Design No. 164
Cyra
Design 164 represents one of Alfred Mylne's yacht designs, realised in the yacht Cyra, built in 1909. The design survives in the archive through twelve original drawings. While details of the vessel's dimensions, rig configuration, builder, and subsequent history remain incomplete in the current record, the design documents themselves constitute a significant record of Mylne's work during the Edwardian period.
Original Drawings · 12 sheets
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Notes
Courtessy of http://www.12mrclass.com Built according to the International First Rule 1909 - 1910 A.F. Sharman-Crawford - name: Cyra - home port: Greenock (Great Britain). Construction: wood on steel frames; topside in planked Honduras mahogany; bottom in pitchpine; mast in Washington spruce. She was supplied ex sails for 1,520. In the 1909 racing season she had out of 32 entries: 6 firsts, 5 seconds and 1 third; 1910 season: 24 entries and just 1 third. 1911 - 1922 J.S. Highfield. From 1915 to 1921 registered in Lloyd's Register as "formerly Int. Rating Class 12 Metres" From 1922 registered and remeasured as 12 Metre I.R. 1923 J.R. Piper - according to Burnham Yacht Club she raced for the last time in 1923 1923 - 1924 T.A. Roberts. 1925 - 1926 C.E. Nicholson - new name from 1926: Lucella - home port from 1926: Greenock (Great Britain). From 1926 registered as "formerly Int. Rating Class 12 Metres"; altered to Bermudian yawl, sail area: 177.09 sq.m.; a 4 cylinder petrol engine installed the same year. 1927 - 1932 Col. E.J. Hollway - new name: Cyra. Re-powered in 1927 - altered from cutter to yawl in 1930. 1933 - 1934 Frits Johannsen - home port: Copenhagen (Denmark) and Antibes (France). 1935 - 1936 Mrs. R.E. Pascal - home port: Cannes (France). 1937 - 1938 Maurice Harlachol - new name Elfe II - home port: Cannes (France). Remeasured as 12 Metre I.R. 1938 - 1946 ? 1947 - 1955 Joseph Regis - new name: Elsa - home port: Marseille (France). 1956 Disappeared from the Lloyd's Register.
Yachts in the Register · 1
Historical Context
Alfred Mylne's design practice flourished in the early decades of the twentieth century, when he was producing work across a range of vessel types and sizes. The year 1909 falls within his most active period as a naval architect. The survival of twelve drawings for Design 164 reflects the systematic recording practices maintained within Mylne's office. However, without supporting documentation regarding the client's requirements, the vessel's intended purpose, or its subsequent service history, the design's place within Mylne's broader body of work cannot be precisely determined at this time.