ad for $4,500, they are probably just trying to recoup the cost of the restoration.
About twenty years ago, I bought an original Greenwood Canoe for $900. The bulk of the woodwork was in excellent condition and the interior varnish was still in very good condition. The canvas was original (about forty years old) and although it was not rotting, it needed to be replaced. Greenwood canoes are well-known to wood-canvas canoe enthusiasts in British Columbia. Bill Greenwood built canoes in Richmond, BC from the mid 1930’s to 1975. His workmanship was unequalled not to mention all of the Philippine mahogany (lauan) used in components such as gunwales, decks and thwarts. Anyone who knows these canoes bows their head in reverence whenever they speak of Bill Greenwood and his canoes.
In my shop, I brought the canoe back to life. The original mahogany outwales were shot, so I replaced them with exact copies. I added a couple of coats of varnish to the woodwork and painted the new canvas the dark green that was typical for Greenwood canoes.
The next spring, I replaced the original slat seats with mahogany-framed hand-woven cane seats in the style of Greenwood canoes. I removed the bow-quarter thwart, installed a mahogany carrying yoke and moved the stern-quarter thwart to a position halfway between the stern seat and the centre yoke. I had no intentions of selling this canoe and, at that time, I had not seen a restored canoe sell for more than $2,500. So, when anyone asked me how much I wanted for it, I told them, “The canoe is all yours for $4,500.” In 2008, someone fell in love with my canoe and handed me a check.
Twelve years ago, I finished restoring a 16′ Chestnut Prospector for myself. I replaced the original solid-wood slat seats with hand-woven cane seats replicating the Chestnut style of cane seats. I then painted the canvas the original light green colour and installed copies of the original Chestnut deck and hull decals. These days, I rarely see a fully restored canoe selling for more than $5,000. If anyone asks me what I want for it, I will say, “$10,000 — but it’s not for sale.”
If you are selling, it is possible to get the price you are looking for. Just be prepared to wait a long time for that ‘special someone’ to come along. If you are buying, be prepared to factor in the cost of a full restoration once you have purchased the canoe.
All of this (and much more) is described in my book – This Old Canoe: How To Restore Your Wood Canvas Canoe.
If you live in Canada, CLICK HERE to buy the book.
If you live in the USA, CLICK HERE to buy the book.
If you live in the UK, CLICK HERE to buy the book.
Si vous vivez en France, CLIQUEZ ICI pour acheter le livre.
How To Photograph Wood-Canvas Canoes
August 3, 2026
by Mike Elliott, Kettle River Canoes
email: artisan@canoeshop.ca
People email regularly asking me to identify their canoe and/or give them an estimate on a restoration. When I ask them to send me some pictures via email, I often see a big difference between what people regard as a helpful image and what I require, so here is a little tutorial on the art of photographing a wood-canvas canoe.
Before taking any pictures, pull your canoe out of storage and get it into the light. Set it right side up on a pair of saw horses or on the ground. Remove anything that doesn’t belong and run a vacuum through it to remove accumulated dust.
1. A General Picture (3/4 Profile)
The first picture I ask for is a general picture in a three-quarter profile. It is a view taken from an angle to show both the inside and outside of the canoe. You are standing off to one side a couple of steps away from one end. The picture shows the decks, seats and thwarts as well as giving a good view of the hull shape. Many people send me a series of pictures of the bottom of the canoe from every conceivable angle. Other than the presence or absence of a keel, these pictures do little to help identify it or determine the condition of the canoe. For identification purposes, along with a picture like the one presented above, it is useful to let me know the overall length from tip to tip as well as the maximum width and depth in the centre of the canoe. If the canoe has a serial number (often stamped into the stern stem), that information is also useful. This canoe is 16’ long, 33” wide and 13¼” deep. I can see two caned seats, a centre thwart, a stern-quarter thwart and two hand thwarts (one at each end near the deck). From this single picture and the accompanying dimensions, I can identify this canoe as a Chestnut Cruiser (called the Kruger).
