T H E J O U R N A L O F T H E C O N T E M P O R A R Y L O N G R I F L E A S S O C I A T I O N VOLUME 1, NO. 1
JANUARY 2010
T H E J O U R N A L O F T H E C O N T E M P O R A R Y L O N G R I F L E A S S O C I A T I O N
Volume 1, No. 1 • January 2010
CONTENTS
EDITOR Mel Hankla
2. EDITOR’S NOTE
ASSOCIATE EDITORS Art DeCamp Frank House William Russell Young ART DIRECTOR H. David Wright PRODUCTION MANAGER William Scurlock PHOTOGRAPHY Ric Lambert ADMINISTRATION MANAGER Rachel Nolen AMERICAN TRADITION is the official publication of the Contemporary Longrifle Association and is published twice a year for the membership. Annual membership dues are $50.00. To join the CLA or for more information, contact: The Contemporary Longrifle Association, P.O. Box 2247, Staunton, VA 24402. Phone: 540 886-6189. Email: cla@longrifle.ws. Website: www.longrifle.com Copyright 2010 by the not-for-profit Contemporary Longrifle Association, all rights reserved. CONTACTING THE EDITOR: For editorial inquiries, contact Mel Hankla at <melhankla@amhiss.com>, phone 270566-3370. Mail written material to: Mel Hankla, PO Box 156, Jamestown, KY 42629 American Tradition
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3. PRESIDENT’S MESSAGE 4. CELEBRATING THE OLD WITH THE NEW Mel Hankla 14. WILLIAMSBURG ~ GATEWAY TO THE PAST James Wright 24. EXAMINING TRADITIONAL AMERICAN ENGRAVED POWDER HORNS & the Influence of the Grider, Grancsay and Hartley Drawings Art DeCamp 34. MASTER ~ APPRENTICE ~ MASTER Henry I. Bishop 43. WILLIAM WHITLEY ~ The Man behind the House Joseph C. McClure 43. SOURCES & RESOURCES Russ Young 44. THE “DILLIN” OF THE CONTEMPORARY LONGRIFLE Gordon Barlow 46. THOUGHTS...ON THE LONGRIFLE TRADITION Robert Weil 48. BOOK REVIEW Lee Larkin Front Cover: Above is the 18th century rifle known as the Johanes Faber. The silver-mounted pistol below, inspired by the antique Faber, was made in 2009 by Mark Silver. A full-length view of the lock side of the pistol is found on page 6. Photograph by Ric Lambert
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Editor’s Note
Contemporary German Jaeger by Jack Haugh
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t is an honor to be addressing you as editor of American Tradition: The Journal of the Contemporary Longrifle Association. Much planning and consideration has occurred to produce this first issue. The very talented volunteer staff has taken this opportunity seriously and has committed to produce a visual and educational tool that will become a hallmark for the CLA and the longrifle culture. Each issue will have a theme and for this introductory issue it is Celebrating the Old with the New. This concept was initially presented by the CLA at the National Rifle Association meeting during May 2009 in Phoenix, Arizona, as the subject of our annual educational exhibit. Each issue of the biannual journal will focus heavily on large images and premier graphics to support professional contributions of enlightening articles. The full-color publication will boast exquisite photography creating a virtual feast for the eyes. Plans are to feature contemporary art and provide educational and technical articles highlighting antique arms as well. All art encouraged by the CLA has a firm foundation based on historical arms and related art forms, thus it is only natural for CLA artisans to have a keen interest in historic examples of their arts. One of our goals is to present rare and seldom seen traditional items to provide inspiration for the artist and to fascinate the collector. Including items beyond contemporary art, embracing antique arms and art, will provide an exclusive educational resource for our members. Many of our members are considered authorities in their field and we kindly ask anyone willing to share their expertise to please consider writing a future article. Articles in American Tradition will highlight the full spectrum of historic-styled firearms and their accoutrements and 2
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intimately examine all facets of the art of the CLA. It is felt that focusing on articles pertaining to the art will promote a number of artists concurrently and ultimately more equally serve our membership as a whole. It has been stated “the CLA is the heart of the arts of the Longrifle Culture.” For twelve years our organization has provided an annual venue for interaction between artists, collectors, shooters, builders, students, museums, organizations; in short, it encompasses any entity whose actions, interest or way of life is influenced by some aspect of the American longrifle. Our goal with The Journal is to educate, disseminate information and promote the association, its members and their art, and historical arms and related arts. Our mission is to advocate growth in our organization while encouraging our membership to concentrate upon the quality of art produced with acute consideration given to its relevance to our purpose. It has been exciting to be part of the production of this first issue, and I’m anxious to hear your thoughts. So sit back, give it a look and enjoy!
