You can see a belt running around the ball. This ball measured .487 when not measuring the belt. Around the belt it measured .002" larger. We seated the ball with the belt level - (with the belt thought of as the equator, the North pole was up). We speculate that if the belt went in slanted, it might be possible to damage a land.

This week Steve Chapman and I worked on testing the non-lead ball in a .50 caliber muzzleloader. Two samples were available: .487 and .490. We planned to test both. The goal was to determine the potential for accuracy with a non-lead patched ball.

The rifle used was a light bench/x-sticks gun, which Steve used to set a National muzzleloading record. The barrel is made by Green Mountain (1 in 70” twist) and is equipped with target apature sights. When firing the record target Steve used .495 lead balls patched with Teflon. The barrel was wiped between shots.

Before heading to the range I weighed out the balls. The .487 balls ranged from 156-159 grains. I sorted them into groups to minimize the weight differences. The same was done to the .490s. They weighed 152-155 grains – less than the .487s. I don’t understand this. The weighing was done in the same session on the same surface with the same scales.

At the range while Steve was sighting in with lead balls, I pushed a .487 patched ball through a barrel stub. We wanted to check on patch cutting with the harder ball. With this barrel stub the ball cut patches with every patch material we tried. We determined the cause to be the crown on the barrel stub. My reason for reporting this is that if your barrel has any tendency to cut patches, this very hard ball will increase this tendency. We saw NO deformation in the ball, no matter how tight a patch we tried.

We then tried to seat a patched ball into Steve’s target barrel, pull it out by the patch material, and look at the ball and patch. Instead the patch material tore off, leaving the patched ball in the barrel. We removed the nipple, added a squib powder charge, seated the ball, and fired it out. We concluded that if one dry-balls with one of these, pulling the ball will not be an option. You will have to be able to get powder behind the ball to remove it. It’s possible that if a ball was seated against the breech plug, one might need to unbreech the rifle to remove it. (We did not try using a CO2 discharger; that may or may not have worked.)

Not wanting to risk Steve’s barrel with a cut patch, we started with a 20 gr load and worked our way up 20 grains at a time, looking at patches for cutting. We determined that with the excellent crown on Steve’s barrel we could use pocket drill with Murphy’s oil soap at normal velocities with no patch damage. (Later we used Teflon moistened with spit with equal success.)

At 50 yards, Steve used 70 grains of Swiss ffg behind the .487 ball and pocket drill w Murphy’s oil soap full strength. Compared with a normal lead ball, it chronographed faster, but elevation on paper was the same. This group measures 2 inches.

At 100 yards, Steve used 85 grains of Swiss ffg, .487 ball. And pocket drill w Murphy’s oil soap full strength. We also tried Teflon with equal success. This group measured 4 inches.

We feel that the non-lead ball is capable of hunting accuracy and informal off hand target work, but would prefer lead ball for serious offhand or target work that allowed a rest – such as bench or X-sticks. We feel that it will take a serious competition shooter to detect a difference. The added complications with a dry-ball during a competition match may be a factor weighed by some as well.

In order to make a valid comparison, we included a target that Steve shot at Friendship that shows the potential of the patched lead ball with Steve behind this barrel. This target, shot at 100 yards, measures 1.875" and holds a National record. It was shot with Teflon patching. That is the reason Teflon patches were included in the testing above. Teflon does require wiping between shots, and pocket drill would be the reasonable choice for a hunting load.

Today, wind was our biggest variable, but on two occasions Steve clover-leafed three balls with a lead ball when doing comparisons. He couldn’t do this well with the non-lead ball, but hunting accuracy out to 100 yards is quite acceptable. We expected the non-lead ball to strike lower on the paper at 100 yards, but it did not. I expect that being lighter; its higher muzzle velocity (50-60 fps) may have helped. At distances beyond 100 yards the non-lead ball may drop faster, but we did not shoot beyond 100 yards.

We do feel that shooting this non-lead ball places different responsibilities on the shooter. Dry-balling with a lead ball is a minor inconvience, compared to dry-balling one of these. Good muzzle crowns become much more important. This is not to say that a good crown isn’t important with a normal lead ball, but it is huge with non-lead. Strong, tough patch material is vital with this ball as well. We don’t know what damage might be done if one shoots a ball this hard with a patch that is cut as it enters the barrel. We were prepared to stop the test if that happened rather than risk Steve’s barrel.

We did not test the larger .490 ball for the reason mentioned above. It cut both Teflon and pocket drill when we tried it. The cutting was not the fault of the crown because we worked all day with the smaller ball and with the lead ball with no cutting. Obviously special care is required in choosing the patch material for the non-lead ball.

In our testing we were concerned with accuracy and made no attempt to evaluate the effectiveness of the ball on a game animal. However, based on our accuracy testing, we conclude that the non-lead ball is a viable alternative for hunting use within the range we tested. We speculate that the harder ball will deform less and penetrate deeper than a lead ball. Accuracy is quite acceptable within the ranges that a traditional rifle would be used. As mentioned above, loading and patching techniques are different from handling a lead ball. The shooter will need to adapt to handle the harder ball in order to protect his barrel.

For further testing, we suggest that a ball that measures .015 - .020" less than the bore (on the belt) may help to make the ball more forgiving to shoot. For .50 caliber, a belt measurement of .482-.485" might be worth considering. Obviously this will mean a very thick patch, but may help to protect the rifling.

The following is contact information:

Continuous Metal Technologies Inc. 439 W Main Street Ridgeway, PA 15853 814-772-9274

Brad Clinton email: bclinton@powdered-metal.com web site: www.tomboboutdoors.com

]]> tag:www.blackpowdermag.com,2010://1.144 2010-07-21T14:05:00Z 2010-07-21T19:35:18Z

THE AUCTION

The central theme of this year’s upcoming live auction held at the 14th Annual Contemporary Longrifle Show is “made by, used by”, or specifically made “for” Native Americans. With that in mind our contributing CLA members have crafted and donated an assortment of the finest contemporary Native American “trade” items available today. There will be quill work, leather work, decorated powder horns, firearms, trade silver, cutlery, finger woven bags, museum documented re-creations, researched copies, and inspired artist interpretations. All this and more will be found among the items up for bid, and it took the talent and generosity of many of the nation’s top artists to make this world class assemblage available to you.

Some of these items were made by the combined talents of several artisans working together, each making the part that they are best known for and capable of, while other items were made by dedicated individual artists who spent patient hours at their solitary work benches . Many of these artists will be well known to you already, and have a well earned international reputation, while some of this year’s artists are craftsmen on the rise, working hard and being inspired as word of their talent and accomplishment grows. Whether it’s made by a team, an individual, a veteran craftsman, or a talented and emerging artist, every item donated this year conveys the Contemporary Longrifle Association’s continuing standard of excellence and exemplifies this year’s theme of being “Certifiably Native”.

THE GUNS

As soon as they could, Native Americans established trade with the Europeans for the primary purpose of getting firearms, and club butt fowlers were among the first they were able to obtain. Such fowlers remained popular and were produced in one form or another well into the mid 18th century. Taking up the challenge to recreate one of these distinctive guns Todd Bitler has been inspired to craft one circa 1710. In his own words this gun is “like no other fowler”. This is Todd’s third gun, and he drew many of the design details from the unique club butt shown on page 32~33 of James B Whisker and David Hartzler's book “Early American Flintlocks” .Todd explains that his fowler “features a European walnut stock, all hand made parts and a reshaped lock, double set triggers, rifle style guard and a rear sight as did the original. All hardware is sheet brass including a pierced dragon side plate. Dutch style carving and engraving featuring tulips, stylized bird, and shell tang carving adorn the fowler as well.” Todd also states that his artistic goal is to “achieve the form, function, and thin light balance as well as the character and patina of an original”. To accomplish that, Todd also hand made the traditionally long “50 inch” custom barrel, and Dunlap Woodcraft has donated the special stock blank to fit it.

Rich Dillon of “Dillon’s Flintlocks” decided to make and donate an iron mounted, 1749 French St. Etienne type “D” fusil made in the style of French gunsmith Girard. Rich won several ribbons last year at Dixon’s Gun Fair, including “Best of Class, Traditional” for Journeymen. Taking his inspiration from the books of T.M. Hamilton, Rich made this traditional fusil in a style that was commonly used about the time of the Natchez War, when Rich speculated many similar firearms got into native hands. This gun features a 44” octagon to round barrel in 16 gauge donated by the Getz Barrel Company, a fine period correct lock donated by Larry Zornes of The Mould and Gun Shop, and stock wood donated by Dunlap WoodCraft. All of the other parts were either made or purchased by Rich himself. “Dillon’s Flintlocks” is operated by Rich and his father Ed who are both full time gun builders. It’s a matter of family pride that the all of the various parts are hand inlet the time honored old fashioned way for every gun they make. After that each gun receives a special five step finishing process, and upon completion is presented as “new”, having the look and feel of the original it was crafted after on the day it was first made.

The influence and appeal of the CLA is truly far reaching and international, and Canadian member Cam Pitkethly weighs in from north of the border to prove it. Belonging to the NMLRA, the KRA, and the CLA, Cam has crafted and donated a Northwest gun closely copied from an original Barnett gun dated 1812 in his own collection. Cam also took details from another and even earlier Barnett dated 1805. With the old “Northwest Company” original right there to study from, Cam was able to incorporate many subtle authentic details into this gun that might otherwise have been over looked, definitely making this North West gun about the closest thing to an early original as you are likely to ever find. The octagon to round, 48”, 24 gauge barrel is slightly swamped and was custom made by Getz, the trigger guard and butt plate were hand made by Cam to copy those found on the original, while the remaining parts were used only after they had been carefully selected from parts makers who offered hardware that closely matched those used on his original. Cam has built muzzle loading guns since 1978, but only builds them to suit his mood, and doesn’t take custom orders. The North West gun was a staple item in the Indian trade, and our “Certifiably Native” auction wouldn’t be complete with out this one.