2. Both Decks (Top View)
Take a picture of each deck from directly above. Be sure to show the entire area from the tip of the canoe to the base of the deck. If a hand thwart is present (as illustrated above) include it too. These pictures help me see the condition of the various components at the ends. There is almost always some degree of rot in this area. The decal on this canoe shows it to be a Chestnut Canoe built in Oromocto, NB. The Chestnut Canoe Company was located in Fredericton, NB from 1897 to 1974. They moved to Oromocto in the mid-1970′s and stayed there until they went out of business in 1978. Therefore, this canoe was built in the period between about 1974 and 1978.
3. Both Stem-Ends (3/4 Profile)
It helps to have close-ups of the ends taken at an angle off to one side, near the end and slightly above. In some cases, as in the bow deck above, the damage is obvious. However, in most cases, it is helpful to remove a few screws from the outwales (and perhaps the stem-band) to reveal the ends more fully. In this canoe, rot in the stern-end is seen only once the interior surfaces are exposed.
4. Both Seats (Above 3/4 Profile)
Take a picture of each seat from above at an angle. Stand to one side near the centre of the canoe. This view shows the bolts and spacers as well as the seat. In this canoe, the original 3/16” carriage bolts have been replaced with 1/4″ threaded rod and nuts. The original cane is in good condition. Although it is weathered, it could be revitalized with a mixture of boiled linseed oil and turpentine followed by the usual finish of shellac to seal it followed by a number of coats of spar varnish. However, in most cases, it is best to re-cane the seats (hand-woven with natural cane — rattan).
5. Gunwales and Thwarts (Above 3/4 Profile)
The rails along each side of the canoe are called gunwales. They consist of an inside rail called the inwale and an outside rail called the outwale. Stand near the bow seat off to one side and take a picture (or two) from above to show the inwale and outwale as well as the centre thwart. In most cases, it was difficult for the builders to find full-length wood for the gunwale components. They spliced pieces together by gluing a scarf joint. Often the glue lets go and needs to be re-glued. In the final years of the Chestnut Canoe Company, they attached the ribs to the inwale with steel tacks. Over the years, they corrode causing the entire canoe to come apart. Most companies assembled their canoes completely before applying paint and varnish. As a result, the inside surface of the outwale is bare wood and the top-edge of the canvas is raw as well. If the canoe has been used at all over the years, water collects under the outwales creating a moist environment for the fungi that cause rot. Often, the canvas rots and begins to fall away from the canoe. The outwales may look fine on the outside but are often rotting from the inside out. Most canoe builders used steel carriage bolts to attach the thwarts and seats to the inwales. Again, the original carriage bolts often look fine until you try to remove them. I replace these with silicon bronze bolts as a matter of course in most restorations.
6. Obvious Damage (Above 3/4 Profile)
Please photograph any areas with obvious damage. As with most photos of the canoe, take these at an angle (to one side and slightly above). Sometimes the canoe is stored away in the back of a shed. It may be a real hassle to haul the canoe out into the daylight, but please make the effort. Good lighting is essential for these photos and taking the shots from an angle emphasizes areas of light and shadow. In this canoe, the broken rib and cracked planking are brought into clear view by the angled light.
All of the pictures are best in a fairly large format (between 500 KB and 1 MB). It is not necessary to overload an email with huge picture files. That said, tiny images are pretty much useless to me. As long as the photos are large enough to allow close examination, they will work well. Also, be sure to attach the actual files to the email rather than embedding them in the email. I need to be able to put the images in a file for my records.
In all of this, there is light at the end of the tunnel. All of the damage can be repaired and all of the rotted components can be replaced. The restored canoe will be part of the family for many generations to come.
All of this (and much more) is described in my book – This Old Canoe: How To Restore Your Wood Canvas Canoe.
If you live in Canada, CLICK HERE to buy the book.
If you live in the USA, CLICK HERE to buy the book.
If you live in the UK, CLICK HERE to buy the book.
Si vous vivez en France, CLIQUEZ ICI pour acheter le livre.
by Mike Elliott, Kettle River Canoes
email: artisan@canoeshop.ca
If the seats in your canoe are laced with rawhide similar to that in old snowshoes, chances are you own a “Huron” canoe – the generic name for canoes built in Huron Village (renamed Wendake in 1986). The “babiche” is likely to last longer than the canoe, but at some point you may need to lace the seat frames with new rawhide.
