The Tall Ship Glenlee’s much-loved figurehead has been craned back into position following conservation work, marking another milestone in the historic Clyde-built ship’s £1.8 million restoration project
One of Glasgow’s most recognisable maritime figures has returned to her place overlooking the River Clyde, as The Tall Ship Glenlee’s figurehead, affectionately known as “Mary Doll”, was craned back into position earlier this week following an extensive programme of conservation work.
The striking operation saw the restored wooden figurehead carefully lifted and reinstated beneath Glenlee’s bowsprit, returning a familiar face to the bow of the 130-year-old Clyde-built sailing ship.
Her return comes as major work continues on Glenlee’s masts and rigging, being undertaken by specialist contractor TS Rigging as part of a £1.8 million project supported by the National Heritage Memorial Fund to safeguard the historic vessel for future generations.
Mary Doll’s conservation was led and carried out in Glenlee’s own workshop by crew member Andrew Kelsey, with support from the wider crew and the museum manager. This is the first time the figurehead has been removed from the vessel since she was installed as part of Glenlee’s restoration in 1999.
Carved from laminated cedar by Scottish sculptor Marvin Elliott, the figurehead has spent more than a quarter of a century exposed to the Clyde’s wind, rain, frost and sunshine.
The availability of a crane during the current mast and rigging works created a rare opportunity to carefully remove her from the ship and undertake a more extensive programme of conservation than would normally be possible.
Once ashore, years of accumulated dirt and biological growth were carefully removed, including a rather unflattering green “beard” which had developed beneath her chin.
Despite more than 25 years facing the Scottish weather, the timber was found to be in remarkably good condition. Minor areas of delamination were stabilised and repaired, while the figurehead was carefully documented to create a detailed conservation record for the future.
Old paint layers were removed before new primer and undercoat were applied, followed by fresh enamel paint matched as closely as possible to her original appearance.
Fiona Greer, Development Director at The Tall Ship Glenlee, said:
“Having the opportunity to watch Mary Doll being lifted back into position at the bow is a wonderful moment for everyone involved with Glenlee and another very visible milestone in this hugely important programme of work.
“For more than 25 years she has welcomed visitors to the ship and watched over the Clyde, so Glenlee simply hasn’t looked quite herself while Mary has been away in the workshop.
“There is something particularly special about the fact that this conservation has been carried out here at Glenlee by Andrew, one of our own crew. The care being given to Mary Doll, alongside the major work to our masts and rigging, is all part of ensuring that this significant Clyde-built ship survives to inspire generations to come.”
A figurehead with a Glasgow character – and a remarkable predecessor
Mary Doll takes her affectionate nickname from the character played by Elaine C. Smith in the iconic Glasgow-set comedy Rab C. Nesbitt, but the carving has also become part of a much older maritime tradition.
For centuries, figureheads were regarded by sailors as the spirit of a vessel, watching over the ship and those who sailed aboard her.
Glenlee’s figurehead story is particularly unusual because the vessel effectively has two.
When Glenlee was launched at Port Glasgow in 1896, her original figurehead was carved by local sculptor John Roberts for just £4 – around £300 in today’s money.
That carving travelled the world with the vessel through an extraordinary working life which saw the ship sail under four different names — Glenlee, Islamount, Clarastella and finally Galatea — and under British, Italian and Spanish ownership.
When Glenlee finally returned home to the Clyde in 1993, however, her original figurehead did not come with her.
Following the vessel’s decommissioning after decades as the Spanish naval training ship Galatea, the figurehead had been removed and placed on display at the naval arsenal at La Graña, near Ferrol in Spain, where it remains today.
According to the history of Glenlee’s rescue and restoration, when the possibility of returning the carving to Scotland was raised with the Commandant of the Ferrol Naval School, his memorable response was: “Certainly — as soon as you give us back Gibraltar.”
With the figurehead remaining in Spain, Marvin Elliott was commissioned to create the carving which now stands at Glenlee’s bow.
Recent historical research undertaken by Lauren Henning, Learning and Museum Manager at The Tall Ship Glenlee, has also uncovered compelling evidence that the carving preserved in Spain may indeed be the very same figurehead which looked out across the Clyde when Glenlee was first launched 130 years ago.
Historic photographs from the ship’s years as Islamount, Clarastella and Galatea show a remarkably consistent female figure at the bow.
Even more compelling is an account written in 1918 by apprentice sailor Ernest “Andy” Andersen, who recorded being sent beneath the jib boom to clean the figurehead. His detailed description, including her abundant hair, handkerchief held against her chest, flowing dress, necklaces and rings, closely corresponds with features still visible on the carving preserved in Spain.
Lauren Henning, Learning and Museum Manager at The Tall Ship Glenlee, said:
“Mary Doll may have been created as part of Glenlee’s restoration, but after more than 25 years at the bow she has acquired an important history of her own. She is now part of the story of the ship and deserves the same thoughtful conservation and care that we give to the historic vessel itself.
“What makes Glenlee’s figurehead story especially fascinating is that our recent research has strengthened the case that the figurehead preserved in Ferrol could be the original carving made for Glenlee in Port Glasgow in 1896.
“That means we potentially have two noteworthy chapters of the same story: the original figurehead in Spain, which may have watched over this vessel for almost a century and through four different identities, and Mary Doll here in Glasgow, who has become the face of the restored Glenlee.
“It feels very fitting to see Mary return to her place today, ready to watch over the ship and the Clyde once again.”
Restoring a survivor of the Clyde
Built in Port Glasgow in 1896, Glenlee is one of the few remaining Clyde-built sailing ships still afloat anywhere in the world.
Her current £1.8 million programme of works represents a major investment in the future of the historic vessel, with specialist work on the ship’s masts and rigging being undertaken by TS Rigging.
The project has created dramatic scenes on the Clyde this year, with cranes manoeuvring Glenlee’s enormous masts and yards, some weighing several tonnes, as specialist teams work to preserve the ship and her traditional rig.
The reinstatement of Mary Doll represents another important step in that programme and restores one of the ship’s most distinctive features.
After a summer in the workshop, freshly conserved, documented and repainted, Mary Doll is once again looking out from Glenlee’s bow – continuing a maritime tradition stretching back centuries and welcoming visitors aboard one of Glasgow and Scotland’s most remarkable survivors of the age of sail.
extracted from the Tall Ship website read more here