THE TEAMS

The famous husband and wife team of Frank and Lally House are recognized as two of today’s premier makers, and are well known for employing a conceptual approach to plan and create their projects that adds an unmatched element of feeling to each creation. Among the items up for bid will be a beautiful porcupine quill and moose hair embroidered knife case and American dagger set circa 1760~1780, made using that special way of theirs that gives this set the depth of life and sense of history that their collaborative efforts are renowned for. Their artistry is recognized far and wide and the items they make enjoy the reputation of being among some of the very finest made. They use only the most traditional and painstakingly researched techniques in their work, like cochineal bug, indigo, staghorn sumac and goldenseal dyes for the quills, and old time blacksmith forging methods for the iron and steel work. Writer, collector, and noted historian Mel Hankla put it this way and said it best when he wrote, “ Both artists produce individual pieces, but their collaborative creations showcase in a powerful way that moves their work beyond traditional boundaries of what is accepted as art.” Rightfully believing that by “pulling out all of the stops” and donating such a beautiful set to the auction will help the CLA preserve our rich heritage of traditional art making, Lally created the intricately embroidered sheath, and Frank the hand forged American dagger, but together they have created another trade mark example of what can truly be called “art in unison”.

After making the dagger and while the forge was still hot, Frank House teamed up with two more well known artisans, Joe Seabolt and Ian Pratt, and together the three have collectively reproduced a tomahawk copied from the work of frontier blacksmith Jacob Fraiser, circa mid 18th century. It is well documented that Fraiser was a blacksmith of record to the Indians, and the hawk that inspired our team is shown “Indian Tomahawks and Beltaxes” by Hartzler and Knowles. On the frontier, blacksmiths were an integral part of the relationships that quickly developed between the natives and the settlers, and the level of craftsmanship exhibited on this tomahawk reflects the quality of the work that was offered to, and even demanded by Native Americans in the goods that were willing to purchase or trade for.

This pipe ax is totally hand forged from true wrought iron, and has been fitted with a bowl forged from a piece of gun barrel. It has been inlaid with coin silver, and shows the individual touch marks of all three smiths. Frank is well known for his work at the forge, making everything from guns to cutlery like this pipe ax, rifles, and the American dagger mentioned above, while Joe and Ian are each quickly becoming famous in their own right as well. Joe is very well known for his authentic, historical selection of hand forged knives, and Ian has developed a fine reputation as a truly inspired maker of beautiful hand forged long guns. It really sets a fine example that these three talented and capable makers would combine forces to recreate such a historically significant tomahawk and then donate it to this year’s auction. It demonstrates the spirit of sharing, giving and fellowship that makes the CLA the world class organization that it is today.

The next offerings are crafted by the team of Dave and Diane Chambers. They have crafted and donated a copy of a fine Delaware knife sheath, circa 1820 from the Derby collection, and an equally fine copy of a Shawnee neck bag circa 1740 that is currently housed in a museum collection in Manchester England. Dave and Diane have painstakingly researched these two pieces, and are well qualified for such work. They have in fact been called upon to make similar reproductions and do restorations across the country. Diane is often requested to teach seminars on beading, and has done so for many years. She also wrote a chapter on the subject in “The Book of Buckskinning III”. Diane stresses that except for the glass beads, all of their work is hand made and hand sewn by her and her husband. During the 18th century items similar to these recreated here by Dave and Diane were not only worn by the Native Americans that created and used them, but were collected and sought after by some of the finest museums in America and Europe as art. Dave and Diane ask that if you have any questions for them, please see them at the show they would be happy to talk to you.

Naturally complimenting both each others work and the theme of this year’s auction, the next pair of artists have made and are offering a beautiful powder horn and finger-woven strap. Mike Small is well known for his powder horn work and needs little introduction here. Drawing upon a famous original horn shown in Gransky’s “American Powder Horns” he has made a classic Micmac styled horn. Adding to the iron clad provenance of this horn, it is further documented in the prints of Rufus Grider, and has been executed in the fine manner Mike is known for. To complete the set, Tom Conde has teamed up with Mike and made a fine traditionally finger woven strap for this special horn. Tom is a noted traditional finger weaver, and this strap is based on an original found in the Detroit Institute of Arts collection. Carefully woven just like the original, the integral decorative bead pattern changes through out the length of the strap, as does the number of beaded rows, further setting this horn and strap set off as one of a kind. A pairing like this won’t come along again for a long time, and this horn and strap set are sure to be eagerly sought after.

Well known artists Shawn Webster and James Blake took a similarly balanced and complimentary team approach for their piece this year as well. James is well known for his museum quality reproductions, and the finger woven bag and strap that he has created for the auction is based on an old late 18th century original piece, displayed by the Canadian Museum of Civilization. James has woven documentary pieces like this for both historic sites and museums. Using only the same finger weaving techniques as those found on the original along with similar yarns, this bag and strap, like all of his work, is as authentic as can be had today. After he was done, James then delivered the pouch to Shawn who proceeded to decorate with his own trade mark skill. Well known as an author, expert on The Rocky Mountain trappers, and the subject of several articles himself, Shawn is also well known for his mastery of the art of quill working, Displaying that mastery here, Shawn has quilled the bags two panels in the most traditional manner. Then, to create a truly presentation grade piece, he finished by fully lining the bag and edging it with traditional metal cones and deer hair. When two artists like Shawn and James team up to craft a special piece like this, the result will be a highly collectable work of art that could easily be housed in the same museum as the originals that inspired it.

A gifted quill worker herself, Shawn’s wife Amanda has teamed up with horn smith Steve Lodding to create another piece that looks like it came straight out of the 18th century. Based on the surviving work of the “Kahnawake Mohawk”, Amanda has copied an original strap, made of black dyed deer skin and natural linen backing, and like the original, the strap has been edged with black silk, and decorated with naturally dyed quills. The colors were derived from cochineal, yellow root, wild grape and walnuts, and yielded the rich oranges and blacks for the quills, and the beautiful yellows used to dye the deer hair used to fill the brass cones. Noted horn smith Steve Lodding has made a typical 18th century trade horn that totally compliments Amanda’s work. Though simple in its construction like so many of the original trade horns were, this piece is perfectly aged to replicate the well used look and patina found on surviving originals, giving this horn the truly authentic look and feel that Steve’s work has long been known for. The “Keepers of the Eastern Door” or Kahnawake are famous for their relations with early Europeans, and the pairing of this traditionally native decorated strap paired with a traditionally European made trade horn embodies the cultural blending that took place in the old “Gahna’wa:ge” territory.

Penny Wayne of “Kentucky Leather and Hide” and Tom Gifford teamed up to hand craft an indispensable and nearly iconic item for the auction, one recognized instantly as belonging to the early American frontier. Brain tanned deer hide leggings were universally worn on the frontiers. Some men wore them for the needed protection they offered, and some for the fashion and status they implied, but every one knew that the men wearing them carved out a living on the edges of the wilderness. Penny hand made the leggings and matching ties from brain tanned deer hide, and using only a traditional antler awl to punch each hole as she hand sewed up the sides one stitch at a time. She has been making such clothing items for fifteen years, and has crafted over some 6oo pieces. You can rest assured that of the sewing work has been done in a neat and authentic manner. Next she delivered the leggings to Tom Gifford for the addition of traditional decorating. To give the leggings an aged mellow color, Tom first dyed them with ash. Continuing on and keeping with that old time look, he then edged them in silk ribbon, bead work and dyed porcupine quills. Together Penny and Tom have crafted a beautiful pair of genuine old time leggings in both their appearance and in their construction. When you think about natives or long hunters, imagining them pushing through the rugged wilderness, its hard to picture them not wearing a good pair of leggings. Leggings were a universal garment, shared alike by both cultures and this pair is a perfect addition to our “Certifiably Native” auction.

THE INDIVIDUALS

Images of trade silver come to mind when you think of trade between Native and European cultures, and long time gun maker, black powder shooter, NMLRA and CLA member Joseph Valentine has fittingly crafted a fine trade silver brooch just for us and the auction. Joe has copied largely from an original documented in the Frank T. Siebert collection. Pointing out that trade silver played a very big of a part in the fur trade system, Joe notes that such silver was desired and valued as highly as powder and lead. The piece he has copied dates circa late 18th or early 19th century and bears much resemblance to the trade silver work coming out of Montreal at the time. Montreal is often considered to be the epicenter of such trade silver, and while not marked, the original Joe copied is very similar to the work of Robert Cruickshank who is one of the most recognized makers of trade silver from both that area, and that era. Like all of his trade silver, this piece is hand sawn from pure sterling silver. Joe has made all of his trade pieces this way since 1967. Afraid that it would be too easy to think one of his pieces was an antique, he carefully stamps each item that he makes with his own special touch-mark on the reverse side.