Seat frames for “Huron” canoes are constructed of birch or maple and assembled with mortise and tenon joints that are very rough and loose. No glue is used in the joinery, so the rawhide lacing is the only thing holding the frames together. As with all of the other components in a canoe, I prefer to apply finish to the frames before I lace them. The bow seat requires about 65’ (20 meters) of 3/16” (5 mm) rawhide lace while the stern seat requires about 50’ (15 meters). The lacing is usually shipped in a long tube and is as hard as a rock. It has to be soaked for several (at least 6) hours before it can be used to lace the seats. I use the bath tub at home and add a little borax to the water to help loosen the rawhide and make it easier to manipulate. It will take a few hours to lace a seat, so keep a large bowl of water nearby in order to soak the rawhide repeatedly as you work. Handling rawhide lace for several hours can be hard on the hands and the borax can really dry out your skin. Use a hand lotion both before and after lacing a seat to help avoid damage to your skin.
The lacing pattern I describe is the most common one found in canoe seats. It is by no means the only one. The process can be applied to all the other patterns. However, some are more complicated than others. The stern seat has 36 anchor points – 9 on each of the 4 frame rails. The bow seat is wider than the stern seat. Therefore, it usually has 11 anchor-points on each of the frame rails. In order to make this fit, the anchor-points on the side rails are placed very close together. This will provide enough room for one more complete repetition of the pattern.
The only tool I use is a sharp pocket knife. It trims the lacing and cuts small slits in the ends of pieces for joining. The entire pattern is laced using just a few basic knots and joins. The starting anchor join at 1.1 is made by threading the lace through a small slit in the end of the first lace in the pattern. Throughout the lacing pattern, pull the rawhide firmly but not tight. As the rawhide dries, it becomes very tight.
All of the remaining anchor points are tied using a larks-head knot. To perform this knot, you start by passing the lace over the frame. Wrap around to come up on the “outer” side of the lace and pass over the strand that was just made. Bring the lace back under the frame, then around to finally pass back over the frame and under the lace “bridge” to form the knot. In this case, a picture is worth a thousand words, so use the photo as your guide.
Anchor-points 1.2, 1.3 and 1.4 form a triangle pattern on the frame. As you go from 1.3 to create the anchor-point at 1.4, pass the strand under the horizontal. The strand then passes over the horizontal and under the diagonal “forward slash” ( / ) strand before tying off at anchor point 1.5. All subsequent weaving in the fourth strand follows this pattern.
The fifth strand of the pattern passes over the forward slash strand and under the “backslash” ( \ ) strand before tying off at anchor point 1.6. All of the subsequent weaving in the fifth strand follows this pattern.
The sixth strand weaves over the “backslash” strand and under the horizontal strand before tying off at anchor point 1.7. All of the subsequent weaving in the sixth strand follows this pattern.
The seventh strand passes over the horizontal strands and under the “forward slash” strand before tying off at anchor point 1.8. All subsequent weaving in the seventh strand follows this pattern.
The eighth strand does not have any weaving, but it finishes by passing over both the fourth and the fifth strands at the fifth anchor-point in that repetition of the pattern. It wraps under the strands and then up and over itself before forming the first anchor-point in the next repetition of the pattern.
From now on the pattern is repeated with one addition. After forming the second anchor-point in the pattern and before weaving the second strand, stabilize it by passing over both the fifth and seventh strands of the previous set, then come up and over itself. The second strand requires no weaving.
The seat is woven with progressively more and more weaving required as each set of the pattern is performed.
At some point, usually two or three times in a given seat, you come to the end of a piece of rawhide lace. To continue weaving, join the next lace to the previous one. The joins are made by cutting a small slit in each end. The end of the old strand is passed through the slit in the new strand. The entire new strand is then fed through the slit in the end of the old strand to create a secure join. I like to locate the joins so they lie on the underside of the frame.
Once you have completed the lacing pattern, the last larks-head knot is tied at the final anchor-point and the rawhide is knotted with one or two half-hitches.