Mel Hankla
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President’s Message
RIC LAMBERT
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homas Jefferson composed the Declaration of Independence understanding that the noble words and soaring rhetoric would be written with the blood of patriots. What gave Jefferson the confidence to place his keen intellect and full support in helping to establish a new nation to be built upon the shared beliefs in God-given inalienable rights was his circle of like-minded patriots, who were willing to pledge their lives, their wealth and their sacred honor to establish a government of, by and for the people based upon freedoms, liberty and independence. The Founding Fathers would back up this grand and bold document with muskets, rifles, pistols, swords, bayonets, knives, tomahawks and cannons. It remains true today; the humble beginnings of a diverse population who put freedom and liberty ahead of subjugation to any tyrant is a fire that continues to burn brightly in the hearts of freedom-loving people. The Contemporary Longrifle Association honors the American culture of the longrifle that was present when the foundation of our Republic was born. The building of muzzleloading firearms is a continuum springing from the first forges and gun makers’ shops even before the United States of America was founded. From the start, the gun played a vital role for pioneers for food, security and protection. Even though firearms technology has evolved, the muzzleloader has held its own to survive into the 21st century. Authors like Ned Roberts, Walter Cline and Joe Kindig published authoritative books capturing the historical significance of American rifles. Gun collectors, impressed by this truly American art form, founded groups like The Kentucky Rifle Association and the Ohio Gun Collectors Association to advance the study of early American guns. Shooters organized the National Muzzle Loading Rifle Association to promote and preserve all aspects of shooting black powder guns. Colonial Williamsburg developed an exacting approach to key historic crafts, including the gun shop, as a priority. These combined events acted to peel back the myths and legends surrounding the American flintlock firearm and reveal new information. Today like-minded individuals build, shoot and/or
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collect firearms and accoutrements that rival their historical antecedents in artistic merit, form, function, craftsmanship, fit and finish. We have advanced substantially, and considering the growing numbers who demonstrate an active interest in all things muzzleloader, indications are that the best is yet to come. For builders and collectors in particular, the Contemporary Longrifle Association is a logical progression brought to life by the dedication of many men and women who have volunteered their time, energy, talents and money to form this organization and make it prosper. We admire the brave and heroic sacrifices that constitute our heritage, with a respectful and intentional focus on recreating a broad range of the emblems pertaining to the formation of this great nation. This longrifle culture provides the framework for contemporary artisans to grow beyond the perpetuation or recreation of artifacts and art from days gone by. Beginning with European traditions brought to the Colonies and advanced to reflect a magnificent appreciation for our American spirit, modern artisans bring fresh creativity while working within the constraints of 18th and 19th century context to augment the old with the new. The historical context of our Colonial American character comes alive with rifles, smoothbores, pistols and all the accoutrements, including powder horns, shooting bags and fine quillwork-decorated items, along with knives, tomahawks, paintings, furniture and more. American Tradition will feature the best of what the Contemporary Longrifle Association is all about.
James Wright
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Celebrating
THE OLD WITH THE NEW Mel Hankla
Modern Inspiration from Artistic Concepts Conceived Long Ago
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lectric, just electric,” is how many described the last two meetings of the twelve-year-old Contemporary Longrifle Association. It seems this new energy was created by the addition of a historical arms section to our already very exciting annual show. And why wouldn’t it, as the roots of the entire spectrum of art cultivated by the members of the CLA are embedded in this antiquated longrifle culture that existed even before America’s fight for independence. Having these grand old originals at our show has given many artists their first opportunity to intimately examine items of inspiration that until now were only pictures in well-worn and cherished books. The CLA was originally founded as an organization of artisans and collectors who studied and/or created rifles and accoutrements of the American frontier period. Since its inception From left to right: An antique Virginia longrifle made by John Davidson is complemented by a contemporary rifle by Earl Lanning. Mike Buss carved the maple burl turtle effigy noggin. The engraved tomahawk is an original from the Revolutionary War period, flanked on the right by a contemporary pistol by Allen Martin. Lying on a finger-woven beaded pouch from Tom Condé is a shot pouch made by Joe Mills, mounted with a knife by Charles Miller. David Hughes crafted the silver gorget as a CLA Educational Exhibit award. Jim Hays forged the knife, which is held in Shawn Webster’s quill-decorated sheath.