A “Double Thunderbird” porcupine quilled pouch based upon themes found on two separate original bags has been made and donated by Michael Taylor. The first bag is found in the British Museum and documented in the book “Thunderbird and Lightening” by JCH King; while the second is now housed in the Speyer collection. Dyed red, black, or left natural to closely copy the documented bags, Michael has carefully dyed the quills to match the color scheme found on the two originals. The Shawnee style strap is inspired by yet a third original example, an early 19th century piece housed in the Linden Museum in Germany. The brain tanned leather used to construct the bag was smoked and dyed by Michael himself, as were the rolled brass cones, and all of the hand collected, plucked, sorted and dyed quills he used to decorate it with. Michael points out that this pouch is like the work being done by the Ottawa and Ojibwa in the late 18th or early 19th century, and reflects the techniques, appearance and stylistic decorations often used by Native Americans to create the bags and pouches they crafted during this era.

“The Honest Brothers” team of Ken Gahagan, David Hughes, and Fred Threfall are well known, you may remember the beautiful writing desk lined with hand drawn replica 18th century maps they created for the 2006 auction. This year Ken and David have returned and donated two more of high quality eighteenth century style “re-production” items that they are famous for. Patterned after an original discovered in Alabama, David has made a “round shell” type silver gorget. It’s engraved on the convex surface with opposing triangles, diamonds, and a cross representing the thunderbird of the upper world, the rattler of the underworld, and the four directions just like the original. The scripted words “South Carolina” are also hand engraved in old time lettering just like they were on the original as well. One of today’s top makers, David has crafted a fine copy of a rare and unique piece of trade silver executed in the best traditional manner.

Following suit, fellow Honest Brother Ken Gahagan has made a traditional fancy brass, horn filled filigree handled, “Cartouche” knife. Ken has made and patterned this copy directly on an original knife in his own private collection. To get every detail correct, Ken hand forged the blade from tool steel to match the profile and blade thickness required to replicate the original, and then carefully pressed and molded the horn sheets into the filigree cut outs in the brass handle. Through out the east and mid-west from late 18th to the mid 19th century, cartouche knives made in this manner were very highly prized trade items and to tell the truth, Ken’s replicas are no less prized by reenactors and collectors today.

A horn pictured on pages 2 and 3 of Jim Dresslar’s book “The Engraved Powder Horn” is regarded as one of the earliest engraved American horns, and John Proud has copied it for this year’s auction. Back in 1725, after the battle of “Lovewell’s Pond” Maine, the original horn was taken from the chief’s body. Making a close copy of the original, John hand selected his horn to match it both in shape and size. He then faithfully built and carved it as much like the Chief Paugus horn as possible in every detail. The original horn is engraved over most of its surface, but as John points out, the actual carving seems to be done by as many as three different hands, so John altered his own carving style as he patiently matched them. Another challenge was determining how to carve the portions of the original horn not illustrated, but John also handled this very well. The Paugus horn is rarely copied, especially by such a gifted horn maker as John, but he thought it a noteworthy project for our auction because it illustrates just how early the cultures were exchanging both ideas and materials.

Art DeCamp, another noted horn smith, has crafted an authentic replica of an upper Lehigh / Allentown Pennsylvania screw tip powder horn dating from the 1760 to the 1770 period. Well known for his high level of craftsmanship, and for the authentic detail used in his work, Art made this horn in a truly traditional manner. From the precise profiling of the lathe turned black horn tip and maple butt, right down to the proper 9/16” x 9 per inch threads, this horn exhibits all of the construction characteristics of the old and much sought after originals made in this region. For final decoration, Art used a traditional lead oxide based pigment he mixed from an old time recipe and embellished the front of the horn with the image of “Chief Tammany”, also known as the “Liberty Cap” figure. This figure is often seen on similar items made in the upper Lehigh area during the 1760s. The back panel is decorated with two “Tree of Life” figures, a diamond border and traditionally random polka dots. Powder horns were made by the Moravian craftsmen of this region to supply the local trade, which as it grew increasingly included the Native Americans. The horn donated by Art is a beautiful representation of this famous and eagerly sought after style.

Glen McClain has made a knife that will make Bowie knife collectors want to take note, with his donation of a beautiful coffin handled, clip pointed early Bowie and matching sheath. If you are familiar with Glenn’s knife making skills, then you know what to expect, and if you are not then you are in for a treat, because this piece is based on the famous “Tahchee” original painted by Charles Bird King in 1837. Models of form, fit and function echoing the look and feel of the blades created by yesterday’s masters, Glen’s work is recognized and collected by many. If you are just getting started, or if you are a long time Bowie knife aficionado, or even if you just want to own and use an authentic copy of a legendary blade made by a top notch maker, you will defiantely want to be at this year’s auction for a chance to bid on this item.

THE ORGANIZERS

Thanks must be given to Roland Cadle for taking on the overwhelming job of chairing and organizing this year’s event, and to Mike Galban for authenticating the items donated to this year’s auction as “Certifiably Native”. On top of that Roland, who is also well known as one of the nations leading horn smiths, has crafted and donated a traditionally hand crafted Philadelphia style screw tip horn. Roland has copied this horn directly from one that was collected and taken back to England in the 18th century. Today horn is fully shown and documented in the book “Warriors”, and along with his horn Roland has provided a copy of that book as well as a letter of correspondence further detailing the horn’s provenance specially obtained from the original horns current owner back in the U.K.

Special thanks to our auctioneer Joe Mills, of Kurtz Realty & Auction Co, Owensboro, KY - it wouldn’t be an auction without him.

THE VENUE

As in the past years, The 14th Annual Contemporary Longrifle Show will once again be held at the Lexington Convention Center in Lexington Kentucky. The show dates for this year are August 20th and 21st, with the live auction being held on Friday the 20th at 4:00 pm. You can contact the CLA for more information about the auction, the artists, or bidding by telephone at: 1-540-886-6189 or write:

CLA PO Box 2247 Staunton, VA 24402

On line at:http://www.longrifle.ws/

Or e-mail your question to: cla@longrifle.ws

THE ARTISTS

Todd Bitler 6333 Ewen Circle Grove City, OH 43123 Phone: 614-305-3773 Web page:http://www.nativeworkshop.com/

James Blake 143 Chambersburg St. Gettysburg, PA 17325 717-334-9444 Web page:http://www.whitesavagetrading.com/

Roland Cadle PO Box 560 Claysburg, PA 16625 Phone: 814-312-1825 or 814-696-1379 Web page:http://www.villagerestorations.com/

Dave and Diane Chambers (please see in person at the CLA show in August)

Tom Conde P.O. Box 155 Mouth of Wilson, VA. 24363 Phone: 276-579-6718 Web page:http://www.condetrading.com/aboutus.html

Art DeCamp 2210 Acorn Circle Huntingdon, PA. 16652 Phone: 814-643-6343 or 814-386-1889 Web page:http://www.artspowderhorns.com/

Rich Dillon 703 Saturn Dr. Effort, PA 18330 Phone: 484-357-2874 Web page:http://www.dillonsflintlocks.com/contactus.shtml

Ken Gahagan, 9401 Woodcrest Rd. Pittsburgh, PA 15237 Phone: 724-713-1936 Email:kgahagan4@gmail.com

Mike Galban PO box 94 Victor NY 14564 Phone number: 585-398-2276

Tom Gifford 2060 Ogle Rd. Gatlinburg, Tenn. 37738 Phone: 513-504-6693

David Hughes 3803 Shepard Rd. Gibsonia, PA 15044 Phone: 412-302-9590 Email:dhughes@consolidated.net

Frank and Lally House PO Box 257 Paris, KY 40361 Phone: 859-707-5429 or 859-707-9677

Steve Lodding 6510 West Elcampo Grande Las Vegas, NV 89190 Phone: 702-656-6085 Email: patentbreech1@embarqmail.com

Glenn McClain 7896 N. Bear Creek Rd. Morgantown IN 46160-9064 Phone number: 812-597-5885

Joe Mills 2202 Sheffield Court, Owensboro, KY 42301 1-800-264-1204

Cameron Pitkethley 72 Roxborough Dr., Sudbury, ON. Canada, P3E1J7 Phone: 705-674-9588

Ian Pratt 17775 Warwick Rd., Marshallville, OH 44645 Phone: 330-658-4049

John Proud 686 Sterling Park, Courtland, NY 13045 Phone: 607-756-2207 Email:JProud1@twcny.rr.com

Joe Seabolt 6794 Gaynor Rd. Goshen, OH 45122 Phone: 513-722-4321

Mike Small 41 Lodge Rd. Hedgesville, WV 25427 Phone: 304-754-8053 Web page:http://www.mspowderhorns.com/

Calvin Tanner 218 U.S. Rt. 50 Bainbridge, OH 45612 phone number: 740-634-3579

Michael J. Taylor 222 Twain Ave. Cincinnati, OH 45233 Web page:http://www.michaeljtaylor.com/index.htm

Joe Valentin 6732 W. Marlette St. Marlette, MI 48453 Phone: 989-635-4177

Penny Wayne, 9210 Sonora Rd. Sonora, KY 42776 Phone: 270-369-8474 Web page:http://www.kyleatherandhide.com/

Shawn and Amanda Webster 172 Wind Song Way Adolphus, KY 42120 Phone: 270- 618-3451 Email: websterquillwork@yahoo.com ]]> tag:www.blackpowdermag.com,2010://1.143 2010-04-24T09:51:27Z 2010-04-24T10:26:27Z

Mel Hankla, Editor P.O. Box 156 Jamestown, KY 42629 270-566-3370 melhankla@amhiss.com

Larry Pletcher The Contemporary Longrifle Association is pleased to announce the publication of the inaugural issue of its bi-annual journal, American Tradition. This journal is devoted to the tradition of early American craftsmanship in the firearms and related accoutrements trade, as practiced by the artisan-members of the CLA. Established in 1997, the not-for-profit CLA is dedicated to the art of contemporary longrifles and related accoutrements made after the mid-twentieth century. American Tradition is profusely illustrated with color photographs showing the work of CLA artisans, along with examples of original works that have inspired today’s craftsmen.