Allow the rawhide to dry for a couple of days. Then apply a mixture of two parts boiled linseed oil and one part turpentine. Let the oil mixture dry for at least a week. The seat will be finished with spar varnish (thinned 12% with painter thinner/mineral spirits).
All of this (and much more) is described in my book – This Old Canoe: How To Restore Your Wood Canvas Canoe.
If you live in Canada, CLICK HERE to buy the book.
If you live in the USA, CLICK HERE to buy the book.
If you live in the UK, CLICK HERE to buy the book.
Si vous vivez en France, CLIQUEZ ICI pour acheter le livre.
by Mike Elliott, Kettle River Canoes
email: artisan@canoeshop.ca
If you are preparing to restore your wood-canvas canoe – especially in Canada – you are often looking at a canoe built by the Chestnut Canoe Company based in New Brunswick from 1897 to 1978. Of the many models produced over the years, the 16′ Pleasure Canoe was one of their best sellers. It had a variety of names and the hull shape changed as well over the course of eighty years. However, this canoe is most commonly referred to as the Chestnut Pal.
The dimensions of the components that make up the Pal are often the same as those found in many other Chestnut (and Peterborough) canoe models – including the famous Chestnut Prospector. As a result, if you have these dimensions, you can use them to restore about thirty different canoe models. So, here is a restorer’s guide to the Chestnut Pal.
This Chestnut pleasure canoe is from around 1952. The telegraph code was Ajax. It was 16′ LOA and had a 34″ beam.
The 16’ Pleasure Canoe from the Chestnut Canoe Company had a number of incarnations over the years. From the early 1900’s until 1953 it had a 34” beam, its ribs were 1.5” wide and was called the Ajax. Then the beam was widened to 36” and it was called either the Pal (1954 – 1978) or the Deer (1965 – 1978). Through the later years, the ribs were either 1.5” wide or 2-3/8” wide.
One little note here: I am listing all of the dimensions in inches. I apologize to all of you who are working in metric. The canoes were built with imperial measurements originally, so I find it easier and more accurate to stick with this measurement scale.
Inwales –The inwale is a length of ash 15/16” high. It is fashioned to fit the tumblehome present on most Chestnut canoes. Therefore, the top surface is ¾” wide while the bottom width is 7/8”. The last 15” or so at each end is tapered down to about 5/8” wide along the sides of the decks. All of the transverse components (thwarts and seats) are attached to the inwales with 10-24 (3/16”) galvanized steel carriage bolts. I replace these with 10-24 silicon-bronze carriage bolts.
Outwales – The outwales are also made of Ash. Depending on when the canoe was built, the outwales may have a chamfered edge on the bottom of the outside surface. Water often gets trapped under the outwales and results in rot on the inside surface. Therefore, I usually end up replacing this component and I make sure I seal all of the surfaces with shellac and varnish before installing the outwales. The sheer-line of Chestnut and Peterborough Pleasure Canoes turns up sharply about 18” from the end. As a result, it is necessary to soak, heat and pre-bend new inwales and outwales over custom-built forms to make the ash fit the upswept sheer-line.
It is also worth noting that both the inwales and outwales were very often made by joining two pieces together with a 9″ scarf joint to create the full length Ash required. Apparently, it was difficult to get full length Ash even in the 1960′s.
Decks – The decks were made of hardwood – usually maple, ash or oak. By the time you start restoring your canoe, the decks are often rotted along with the stem tops and inwale ends. They are attached to the inwales with six 2” #8 bronze wood screws. The deck extends about 15” into the canoe from the end.
Stem-Top – You will rarely if ever have to replace the entire stem. However, I rarely see an original stem-top that is not partially or completely rotted away. Because the top 6” or so of the stem is straight, you can usually make the repair without having to pre-bend the wood to fit the original stem-profile.
Keel – If you want to keep the shoe keel as part of the canoe, it is a simple piece to make. Use a piece of hardwood (the original was ash) and taper each end to 3/8” wide. The overall length is about 14’. It will accept the brass stem-band which is 3/8” wide.
