'Post-design' considerations
Thanks for your nice words, Tom.In response to your question about Hunter's 'versions' of my dad's design work, I believe you are suspecting the truth. The point must be made clear that the designs for the Hunter range were NOT purchased from my father. He was kept on retainer as house designer. The legal and professional differences are profound.As I have said before I am currently collecting my father's original work into an archive for posterity and reference. This task is difficult because I do not own or possess all the drawings. The designs drawn for Hunter are the property of Hunter, and Hunter assumes all legal responsibility, including copyright and liability. My father was in essence only their employee. Of course we'd all like to think he had more input than that, and he did, because he was the staff expert in sailboat design and construction and a week never went by that the phone was not ringing with some question from Marlboro or Alachua or Warren himself. Though he might have stipulated the type of tank to be used in the 37 and where to put it, there can be no fair direct connection made between the fact that he made such a stipulation and what Hunter decided to do in the end. Does that make sense?This is not avoiding any responsibility or smudge on the man's reputation– most of this designer-employer arrangement was as he wanted it (mainly for financial reasons). The fact is that Hunter were notoriously frugal and DID tend to use available parts whenever they could rather than copying his design verbatim. The mismatched windows on the poor little Hunter 27 are a prime and sad example– the boat was originally drawn much prettier with two complementary quadrilateral windows (a '60s style my dad favoured), but they found the oval one in the Hunter 30 parts bins. But there were times when Hunter would kowtow to his every whim, and he grew aware of how he could get them to realise his designs to their full potential. A look at the cabin windows on the Mainship 34, which he designed for Silverton in about 1979, shows a marked and aesthetically welcome departure from the rest of the Silverton/Mainship family 'resemblance'.One more unfortunate fact is that once Hunter got rolling in production, certain liberties were taken by Alachua in which my father had little or no input. The design inceptions of the 35 and 36 (which I commented on elsewhere here) are prime examples. It seemed– however unfair this may sound– that they had got too big for their breeches and began more and more to do without the guy they had taken on as expert (mostly likely for financial reasons). It was the final straw in this progression that Cort Steck, a guy in his 20s with vastly inferior knowledge of yacht-design aesthetics, technical expertise, and real sailing experience, was hired to replace my dad as house designer in about 1981. Forgive me for sounding sappy but I truly believe my dad felt that more in his heart than in either his pride or his wallet. He had a policy of embracing those he worked with as his dearest friends– since his work and personal life were always commingled– and he might've been happy to work for them forever, so this was a put-down of the highest order to him. Fortunately he only lived another year and a half after that disappointment.You may of course always EMail me with further questions.J Cherubini IICherubini Art & Nautical Design Org.JComet@aol.com