Articles in the first issue, all richly illustrated with the stunning photography of Ric Lambert and others, include “Celebrating the Old with the New,” in which CLA, Kentucky Rifle Association and Honourable Company of Horners member, Mel Hankla, discusses the connection between the original artifacts and modern-day re-creations, as well as the evolution of what has become known as “the longrifle culture.” James Wright, current president of the CLA and producer of high quality how-to videos, authors an article entitled “Williamsburg – Gateway to the Past,” which tells the story of the gun shop at Colonial Williamsburg, the people who have worked there and the impact they have had on contemporary work. In “Examining Traditional American Engraved Powder Horns” Art DeCamp, charter member of both the CLA and the HCH, as well as being a master horner, shows the influence of the Grider, Grancsay and Hartley horn drawings on contemporary artisans. In “Master – Apprentice – Master,” Henry Bishop, long-time member of the CLA and the KRA, presents a photo essay conveying the influence 18th century master gunsmith John Bonewitz had on his apprentice Leonard Reedy and modern-day contemporary artists. Also included are a book review by Lee Larkin, Russ Young’s column “Sources & Resources,” Joseph McClure’s thoughts on William Whitley, and several shorter pieces on contemporary movement visionaries Robert Weil and Gordon Barlow.

American Tradition is edited by Mel Hankla, noted historian, collector, writer and artisan. Associate editors are Frank House, Art DeCamp and Russ Young. Also on the staff are Art Director H. David Wright, Production Manager Bill Scurlock, Copy Editor Sharon Cunningham, Photographer Ric Lambert, and Administrative Manager Rachel Nolen.

American Tradition is published twice a year (January and July). This inaugural issue includes 48 full color pages plus the covers. American Tradition is distributed exclusively to members of the CLA and will soon be offered to the membership on the internet via a password-protected site. In addition to the journal, CLA members receive the organization’s newsletters and bulletins, free admittance to the annual show in Lexington, Kentucky, and free listings of items for sale on the CLA website. A one-year membership to the CLA is available for $50.00.

To join the CLA and receive the journal American Tradition or for more information about the CLA, call 540-886-6189, email or visit . Checks or money orders may be mailed to the Contemporary Longrifle Association, PO Box 2247, Staunton, VA 24402.

]]> tag:www.blackpowdermag.com,2010://1.142 2010-02-12T20:06:42Z 2010-02-19T23:53:15Z

A NEW KID ON THE BLOCK By Paul R. Jones Reprinted by permission of the National Muzzle Loading Rifle Association/ Muzzle Blasts magazine, November 2008. For information on the NMLRA and other black powder topics please visit the website at www.nmlra.org

Larry Pletcher I like tomahawks! I always have, even when I was collecting Colts or Scottish swords, but I just never could afford them. Then, when I discovered that contemporary craftsmen were making them I got excited. Eventually I met the incomparable Richard Guthrie, of Virginia, dean of colonial blacksmiths. Richard is not only unsurpassed at the anvil, but he has a true love and understanding of pipe tomahawks. Owning a Guthrie is the next best thing to owning an original.

I also met Glenn McClain, whose technique, although different from Richard Guthrie’s, produced tomahawks that were spot-on to the originals. (See article in July/August 1999 Muzzleloader magazine)

And as you might expect, there is always “a new kid on the block.” If you watch the wonderful DVD The History of Tomahawks produced by Alan Gutchess, you will spot a young man working at the forge in one scene. That is Brian Barker from Belleville, Michigan. I first met Brian at the Sauder Village gun show some years ago. He had just finished a copy of Jim Dresslar’s Squire Boone tomahawk, not a tremendously fancy axe, but I was greatly impressed with the accuracy of his copy. I didn’t see Brian again until the Eastern Woodland Indian Conference almost a year later. There he had a fine inlaid copy of the tomahawk, on pages 101 and 102 in Jim Johnston’s Accoutrements I. Since then, Brian has produced a number of highly accurate copies of some of the most exciting originals around.

I think it is best to let Brian explain his love of tomahawks in his own words: “My real passion is pipe axes, and I wanted one like Squire Boone had made. I met Jim Dresslar through Don Rettig and Alan Gutchess. He very kindly let me go through and handle his collection so I could see things close up and on every side.

This is something books and videos cannot do – nothing beats looking at the real thing. I found a wrought iron gun barrel in an antique shop and used it for my first attempt. To my surprise it went together right the first time. Since then I have always used wrought iron for my pipe and poll axes.

It welds great, looks right, and is what they used in the 18th century. I have some old springs that I use for the bits. Welding in the bit and not burning it is always the tricky part of making an axe.” Brian signs his fancy tomahawks “B Barker” and everything else with a “B” in an oval.

Brian is a self-taught blacksmith. An early attempt at making a knife from a saw blade without drawing out the hardness got him interested in blacksmithing. A worn-out riveter’s forge given to him by a great uncle got things started. All that was salvageable of that riveter’s forge was the blower. He made the rest from wood, clay, and pipe from a muffler shop. For pipe axe making he has had to make many of his tools and modify others for specific jobs. An article on blacksmithing by Joe DeLaRonde got him started, but Brian says the Hershel House tape on blacksmithing was the most helpful of all. “It seems like I learn better and quicker when I can see things done.”

I don’t want this to sound like all Brian does is make pipe axes; he certainly does much more. Brian makes belt knives and fabulous 18th-century folding knives. He makes his knives from 1080 or 1084 plain steel, and the handles out of bone, horn, or wood. He chooses the harder varieties of wood, since so many people like to use the butt of their knives to start the ball when loading.

Brian also does powder horns. Scott Sibley, probably the best known and most prolific producer of powder horns around, has been a teacher and inspiration in this area of his endeavors. Scott started giving him advice long before his book came out, but Brian says he has still learned a lot from the book.

He likes to find horns sixteen or eighteen inches long with about a three-inch base, which he plugs with either pine or poplar. He tapers the holes in the mouth so they will let go of the stopper easier in wet weather. Brian engraves the horns with a knife he adapted by giving it a short blade for control and a steep bevel for a wider cut.

Tomahawks, knives, and horns are not all you will see if you run into Brian at a show. He also makes carved antler powder measurers, pick and brush sets, turn screws, tow worms, and ball pullers.

Brian has been married to Susan for twenty years and has a fifteen-year-old daughter, Chelsea, who loves to hunt with him on their sixty-acre farm in Kentucky using muzzleloaders. He has worked over twenty-two years for the University of Michigan. In eight years he plans to retire and devote full time to blacksmithing.

Brian is a member of the NRA, NMLRA, and the CLA. If you would like to contact him about any of his work you can do so at squirehawk1774@yahoo.com or give him a call at 734-697-4274.

About the author:

Paul Jones began his interest in living history in 1960 with Ralph Marcum and Randy Cochran, he was a charter member of the Kentucky Corps of Longrifles and began attending Friendship in 1959. His interest in contemporary makers started in the 1970’s when Dr. Glen Marsh introduced him to the work of Gary Birch and Jud Brennan. In conjunction with David Wright he wrote the “From the Hands of Master Craftsman” articles for Muzzleloader magazine and has been writing for Muzzle Blasts.

]]>

Joe has been married to Diane, an RN, for eighteen years and the couple lives in a log house, that he mostly built himself, in a woodland area near Goshen, Ohio. His current workplace is an old-fashioned barn, but in the summer of 2008, he began building a new blacksmith/workshop from logs taken from an old Virginia cabin for his Cedar Ridge Forge.

Seabolt grew up, like many of us, watching Fess Parker as Daniel Boone on TV, and often "went into the woods to try to emulate the great backwoodsman." He began making knives at about age 10 by grinding down saw blades and crudely applying rough handles. In his late teens he "got a little better and was making blades using the stock removal method." Joe began building custom made, hand forged knife blades in the early 1990s at Historic Mansker's Station in Goodlettsville, Tennessee. Under the tutelage of Steve Marshall, the resident blacksmith at Mansker's, Joe was taught to hand forge blades on a charcoal forge with a bellows and 18th century style tools. He subsequently set up his own forge and equipment and began making custom knives in this old-fashioned way.

Seabolt's philosophy is that "knives are one of man's oldest and most indispensable tools, and my goal is to make cutlery that not only has an 18th century look and feel, but is also a functional tool. Someone may have to depend upon a knife in an emergency, and I always keep this in mind. I want my knives to be historically accurate, but mostly they must feel good in the hand and be able to do the job for which they are intended."

His artistry tends toward the Early Rifleman style with a long, graceful blade hammer forged from 1095 high carbon steel. Joe utilizes a special heat-treating that quenches the blade to make the spine softer than the edge, same way as the old time cutlers. This method produces a more flexible blade with maximum strength that makes it easy to sharpen and hold an edge longer than most. Seabolt states of his finished product, "No knife leaves my shop until it will shave hair!"

Joe's knives are handled primarily with antler and bone, but he offers various American hardwoods and ebony as well. He states, "I carefully select antler for straightness and size and may look through 100 pieces to find five that meet my needs. When people pick up one of my knives, I want them to tell me it fits their hands so comfortably it's as if it was made just for them" Joe uses a finish that gives the completed work a feel of age and toughness, but is still a beautiful example of the maker's work. His sheaths are made with rawhide liners sewn with catgut and covered with either brain-tanned deer skin or bark-tanned leather sewn with linen thread.