Ribs – The Chestnut Pleasure Canoes were constructed with either the regular 2-3/8″ wide ribs or the narrow 1½” wide ribs. Both of these rib types are 3/8″ thick.
The edges of the narrow ribs are chamfered 18° on both sides with the top corners rounded off slightly. The edge of the regular rib closest to the centre of the canoe has tapered ends (11° chamfer) while the edge closest to one end of the canoe is chamfered about 30°. The chamfer angles varied over the years, so you will have to use the original ribs in your canoe as templates. There are 2” spaces between the regular ribs and 1½″ spaces between the narrow ribs.
Planking – The planking in Chestnut Canoes was made of either Eastern White Cedar or Western Red Cedar. They started out being 5/32″ thick, but were often sanded down from there. I often have to pass new planking through the thickness planer to match the thickness of the original planks.
Seats – The seat frames are made of ¾” hardwood (ash, oak or maple) 1½” wide and hand-woven cane (rattan) seats. Both seats are suspended under the inwales with 10-24 carriage bolts and held in position with 5/8” hardwood dowel. The rear stern seat dowels are 1¾” long while the front dowels are ¾” long. All of the bow seat dowels are ¾” long. Again, this varied over the years. When installing seats, I tend to use 1¾” spacers for the bow seat. The stern spacers are then 1¾” and 2¾”. This adds a noticeable degree of stability to the canoe. The forward edge of the bow seat is 58” from the bow end of the canoe while the forward edge of the stern seat is 38½” from the stern-end of the canoe.
Thwarts – The thwarts are made of ¾” hardwood (ash, oak or maple) that is 2½” wide. They taper from the centre to create hand-grips on either side that are 2” wide. They were attached directly under the inwales with galvanized steel 10-24 carriage bolts. Usually, the original carriage bolts are corroded and must be replaced. I use 2″ 10/24 silicon bronze carriage bolts. The stern-quarter thwart is positioned 67” from the stern end of the canoe while the centre thwart is positioned 96” from both ends.
All of this (and much more) is described in my book – This Old Canoe: How To Restore Your Wood Canvas Canoe.
If you live in Canada, CLICK HERE to buy the book.
If you live in the USA, CLICK HERE to buy the book.
If you live in the UK, CLICK HERE to buy the book.
Si vous vivez en France, CLIQUEZ ICI pour acheter le livre.
How to Strip Old Varnish from Antique Wood Canoes
July 6, 2026
by Mike Elliott, Kettle River Canoes
email: artisan@canoeshop.ca
Without a doubt, the most horrible job in the restoration of a wood-canvas canoe (or an antique all-wood canoe) is stripping the varnish from the interior. It is messy, stinky, agonizing work that takes forever and cannot be rushed. Truly, the only positive thing to be said about stripping varnish is that as long as you keep going, the job will end.
However, it is not always necessary to strip the old varnish. If the interior varnish is in good shape – not peeling, cracked or gone altogether – you can simply clean the interior with TSP (tri-sodium phosphate) and rough up the surface of the varnish with fine steel wool. After vacuuming the interior and removing any residual dust and débris with a tack cloth, you are ready to apply new varnish. In my experience, if the varnish is stripped with chemicals, the canvas has to be replaced as well. As a result, one big job leads to another. That is why many people opt for simply cleaning the interior and applying new varnish to whatever is still there.
If, as is often the case, the interior varnish is peeling away, breaking apart or gone completely, the varnish has to come off in order to rebuild the interior finish from the ground up. Sometimes, the varnish is peeling so much that it comes off with a combination of a paint scraper, coarse steel wool and a lot of elbow grease. I have tried sanders and “sandpaper stripping wheels” powered by a variable-speed drill, but soon gave them up when I saw that I was removing just as much wood as varnish.
When it comes right down to it, the best way to remove all of the old varnish (and still have the original ribs and planking left intact) is to apply chemical strippers. I strip the old varnish before removing the old canvas. This way, the chemicals tend to stay inside the canoe. They soak into the old canvas and lift the filler and paint from the canvas, so unless you are extremely careful with the chemicals, you cannot strip the interior varnish without then putting a new canvas on the canoe.
I have heard of some people using a pressure washer to remove the chemicals from the hull once they have done their job. This would work well as long as the nozzle is wide enough to reduce the pressure to avoid ripping the planking apart. One downside I see to removing the chemicals with a pressure washer is that the work is usually done outside, often in your backyard. Consequently, all those nasty chemicals end up on the ground and (probably) in the water-table. At the very least, you succeed in killing the grass in that corner of the backyard.
When stripping varnish, the first step is to protect yourself from all those nasty chemicals. The commercial products usually contain dichloromethane (commonly used as a propellant in aerosol cans) and methanol (wood alcohol). Sometimes toluene (lacquer thinner) rounds out the mix. Besides long sleeves, long pants and an apron or coveralls, be sure to wear gloves (heavy-duty latex/neoprene), a respirator and eye protection. Have lots of water close at hand to wash off any stripper that contacts your skin.
It is essential to maintain a wetted surface when using varnish strippers. It evaporates quickly, so be sure to use lots of this stuff and do the canoe in small sections. I usually divide the job into four quarters of the canoe. Once the stripper has been poured onto a section of the canoe, use a sturdy scrub-brush (natural bristles) to spread the chemicals around and ensure that they get into every corner and let it work on the old varnish for about 20 minutes. When it turns dark brown and becomes thick, you know it is working.
Use a scrub brush and a scraper to remove the stripper.
Any stripper remaining in the canoe can be cleaned out with TSP mixed in a pail of water. Use a scrub brush, a scraper and/or steel wool to ensure that remaining stripper is removed from all of the nooks and crannies. Once the hull interior has dried, I go over the wood again with medium steel wool to remove the last of the TSP and/or chemical stripper residue. Then, vacuum the interior to remove the dust and steel wool fragments to finish the job.
This takes as long as it takes – no short cuts. As with almost everything in life, if you don’t do a good job on the foundation work, it just creates problems later on. As much as I want this job to be done as quickly as possible, there is no way to speed it up. It takes time to do a thorough job. In 2014, I coordinated the restoration of a 30′ C-15 Racing War Canoe (circa 1949) for the museum in Penticton, BC. A crew of six people took five weeks and four times through the canoes with those nasty chemicals to remove all of the old varnish. They were happy to see the end of that job.
All of this (and much more) is described in my book – This Old Canoe: How To Restore Your Wood Canvas Canoe.
If you live in Canada, CLICK HERE to buy the book.
If you live in the USA, CLICK HERE to buy the book.
If you live in the UK, CLICK HERE to buy the book.
Si vous vivez en France, CLIQUEZ ICI pour acheter le livre.
How to Repair Rotted Rib Tops in Wood-Canvas Canoes
June 29, 2026
by Mike Elliott, Kettle River Canoes
email: artisan@canoeshop.ca
While repairing your wood-canvas canoe, you may come across some ribs that are perfectly good except for a small portion attached to the inwale. Rather than replacing the ribs, it is possible to repair the rib tops.
First of all, you need access to a substantial portion of the damaged ribs in order to do the repair. Remove the planking along the sheer line to expose all of the damaged rib tops. Identify each piece of planking as it comes off since you may be able to replace the original pieces once the repairs are completed.
Now, machine new cedar to replace the damaged rib tops. Sometimes the rib-tops are tapered, so make sure each replacement piece is cut and shaped to match the original wood.
Cut the rotted top off the rib to be repaired. I use a Japanese utility saw with 14 teeth per inch.
Create a scarf angle in the original rib. For a solid scarf joint, the glued surface ought to be at least six times that of the rib thickness. Therefore, ribs 3/8” thick have a scarf angle with a surface area approximately 2¼” long. You can use a rasp to make the scarf. I use a 4” angle grinder that is set up with a 24-grit sandpaper disc. It makes quick work of the job – perhaps too quick, so careful attention and a light touch are needed.
Line up the new wood with the original rib and mark the location of the matching scarf.
Create the matching scarf in the new cedar.