Custom tomahawks and belt axes are also built by Seabolt, from the same hammer forged 1095 carbon steel, and are patterned after those of the 18th century Indian trade. These tools are handled in curly maple, hickory or American walnut. He uses only the best materials in both his knives and tomahawks, and they carry a lifetime guarantee from defects in workmanship.

Joe sometimes builds custom longrifles, which he states are of the Woodbury School, but he personally prefers building custom knives and tomahawks. He began his riflemaking in 2006 after attending a seminar taught by Hershel House at Canter's Cave in Jackson, Ohio. There, he polished his knowledge of hammer-forging rifle furniture - ramrod thimbles, side plate and nose cap - the style made popular in muzzleloading circles by the House brothers of Woodbury, Kentucky.

Since the early 1990s, Joe has made "hundreds of 18th century style knives." This year he donated one of his Early Rifleman knives with custom leather sheath to the Contemporary Longrifle Association [CLA] for the organization's live auction.  The knife is described by the maker as a "turned handle trade knife." It is hand forged of his usual 1095 high carbon steel with a full length tang riveted over a pommel washer, and is handled in ebony."

In the words of fellow CLA artist and Live Auction Committee member, Tim Albert, "This knife is as beautiful as it is serviceable. Joe's many years as a trekker have taught him the exact qualities needed in a functionally edged weapon and tool, and his experience at the anvil gives this Cedar Ridge Forge creation the durability, look and feel of a true 18th century original."

Joe Seabolt is as generous as he is talented; he states of his fellow craftsmen, "Attending CLA shows and meeting the best artisans [from] around [the country] has really improved my own work...Joining the CLA has been one of the best things I have done...." He also belongs to the 2nd Company of the North Carolina Militia and attends living history events at Martin's Station near Ewing, Virginia, The Fair at New Boston in Springfield, Ohio, and the shooting matches at the National Muzzle Loading Rifle Association's Walter Cline Range in Friendship, Indiana, of which he is a member. He is a Life Member of the National Rifle Association and is one of that organization's certified firearms instructors.

See all of Joe's knife styles at the upcoming Contemporary Longrifle Association Annual Show and Meeting, August 20-21, 2010, in the Grand Ballroom of the Lexington Convention Center, in Lexington, Kentucky.

Seabolt can be reached at the following address and phone number: 6794 Gaynor Rd., Goshen OH 45122. (513) 722-4321.

About the author:

“(In 1996) I made the first left-handed rifle for myself, and pretty much from the start, I hoped to do this for a living some day. For a few years I built guns and sold them locally (northeastern Ohio, south of Akron) and out at Friendship (the National Muzzle Loading Rifle Association’s semi-annual shooting matches at Friendship, Indiana)...In 2006, however, I had so many orders for guns I quit my job and started doing this full time,” explains Pratt.

After a few years of experimenting and teaching himself the craft of longrifle making, in 2005 Ian took Jim Chambers’ lock-building class and Mark Silver’s stock-finishing techniques at the NMLRA’s gunsmithing school, which is held each June at Western Kentucky University in Bowling Green, Kentucky. Later, Pratt attended John Schipper’s metal-engraving class, held at the annual October Arts & Arms Making Workshop sponsored by Historic Connor Prairie in Fishers, Indiana. During the winter of 2006, he found his muse when he attended Hershel and John House’s gun-stocking class at Canter’s Cave, Ohio.

Ian states, “...it was a major change in how I did things afterward.” When asked during a written interview about having a mentor, Pratt stated, “I definitely think of Hershel as a mentor. Everything he does and the whole Woodbury School of rifle making has had a strong effect on my work.”

Pratt now specializes in iron-mounted flintlocks with a Southern influence, from the mid-1700s through the early 1800s. He likes brass-mounted rifles, has owned a couple, but he does not enjoy building them as much as iron-mounted longrifles.

Ian states, “If a brass mounted rifle is a pretty girl, the iron-mounted gun is her sister, just as pretty, but there’s something in her eyes that lets you know if you ever crossed her, you might not live to tell about it...”

I’d say that Ian Pratt is more than smitten with iron-mounted muzzleloading longrifles, which is the reason his rifles are classically beautiful and are so collectible.

Ian believes that the riflemaker’s self sufficiency and his ability to make “something wonderful” with limited materials is more apparent in the iron-mounted rifles.

“A lot of them show work that is little more than functional, but others are real works of art.” And so it is with Ian Pratt’s artfully carved and embellished “Iron-Mounted Maidens.” Pratt was born in Ohio in 1965 and is married to Maryellen. The couple has one son, John. During his rifle-building career, he has made between 40 and 50 guns, and except for the very first one, all have been for sale. He is a member of the Contemporary Longrifle Association, at whose annual meeting, August 14–16, 2008, one of his famous Iron-Mounted Maidens was auctioned.

Ian Pratt can be reached at 330-658-4049.

Sharon Cunningham worked for Dixie Gun Works for many years and was editor of Dixie Gun Works’ Black Powder Annual for several years. Now retired from Dixie, she still retains a lively interest in black powder sports. ]]> tag:www.blackpowdermag.com,2009://1.131 2009-08-08T16:32:12Z 2009-08-10T04:49:58Z

The series of photos included here are in response to comments generated in a number of internet forums the author reads. I have timed low, level, and high vent locations and found no significant difference in ignition times. Questions still surface about the preferred location of the vent. Until these ignition tests and these photos, all we had to go by was human senses. The best gun makers in the world early or modern had no better tools of discovery. Decisions they made were made without the benefit of an ability to test their theories. If the performance of the flintlock passed their “human sense test”, it was deemed correct. Now we can actually review their decisions about vent placement with test results they never had.

All earlier photos that I took were with the vent in the “level” position. The purpose of those photos was to examine other variables. Here the only variable will be the height of the vent. I took three photos at each of the following vent locations:

a. vent located .030” above the top level of the pan

b. vent located level with the top of the pan

c. vent in the bottom of the pan

The reason for multiple photos is that I hated basing any conclusion on only one trial. I set the camera to look into the muzzle. The aperture was f13 and the shutter held the lens open for 4 seconds. A cable release was used to make the operation easier. I primed the pan with the powder as close as possible to the barrel. Earlier tests showed this to be anywhere from 15-25% faster. In the low vent position the prime covered the vent. This is of no concern – contrary to popular belief, this does NOT result in slower times.

The vent locations were photographed three times with 1/2 grain of Swiss and ¾ grain of Swiss. These charges were weighted. The results of the different amounts of powder were very similar. I chose to upload the ¾ grain photos. Here are the photos of the vent .030” above level with the pan top:

Here are the photos with the vent level with the pan top:

Here are the photos taken with the vent at the bottom of the pan:

One additional photo was taken because most shooters use more priming powder that the ¾ grain used in this test. My pan charger is advertized to throw 3 grains. I used it for this final trial in the low vent position:

Conclusions drawn here are based on these photos and the data collected in the earlier article. A strong argument can be made for the level vent location used by the majority of flint makers. Numerical data supports this, and these photos show a strong flame moving through the vent. My rifles use this location and I see no advantage in changing them.

An equally strong argument can be made for the low vent location. The photo evidence also shows an impressive flame front to go along with good timing numbers. If my rifle had a low vent, I would not change it.

I question the location tested here with the vent located .030" higher than the top of the pan. The flame traveling through the vent is noticably less than the the other positions. I timed a high vent position earlier, but I did not specifically set the vent to the 030" position photographed here. Since high vent data gathered earlier was not precisely placed, it may not be valid here. Based on the weak flame seen inside the barrel, I tend to conclude that .030" may be too high for best ignition. ]]> tag:www.blackpowdermag.com,2009://1.130 2009-07-12T23:20:41Z 2009-07-14T00:21:32Z

Hershel House and his Woodbury School By Mel Hankla Photography by Ric Lambert, Jan Riser, Mel Hankla and H. David Wright Reprinted with permission from Muzzleloader magazine, July/August 2009. For more information on this and other black powder topics visit the web site at www.muzzleloadermag.com

Larry Pletcher

The first longrifles that Hershel remembers seeing were in an old store in Jamestown, Kentucky. He says it would have been about 1950. His family had temporarily moved and was living there while his father worked on Wolf Creek Dam that now holds back the Cumberland River and forms Lake Cumberland.  After moving back to Butler County in 1956, Hershel found an ancient half-stocked percussion squirrel rifle in his neighbor, Mrs. Gibbs’s, old barn. A long time family friend, he asked her if he could have it. It had belonged to her father, but she let Hershel have it anyway. He promptly fixed it, got it firing, and received a tremendous amount of pleasure hunting squirrels while exploring the woods and paddling the Green river in a homemade canoe.

In 1967, Hershel started building very intriguing mostly iron mounted rifles and through the years has truly become a living legend. In 1979 he was featured in Foxfire V, one of the ongoing series of books recording the customs and lifestyles of people from Southern Appalachia. In 1984 and again in 1985, Hershel was awarded a National Endowments of the Arts ~ Folk Arts Apprenticeship Grant. These grants provide funds for traditional craftsmen to take on worthy apprentices, thus passing on their unique trade. In Hershel’s words: "I am usually pushed for time and deadlines which I almost never make. So without this financial assistance I would probably never have been able to share my experience. The grant gave me 300 hours for the project, which allowed time to explain what I was doing and to go into the smallest of details. A lot of these specifics I had never taken time to explain even to myself..."