Glue the new wood to the original rib and clamp it in place with spring clamps. I use either a water-proof resorcinol glue (such as Weldwood or Dural) or a polyurethane glue (such as Gorilla Glue). The resorcinol glues are water-based which makes clean up a breeze. After clamping the new piece in place, wipe away any excess glue with a damp rag. When dry, it sands easily and blends well with the wood. Polyurethane glue sets more quickly, sands easily once cured and creates a very strong bond. Paint Thinner (mineral spirits) is used to clean up polyurethane glues. I use these two glues interchangeably.
The repaired rib top is fairly rough at first.
However, a quick sanding evens out the joint and creates a clean repair.
Attach the rib top to the inwale (I use 7/8” 14-gauge bronze ring nails, copper canoe nails or brass canoe tacks) and trim the rib top flush with the top edge of the inwale.
When faced with rib top repairs next to each other, it is easiest to do every second rib top to avoid clamping difficulties. Therefore, it takes a couple of days to complete all of the repairs.
If most of the rib tops in your canoe are rotted, it is still possible to repair the ribs rather than replace every rib in the canoe. Since every rib will be cut, the original sheer line will be lost. Therefore, the first step is to establish a reference line for the sheer-line. Go around the canoe with a carpenter’s pencil and mark a position 5” below the top of each rib. Where the entire top of the rib has rotted away, skip to the next rib and mark the reference point there. This will give you enough reference points to create a fair line the full length of the canoe. Now, tack a spruce batten (approximately ¼” x ¾” x 16’) at the reference points to create a fair reference line.
As mentioned before, every second rib will be repaired. Unless you have hundreds of 3” spring clamps, it will take a week or two to splice new wood into every rib. Once done, mark each new rib top 5” above the reference line and cut every rib to re-create the original sheer line of the canoe.
Reattach the original planking and replace damaged planking with new cedar. Stain the new wood to match wood in the rest of the canoe.
The finished product is strong and solid. Many of the rib tops repairs extend less than an inch below the inwales, so it was difficult to realize that they had been replaced.
All of this (and much more) is described in my book – This Old Canoe: How To Restore Your Wood Canvas Canoe.
If you live in Canada, CLICK HERE to buy the book.
If you live in the USA, CLICK HERE to buy the book.
If you live in the UK, CLICK HERE to buy the book.
Si vous vivez en France, CLIQUEZ ICI pour acheter le livre.
Bill Greenwood and his Wood-Canvas Canoes
June 8, 2026
by Mike Elliott, Kettle River Canoes
email: artisan@canoeshop.ca
Unless you live in British Columbia, you have probably never heard of Bill Greenwood or Greenwood canoes. And if you want to start a fight amongst wood-canvas canoe enthusiasts, just ask them to name the prettiest canoes ever made. In Maine, you would hear names like Morris, Gerrish and White. In Ontario, Peterborough canoes are top of the list. But in British Columbia, people speak about Greenwood canoes in hushed tones and bow down to Bill Greenwood’s exquisite water craft.
The information presented here has been collected from people who bought their canoes directly from the builder at his shop as well as some anecdotes from Jim Kinzell, who worked with Bill as an apprentice from 1969 to 1975. Dave Lanthier from Kamloops gave me a small biography produced in 1972 as an assignment for a physical education course at a college. My information is incomplete. That said, Bill Greenwood and Greenwood Canoes deserve recognition in the world of wood-canvas canoes.
As I understand it, Bill was born in 1912 and was an active outdoorsman who loved hiking, skiing, canoeing — just about anything that got him outside. Then, he suffered a stroke while hiking in the mountains. He was 24 years old. As part of his rehabilitation, Bill decided to learn how to build canoes. He boarded a train in Vancouver, BC and made his way to Old Town, Maine. He hung around the Old Town Canoe Company shop and absorbed everything he could about canoe building until they realized what he was doing and kicked “the spy” out. Bill spent some time at other canoe factories including the Peterborough Canoe Company in Ontario before returning to British Columbia and setting up Greenwood Water Craft Company. The shop location changed a number of times over the years until he established a large shop complex on Mitchell Island in Richmond, BC in the late 1960′s.