Through his years as a gunbuilder he continues to go through recognizable phases or periods of specific stylistic trends. In the early years his greatest influence was from the pages of Joe Kindig’s book, Thoughts on the Kentucky Rifle in its Golden Age. Thus, his first guns followed Golden Age styling of Pennsylvania’s gunbuilding schools.  Most of these early guns were brass mounted, a feature rarely found on his rifles today.

By 1975 his work had already evolved through a phase of building rather plain iron mounted Appalachian mountain rifles. He leaned more toward elaborate late flintlock period arms, specifically the type found in Southwestern Virginia or East Tennessee. By this time in his career it became obvious that his personal creative signature would be hand forged iron mounts for most every firearm he made.

By 1980, his guns started becoming considerably wider at the butt and took on the style of earlier, pre-revolutionary war period firearms. These are the guns he has probably become most noted for and are highly sought by collectors, hunters, and shooters. About this time, antique Kentucky Rifle collectors discovered his talents and started having him apply his knowledge and skill in the restoration of some of the finest antique Kentucky's that are in existence today. Hershel says, that being able to handle and become intimate with these grand old originals helped his career more than anything else.

On April 1st. 1987, Hershel fell victim to a disastrous fire. He had worked for many years and produced countless rifles in a small one room shop that had once been a smoke house. In the spring of 1984, Hershel and friends built a larger two room structure that would provide space for the soon to come N.E.A. funded apprentice. Much like Hershel's rifles it just never seemed new. His tools was an array of patinaed antiques, but obviously used often and included the complete set of his Grandfather's (and namesake, Hershel Finney) cabinetmakers planes. There were volumes of well-worn books in an ancient glass fronted cupboard; Hershel’s shop was literally filled with treasures from another day.

Basically a hand worker, Hershel tends to avoid most power tools, not from some romantic notion of using old-fashioned tools, but from personal preference. He generally uses manufactured barrels and “brought-on” lock and trigger components, although his ability at the forge, without a doubt, could be commonly applied to the making of barrels and locks from scratch if his customers were willing to pay for the extra time and effort needed for such work. This is quite evident from his recent involvement in the House Brothers, “An American Tradition” longrifle project. His stockwork has always been from the stick and his stylish iron mounts exhibit perfected skill of both black and whitesmithing.

"… In his work, Hershel's attitude clearly follows that of the early gunmaker. Whether at the forge, filing vise or stocking bench he is fast, sure and efficient; he wastes no time fussing about. That is a blend of skill and experience that was very well defined by the adjective "workmanlike" which eighteenth-century patrons used to describe sound products of an artisan's hands." He continues by saying, “Original pieces have made a strong impact on Hershel’s personal style, but not to the point of duplication. In fact, Hershel's translations more often than not seem more successful than the originals." Even when Hershel borrows elements of design from originals, his rifles are not copies; they are Hershel’s own statement of the many styles which he has encountered and absorbed from living his everyday life, precisely in the fashion that an early gunmaker developed his own identifiable style.

Hershel is well known for his ability in shooting competition and therefore understands what is necessary for a rifle to become an extension of the rifleman and for its components to function efficiently. First and foremost, his main concern with a gun is for it to be a shooter, always considering function before form.

This practical philosophy reflects the essence of utility, a traditional concept and an integral component of the gunsmith trade. However, the most significant signature of his work is the feeling of mellow age and long, but careful use. Even when the piece is brand new, Hershel’s rifles have the look and feel of having traveled a lifetime in the hands of a southern longhunter. Handling one of his rifles spurs the imagination toward visions from an earlier day. The rifles of Hershel House have a special feel about them. This quality of “feel” is hard to describe, but is well known to those who use their rifles for more than mantle decoration.

In the last several years, Hershel has been featured in "Field and Stream" magazine and on Sports Afield T.V. show.  He has also become a much sought after presenter appearing at a multitude of workshops and conferences nationwide. He continues to produce several unique long rifles and pistols each year, along with a multitude of one of a kind knives. This past June, Hershel and his brothers hosted the first Woodbury Gunmaking Seminar; it was a great success, and they are now accepting applications for students next year.

Those in attendance at the 2008 Contemporary Longrifle Association Show in Lexington, Kentucky had the opportunity to see the unveiling of a one-of-a-kind completely handmade Kentucky Longrifle by Hershel, Frank, and John House. The building of this exceptional work of art was donated by the brothers for a fund raising raffle for the Contemporary Longrifle Foundation and will be given away at the CLA show this August.

The rifle is a beauty; the wrought iron barrel, the lock, double set triggers, iron mounted hardware, and even the screws are made by hand in the same tradition as those firearms produced by American gunmakers in the 18th century. The rifle is built in their nationally recognized Woodbury School style, and includes many personal and unique attributes for which each are well known. It is relief carved, with engraved iron mounts. The patchbox is tastefully engraved with touches of sterling silver overlays, and a sterling silver escutcheon (for a future owner's initials) accents the top of the graceful wrist area. The 41" tapered and flared barrel is rifled in .45 caliber.

The only thing not handmade by Hershel, Frank, or John is the fine piece of curly maple wood in which the rifle is stocked. This piece of hand selected wood was donated by Freddie Harrison of Bradford, Tennessee, a supplier of stock blanks to muzzle loading gun makers for more than 30 years.

You are invited to join the Contemporary Longrifle Association and be present at the 2009 annual meeting, August 14th & 15th, at Heritage Hall in Lexington, Kentucky. Come meet Hershel, shake his hand, be part of this exciting project, and the continuing history of the Kentucky Rifle. DON’T MISS YOUR CHANCE to win this entirely hand-made House Brothers , “An American Tradition” longrifle. Chances are available, 5 dollars each or better yet, 5 tickets for $20.00. Everyone interested in being a member of the CLA and supporting our endeavors by buying or helping sell tickets can visit our websites; www.housebrothersproject.com and www.longrifle.wsfor detailed information about the CLA, photos of the rifle, the House brothers, and the building process. Or call 1-540-886-6189 for more information. See you in August!

About the author

Mel Hankla is a charter member of the Contemporary Longrifle Association and a noted collector of House brothers rifles, tomahawks and knives. Hankla has worked with the Kentucky Humanities Council as a Chautauqua-Living History Character portraying Simon Kenton and George Rogers Clark since 1995. He also portrays Kentucky’s first governor, Isaac Shelby and Benjamin Franklin in other venues. A noted writer, he has contributed articles to many publications. Visit his website www.americanhistoricservices.com to learn more.

]]>

Rather ironically, his first job was trimming trees, and just last year at 76 years old he fell out of a tree while trimming limbs and about broke his back, having to wear an aggravating turtle shell brace for several months.

Jack and his wife Barbara were married May, 1950 in Greenup, Kentucky. In 1951 he started working at the Webster Foundry in Tiffin, Ohio and worked there for 20 years. During this time, Jack states, “I started building guns full time in 1954, and from then on I held down two jobs. I worked at the foundry during the day and came home and worked building guns to 1:00 or 2:00 o’clock in the morning, always getting up and going back to the foundry the next day…” He still embraces that work ethic to this day. Recently Jack discovered from his daughter’s research into family genealogy, that his Great-Grandfather was a blacksmith and lived just outside of Frederick, Maryland. He says this was somewhat of a surprise as his Grandfather was an educator and while he amassed and managed many acres of rich Seneca county farmland, he was by profession a professor at historic Tiffin University.

Through the years, Jack has been most influenced by English firearms, both muzzleloading and cartridge guns. Early on Jack worked with Jim Houston and Tilton Bowden at “H & B Forge”, famous for their throwing knives and tomahawks. In order to make financial ends meet he built several rather simple, unadorned rifles and produced a cast pipe tomahawk that H&B Forge still markets today. However, his true interest was soon focused upon European firearms and finer more artistic fowlers, jaegers, and English rifles. Jack had family in Colorado and moved there in 1972 after leaving the foundry in Ohio, but in 1975 he moved from Fort Collins, Colorado to the little town of Elrod, Indiana on the ridge above Friendship, home of the National Muzzle Loading Rifle Association. Staying there only a short while, he soon moved to the town of Friendship and established his muzzle-loading career at that location. He quickly became quite a legend and his shop was a famous hang out for the best contemporary muzzleloading artists of the day. In 1982 after another short stint in Fort Collins, he moved to his current abode, 30 or so miles away in Milan, Indiana. Here he has made a name for himself as a builder of fine muzzleloading firearms, exclusive cartridge rifles, and as a restoration artist of fine European firearms.

Becoming a Legend

In 1976, Jack Haugh became a household name in the muzzleloading world when he along with John Bivins, assisted by Monte Mandarino and Mark Silver, produced a much publicized series of longrifles in honor and celebration of the bi-centennial of America’s independence. The odd numbered rifles were signed by Bivins and the even numbers by Haugh, and were accompanied by engraved powder horns by Tom White. These Pennsylvania styled rifles are highly sought by contemporary longrifle collectors today.

Jack has always been known for his superior handmade locks. However about 1980, he became interested in 18th century English guns by makers such as Twigg, Manton, Durs Egg and others. At that time he decided to recreate some examples of their work. Mike Parish, long time friend and student of Jack’s sums it up, “The guns of London were fit & finished to the highest degree of ability by a team of craftsmen. Jack simply decided to re-create these masterpieces. For one man to build the lock, make the masters and cast the silver mounts, is a tremendous undertaking. Then to also, fit, finish and engrave, literally fashioning the entire piece is almost unbelievable!”