Not surprisingly, the lines and details of Greenwood Canoes borrow heavily from the “Maine Guide” canoes of Old Town and other builders in Maine. They all sport wide, flat bottoms and have very little rocker. The stem profile is heavily curved (often forming a complete half-circle similar to the stems on “Huron” canoes built in Quebec) and the hulls all contain a lot of tumblehome. Bill’s 16’ (4.9 meter) canoes did not have a centre thwart, but instead had both bow-quarter and stern-quarter thwarts as was typical of Maine Guide canoes. Many of the canoes had bottoms reinforced with half-ribs between the main ribs to create a strong comfortable floor. And Bill absolutely refused to make a canoe without a keel. In fact, one of my clients asked Bill to leave the keel off the canoe he was ordering. Apparently, Bill said something like, “My canoes have keels.” When my client told Bill that many Chestnut Canoes paddled very well without a keel, Bill said, “If you want a Chestnut canoe, then buy a Chestnut canoe.” My client told me that story while I was preparing the restoration work order on his 17’ (5.2 meter) Chestnut Cruiser.
The workmanship in Greenwood canoes is outstanding. He used “aircraft quality” Sitka Spruce for the double-tapered ribs. The 4″ (10 cm) wide planking was made of air-dried, quarter sawn (edge grain) old-growth Western Red Cedar. Following the tradition at Old Town canoes, the planking is perfectly tight with absolutely no gaps. The stems (and slat seats) were White Oak while the rest of the canoe was trimmed in Philippine Mahogany (Luan). All of the woodwork was flawless – graceful lines and elegant detailing. The one drawback in many Greenwood canoes built in the early 1970’s is the fact that he used steel screws to attach the mahogany outwales. Apparently, Bill was feuding with one of his suppliers. He wanted 1.5” (37 mm) #8 brass wood screws in lots of 1,000 while the supplier insisted on selling lots of 10,000. Bill ordered steel screws from another supplier in lots of 1,000. I have had to cut that beautiful mahogany into hundreds of tiny pieces because the steel screws had corroded to the point of being fused into the wood. I’m sure Bill thought he had won the war with his supplier, but it has made the restorer’s job much more difficult 40 years later.
The quality of the workmanship is all the more impressive when you consider the fact that Bill worked almost entirely with one hand. The stroke affected his left side. Consequently, his left hand was crippled to the point that he had limited use of it. His daughter, Susan, told me that Bill referred to his left hand as “Duddy” – his dub of a left hand. My understanding is that he used jigs for almost every step of production. That and a few very good assistants in the shop (including George Fletcher and Jim Kinzell) made it all work beautifully.
Greenwood Canoes came in lengths from 15’ (4.6 meter) to 18’ (5.5 meter). He had two basic models – the Pleasure Model (12” – 30 cm – deep) and the large volume Prospector Model (14” – 36 cm – deep). He built a full range of lengths in both models (as well as a 12′ car-top boat) until 1970. One client of mine has a beautiful home in North Vancouver overlooking the entire Lower Mainland. He had ordered a canoe from Bill in 1970 and was expecting a call any day to say that the canoe was ready. Then, he heard a news report of a large fire on Mitchell Island in Richmond. He looked out over the valley from his home and saw a big cloud of smoke. The Greenwood Water Craft shop was engulfed in flames. The next day, my client went to the site and saw Bill kicking through the ashes that used to be his shop. He said, “I only had time to grab two canoes. The yellow one over there — that’s yours.”
Bill rebuilt the business with a limited number of building forms and continued building canoes until he sold the business in 1975. According to Doug Ingram of Red River Canoe and Paddle, the forms ended up in Cranberry Portage (a small community in Northern Manitoba east of Flin Flon). Apparently, they were never used again and are now in very poor condition. Bill died in 1979. His contribution to the world of wood-canvas canoes is significant here in British Columbia. People bow their heads in reverence to these stunning works of art.
All of this (and much more) is described in my book – This Old Canoe: How To Restore Your Wood Canvas Canoe.
If you live in Canada, CLICK HERE to buy the book.
If you live in the USA, CLICK HERE to buy the book.
If you live in the UK, CLICK HERE to buy the book.
Si vous vivez en France, CLIQUEZ ICI pour acheter le livre.
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