When interviewed in 1979 by Robert Weil for his landmark book, “Contemporary Makers of Muzzle Loading Firearms”, Jack stated, “I once was a documentarion, but that is uncreative and a repetition of the same mistakes…” Remaining true to this statement throughout the years, Jack Haugh’s work has indeed shown much individualism. It has ultimately become the epitome of European styled contemporary firearms. He spearheaded the study and recreation of this style of work in today’s contemporary gunbuilding fraternity. His creations have provided the benchmark that all other work has been compared to, one often hearing the phrase, “Jack Haugh Quality” when in conversation about fine contemporary firearms. Many of today’s better known and esteemed makers consider Jack a mentor and give him credit for influencing their careers. The Contemporary Longrifle Association provides an annual venue for gunmakers to present their latest creations. There we see many interpretations of American gunmaking styles, but few artists have the talent, intuition and ability to improve upon original designs from the guilds of fine European gunmakers. Jack Haugh is such an individual.

The Gunsmith Trade

Haugh is well known and respected through the full spectrum of the gunsmith trade. For the last 15 years or so, he has focused on modern cartridge guns and the restoration of fine English sporting arms and is considered top in his field. When ask why he evolved away from muzzleloaders, he replied that the market was rather slim for the high art firearms that he wanted to build saying, “they just took too much time, and cost too much for most folks to afford.” Unlike many of today’s builders, Jack always felt that to be fair to the patron, to keep a log and charge by the hour was the only realistic method of putting an honest price on a particular piece of work. With exception of the barrel, he usually makes each and every part, with the lock alone often taking as much as a 150 hours of bench time. Thus at the hourly wage of $20 per hour back in the 1990’s, a finished firearm could easily reach $6,000 to $8,000 dollars. These days his wage is $30 an hour.

During the fall and winter of 2006 Jack built his first muzzleloader in 11 years. The commission was for a pistol that would be an icon of his work, a comprehensive yet concise artistic statement of the gunsmiths’ art and craft. When closely perusing this elegant pistol, (featured on the cover) one detects influence from the noted English gunmaker John Twigg, but also readily notices that it is not a copy. The distinctive flintlock of this silver mounted pistol closely resembles one by lock maker, Thwaits of Bath, plate #104, in Neal & Black’s, “Great British Gunmakers, 1740 -1790” and is designed with a unique anti-friction link attached to the tail of the frizzen pan-cover with its base acting upon the dip in the feather-spring.

Jack commented with his friendly chuckle, “I’d always wanted to see if I could make one of those…” All the silver mountings: guard, butt-cap, thimbles, thumb escutcheon, sculpted sideplate, were fashioned from sheet, hand chiseled and engraved by Jack. This grand pistol far and above exceeded the highest expectations of the client and will indeed serve as a definitive representation of the work of Jack Haugh thru the ages. It has become an integral component of a collection of pistols that is being assembled to stand as record of the many fine artisans working in the field today.

A New Era

At the 2007 annual meeting of the Contemporary Longrifle Association held in Lexington, Kentucky, Jack was recognized as one of the forerunners of the contemporary movement and was bestowed with the coveted CLA Distinguished Service Award.

He was also honored with the presentation of an educational exhibit of his life’s work, telling his story with graphics and examples of work from the 1960’s to his most recent piece completed during the winter of 2006/2007. This experience obviously made a great impact on this humble gunsmith. He was so impressed by the overall excitement and enthusiasm of the artists and collectors of the CLA, that he approached the Board of Directors of the Contemporary Longrifle Foundation, the fund raising faction of the CLA, about a very generous donation. He wanted to build and donate a rifle, complete with hand-made lock and triggers, to be auctioned for the benefit of the organization. Stating, “I want to do something, something to help this great organization continue in its diligent support of this muzzle-loading discipline; something that will hopefully add fuel to this movement, this phenomenon in the world of the Contemporary Rifle.” He spent more than a month of bench time on the flintlock alone, and also hand made the double set triggers, one piece nose cap, thimbles, sideplate and patchbox, with a total of 550 hours invested overall in the entire project. The lines of the piece are readily recognized to be that of a rifle from the Lancaster County area of Pennsylvania, and it feels much like the work of Isaac Haines. However, it is neither a copy of any one gun nor the work of any particular maker. It’s a “Jack Haugh”, a product from his heart and his hands and will forever stand as testament to his life, his talent, and his passion. Jack told me, “I felt my age on this one”, however all who have had the opportunity to fondle this extraordinary example of contemporary art wish that even at our prime we would have had the talent and ability to produce such a fine rifle.

Appreciation

Speaking for the association and the whole of the longrifle culture, Jack, we want to say thank you, so very much for this exceedingly generous contribution of your life’s work and we truly honor you for all you’ve done to teach and influence us throughout the years. We look forward to the opportunity of enjoying the creativity of your passion yet to come.

Jack turned 78 years old in February of 2009 and still has the work ethic of a seasoned European workman. He works along side his wife Barbara; known for her barrel finishes, in a wonderful shop in Milan, Indiana.

ABOUT MEL HANKLA

Mel Hankla is a charter member of the Contemporary Longrifle Association and a noted collector of House brothers rifles, tomahawks and knives. Hankla has worked with the Kentucky Humanities Council as a Chautauqua-Living History Character portraying Simon Kenton and George Rogers Clark since 1995. He also portrays Kentucky’s first governor, Isaac Shelby and Benjamin Franklin in other venues. A noted writer, he has contributed articles to many publications. Visit his website: www.americanhistoricservices.com

It was a sentimental restoration project for John and he did 98% of the work himself with very few modern tools and even less money. John dismantled the old store piece by piece, found another similar building to help make up for some of the rotten wood and restored the relic from his early childhood that held so many pleasant memories for him.

The final result is a charming, well-built structure that is neither shiny nor pretentious - sporting the old patina on the siding and exuding an earlier era in Kentucky’s history. This resurrected building is a strong and stunning reflection of a man possessing considerable artistic talent, attention to detail and a gifted ability to meld wood and metal craft into a thing of beauty and functionality, while at the same time coaxing the past into sharp and harmonious focus. It is this commitment to patience, solid construction methods and historic realism that guides everything he does—whether it be a hand forged knife or a fine longrifle or even a willow back chair.

Yes, John is related to Hershel and Frank House. He is the youngest male sibling in the family and the three of them (they are close-knit) form a trinity of talent that have turned out many knives, firearms and accoutrements of exceptional quality and beauty.

We should not be surprised. Their father was a hard working man and a boilermaker for 42 years, providing a good work ethic and example for the family. The real stream of artistic talent, however, flows through their mother Coweta’s lineage. She is a musician and professional song writer that has marketed her music to people like Faron Young, Bobby Vinton and LeAnne Rhymes. John’s grandfather, on his mother’s side, Hershel Finney was an iron worker/riveter with talent also. He made beautiful willow furniture, wooden boxes and furniture, providing income during the depression. John also is an accomplished musician, playing guitar (mostly bass) and leading with his vocals. John doesn’t compose like his mother. He calls himself a “clean up writer,” meaning he likes to help refine the lyrics once the song has been written. Presently, he is working on a 14 song CD.

Hershel’s and Frank’s work with longrifles and knives are legendary, but John has emerged as very fine bladesmith and gunsmith with his own distinctive style and flavor. The pictures accompanying this article show a few examples. Here is his story.

John House was born in Woodbury, Kentucky in 1961. Raised in an old lock house on the Green River, John describes his childhood as idyllic with Hershel being a strong roll model and mentor for both him and Frank. John explains:

“Hershel spent a lot of time with us when he came back from the Marines. Though he was twenty years my senior (Frank is a little older than me) he would take us down to the river every day he could and teach us to both fish and swim. We would also go camping. Hershel would make us little knives and things and we grew up watching him work—it’s amazing what you can pick up as a kid by accident. As teenagers, Frank and I would go out there a lot, skipping school often, working on the lathe, making knives and beating and banging on the forge. Those were great times for us. Our skipping got to be such a problem that when the school principal was contacted all he could comment was: ‘I’m not really worried about them going out there and learning all that stuff because they sure as h*ll aren’t learning anything here!’”

So John House learned, first hand, the fundamentals of wood and metal work under Hershel’s tutelage, but did not step out as a gun and knife builder till the late 1980’s.

John enumerates: “I remember back in the late eighties I hadn’t done much art or knife work and I lost my full-time job. I hung out at Hershel’s a lot and told him I didn’t know what I was going to do. Hershel told me he would show me and I watched and worked with him about four or five days. Then, I just sort of fired up the forge and took off. I have learned much since then, but I needed a push to get me going and so I started building knives.”

These days, John and Hershel conduct gun and knife building seminars together and freely share their knowledge, skill, and expertise. This summer the three brothers are conducting their first gunmaking workshop together at Hershel’s shop in Woodbury. John says he has made many great friends along the way.

But what about John’s longrifles? In addition to Hershel’s influence, Frank played a significant part in his development as a gun builder. He says: “I built my first rifle with Frank in his shop. Frank at that time was a journeymen boilermaker and a great welder, but had decided to go into gunsmithing on his own and had a small shop in Woodbury. At the time, I was making willow furniture and one day he said to me, ‘Look, I know you have the eye to do this!’ So, I started working with Frank and we built a brass mounted, walnut stocked, Virginia rifle. The next gun we built was an early, iron mounted, 62 caliber, long-barreled, curly maple stocked beauty. I nicknamed it Summertime, because it took all of one summer to build. I found out later that old Summertime went out to California and won a state championship. I was a real proud of that.”

Although John likes to build early American flintlock rifles, his favorite style is the later period, flintlock mountain rifle.

Recently, the House brothers teamed up to build an exquisite Kentucky longrifle completely from scratch—lock, stock and barrel. This rifle is being raffled as a fundraiser titled “An American Tradition” for the Contemporary Longrifle Foundation. The Foundation’s purpose is to raise funds to promote the art and history of the Contemporary Kentucky Longrifle and related arts through educational publications, museum exhibits, and grants; and to promote contemporary artists of the Longrifle Culture.

You can read about this remarkable project at the CLA’s web sites: www.longrifle.ws and www.housebrothersproject.com and view photos of this superb longrifle and the three of them at work on this gun, stage by stage. For John House, this was an especially meaningful project on a number of levels. He says: “It was really special to me and an honor to get to build this rifle with my brothers. It makes me awful proud and we always seem to have a lot of fun when we work together.”

John’s gift and interests are first building knives, then longrifles. Over the years, John has built over 100 knives, including belt knives, dirks, and neck knives. In the beginning, buggy and truck springs were used, but today he prefers using 1084 or 1095 cutlery steal because it comes soft and can be shaped and tempered nicely. John says: “We always like to do French and Indian stuff. I like to beat the metal down close because that’s how they used to do it and that means leaving a little scale in order to come up with a good style. I have made belt knives, neck knives and daggers. A knife should have texture and character—I don’t like stuff that is too shiny. I also make my own knife sheaths. That way, the buyer can wear the knife right away and not just stick it in a drawer somewhere. I like to see my knives and guns used.”

If you are looking for a historically correct longrifle or knife of heirloom quality, contact John by letter. Prices vary, but are reasonable considering the quality and historical accuracy of anything John builds. Be aware that John is an artisan who prefers to build from inspiration, so give him a general picture of what you are looking for and let him run with it—or he might even have a knife on hand you your liking! You won’t be disappointed.

John’s Address is: PO Box 11 Woodbury, KY 42288

About The author:

Mark Sage fired his first muzzleloading rifle in 1979 and since then, the pursuit of understanding American history has been a one of the most powerful drivers in his life.  He enjoys muzzleloading hunting, trekking, building firearms, powder horns and accoutrements.  As an author and a public speaker on radio and television, he has spoken at a variety of venues about our early frontier history. Visit his website: www.portalsintimeinc.com

Shawn still lives in the mountains of Utah, near Cedar City, still hunts with a muzzleloader, fishes and traps in the 18th and19th century manner following in the shadows of Jim Bridger, Jedediah Smith and Joe Meek. He still tans all of his own hides for use in his work using both the bark and brain tanning methods.

But there have been some exciting new developments for Shawn. Among other things, he has authored a chapter on 19th century beaver trapping in the Book of Buckskinning VIII, but even more ambitiously, he has published a book titled In The Image of A. J. Miller, a full color volume uniquely showcasing the art of Alfred Jacob Miller and Shawn’s recreations of the clothing shown in those paintings.

In 1837 Baltimore artist Alfred Jacob Miller went west with an expedition headed up by the famed Scotsman, Sir William Drummond Stewart. Miller was to chronicle the trip in sketches for Stewart in order to later work his sketches into finished paintings. Miller attended the ’37 rendezvous in the Rocky Mountains and was the only artist to ever depict one of these events. During this journey Miller did a large number of drawings and paintings of the mountain men, Indians, and geographic locales he encountered. Shawn has taken a selection of Miller’s art, had well known artist frontier artist Lee Teter duplicate these works, and then faithfully recreated the clothing and accessories shown in the paintings. He has placed Miller’s subject on one page and a photo of his reproductions duplicating the painting on the facing page for comparison. It is a very interesting concept, and most useful to anyone depicting this period of frontier history.

Notably, Shawn’s quillwork was included in a successful 2004 museum exhibit, The Art of the American Frontier at the Owensboro Museum of Fine Art (Owensboro, Kentucky), curated by Russell Young. This unique and cutting edge exhibit featured both antique art and outstanding works by 41 of today’s leading contemporary makers.

The quality of his work steadily improves as he faithfully reproduces the techniques passed down by generations of quillworkers. But also as a creative artist, he develops new styles which express his own ideas, all the while being cognizant to preserve the traditions of the past. Shawn is well known for his exquisite quillwork and beautifully brain tanned hides, though he is interested in all forms of early American art. He is constantly seeking out new formats through which to express his art.

One of the most demanding of these new works of art was inspired by renowned frontier artist H. David Wright. David commissioned Shawn to make a quilled coat in the style of 19th century Metis coats. Says Wright, “We wanted this to be an exceptional work of art, so Shawn and I researched Metis coats in collections throughout North America and Europe. I photographed many coats for construction techniques and quill designs and we then selected what we felt was the best of the best. Shawn beautifully incorporated all our research into a fine, beautiful work of art.”

This coat was featured in the Owensboro Museum exhibit catalog with a full page color photo. It is also shown in this article. Beautifully quilled and made from six brain tanned hides smoked in two colors, the coat is truly a work of art. David has been seen wearing this fabulous coat at his gallery shows and events throughout the country. As a result, Shawn’s reputation continues to grow in many areas of the art world. According to Shawn, he is in the process of finishing another of these coats, the first one to be offered on the open market.

Several years ago, Wright also commissioned him to make a copy of an 18th century Huron pouch that is in the Canadian Museum of Civilization in Ottawa, Canada. Wright had photographed the pouch in 1987 in preparation for article he wrote on American Indian quilled art. He made detailed photographs and obtained information about the construction techniques used in the bag by examining the original during a trip to the museum (then known as the Museum of Man). Much to Wright’s chagrin, after he commissioned Shawn to duplicate the pouch, he later learned that the pouch contained moosehair embroidery, which he had misinterpreted as quillwork. However, because Shawn’s quilling techniques are so finite, the quilled bag looks to be an exact duplicate of the original. Wright reflected that… “Shawn took the information I furnished him and faithfully reproduced it in quillwork. Because moosehair embroidery is sometimes difficult to identify from fine quillwork, I’m the one who misinterpreted the original art. Shawn did a fine job with his work and it’s almost impossible to tell the difference.” The pouch is featured in this article.

Since pouches are one of the most practical canvases on which Native Americans placed their designs, it follows that when writing an article on an artist working in this medium, those would be one of the most common forms to illustrate. As such, we have chosen four to be illustrated here: the Huron pouch previously mentioned; a copy of an 18th century Ottawa pouch; one with a Shawnee design, and one collected by Sir John Caldwell during the American Revolution. The Ottawa pouch features the “underwater panther” design. This motif holds great spiritual meaning for Native Americans and thus many contemporary quillworkers are reluctant to recreate it. This pouch is a prime example of the work Shawn does in that it is true to its heritage, and is beautifully aged to give it that eye appeal so liked by re-enactors as well as collectors. Additionally, it is constructed and quilled in such a way as to be completely compatible with hard use. The strap is backed and the bag is lined with hand-woven linen. It is, in all ways, serviceable while maintaining that authentic, period look – a must for those living history buffs who use these works in the field.

The third pouch we have chosen is what is generally accepted as a Shawnee design. Again, while faithfully and painstakingly maintaining authentic design our artist has recreated a product that will provide service for those who wish to use it as part of their persona in re-enacting or present a focal point for any collection of Native American art. The original which influenced this design is in a museum in Germany.

The fourth pouch is a copy of another quilled pouch that resides in the Canadian Museum of Civilization. It was collected by Sir John Caldwell, an Irish baronet. As an officer in the British 8th Regiment of Foot, Caldwell was assigned to Niagara and Detroit between 1774 and 1780. His position demanded frequent official visits to Indian villages, and he took part in several Indian councils. It was during these trips that he amassed a superb collection of Native objects, which he took back with him to Ireland in 1780.

Of equal importance in items of decoration to early Native Americans was the knife sheath. Whether it be made for the larger belt knife or what is termed a “neck knife”, these sheaths provided an ideal platform on which to display their art. The neck knife sheath pictured next to the Shawnee bag is of the classic Central Great Lakes design.

The larger belt knife sheath is of Huron influence but is freely designed by Shawn. It is a belt size, 9” sheath with a stiff bark tanned liner covered with brain tan deerskin. All of the quills Shawn uses in his work are dyed with natural dyes. The knife is an English style trade knife hand-made by well known Crossville, Tennessee knife maker Tim Ridge. (More about Tim in a later article.) Also shown is a woman’s knife and sheath based on an example collected in the Upper Missouri region in the 1850s.

Shawn is active in support of organizations that share his interests: The National Muzzleloading Rifle Association, The Contemporary Longrifle Association, the American Mountain Men and the National Rifle Association.

Shawn Webster’s art continues to improve as he researches his subjects and applies his knowledge to his art form. He is always excited about taking on new challenges and is willing to talk about any project if you will call him at (435) 592-5090 or email him at shawnwquillwork@yahoo.com .

Author bio: Paul Jones began his interest in living history in 1960 with Ralph Marcum and Randy Cochran, he was a charter member of the Kentucky Corps of Longrifles and began attending Friendship in 1959. His interest in contemporary makers started in the 1970’s when Dr. Glen Marsh introduced him to the work of Gary Birch and Jud Brennan. For many years he has contributed articles for publication in Muzzle Blasts and authored “From the Hands of the Master Craftsmen” for Muzzleloader magazine. ]]>