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RIC LAMBERT
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H. DAVID WRIGHT
Featured on the cover, the carving and silver mounts of this pistol by Mark Silver were inspired by the original “Johanes Faber” rifle. The lock was made from castings and follows the style of a 1760s British dragoon, accurate for the Shenandoah Valley, circa 1760–70.
the organization has provided a wide stage for artists and collectors to scrutinize, exhibit, offer their work for sale, and acquire examples of frontier and longrifle culture inspired by the traditions of the 18th and early 19th centuries. Much growth and evolution has occurred since the founding of our organization in 1997. The overall scope of our multifaceted membership has grown and changed remarkably, becoming quite diverse with considerable improvement taking place within the art created. It would have been ingenious if in the beginning someone would have had the insight to devise a way to measure the increase in quality of the varied historical art forms proudly unveiled each August at the Lexington show. The knowledge gained from in-depth research and experimental archeology, regarding traditional style and methods of production is rather overwhelming. Each year the art gets noticeably better, as skills are honed and attention to sophisticated detail is focused, to produce items of
a quality that often is almost unbelievable. This annual venue seems to have created a friendly sort of constructive competition among the artists, many brainstorming on their way home from the show about some art form for next year to outshine that inspiring something that sparked a new glowing ember of creativity. It seems that each year there are new artists who emerge, giving inspiration to the old guys who only a few years ago feared there would be no one to carry on their flames of interest. In more than one instance, these new kids on the block have inspired the most seasoned veterans, causing old skills to be exercised and creative boundaries to be challenged. Perhaps it has been the movie industry once again that has helped nurture a newfound interest in the American longrifle and the myriad that goes along with it. Most all of the older CLA members seem to have been originally spurred by David Crockett and/or Daniel Boone in the movies and TV shows that almost everyone over 50 grew up watching. In the last decade, we have come to expect and take for granted respectable rifles and historically correct accoutrements used as props in the film industry. Almost all of us are familiar with images of Mel Gibson in The Patriot (2000) decked out with a fine rifle produced by CLA member Frank House and wearing porcupine quillwork by his artisan
Fess Parker, as Davy Crockett, used an original rifle in the 1955 film, Davy Crockett, King of the Wild Frontier. In 1992 Daniel Day Lewis used a rifle by CLA artist Wayne Watson in The Last of the Mohicans, and in 2000 Mel Gibson carried items by Frank and Lally House and Roland Cadle in The Patriot.
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wife, Lally, along with a powder horn by Roland Cadle. However, over 17 years ago CLA artist and gunbuilder Wayne Watson built the rifle carried by Hawkeye in the 1992 epic film, The Last of the Mohicans. It is considered one of the first motion pictures to strive toward historical correctness. Noted living history expert Mark A. Baker wrote, “The epic that is The Last of the Mohicans would not be nearly so if not for the grand attention to historic detail.” There is no doubt these movies have had a profound effect on the younger generation, but the last twelve years of promotion and achievement by members of the Contemporary Longrifle Association has also had major impact on the current movement that the longrifle culture is experiencing.
And more… Jim Wright states in his President’s Message (page 3), “The historical context of our colonial American character comes alive with fine rifles, smoothbores and pistols, plus all the accoutrements, to include crafted powder horns, traditional shooting bags, paintings, and fine quillworkdecorated items, along with knives, tomahawks, furniture and more.” And more… hmmm. So, just what is this more? At what point does this celebration, this evolution and expansion of artist expression, no longer fall within the boundaries of this discipline? As the interest and excitement about our organization grows and momentum builds in the movement of the longrifle culture, there is concern about questionable items starting to find their way into our show. This brings up the very delicate question: how far can one go before the art no longer falls within the realm of the longrifle culture. When does it cross the line? It truly is difficult, if not impossible, to distinguish an absolute border around what is and is not suitable for our show. The late Richard Nicholas coined the term “longrifle culture” stating, “Our Long Rifle Culture is a dynamic population that often lacks constant boundaries, is constantly in flux, and is identified by entities that interact and more often than not, in some method compete with one another. It is most often observed as an interaction between those who collect antique or contemporary long rifles and/or along with those interested in some facet of associated contemporary work.” For several years, it has been maintained that items considered art and belonging to this longrifle culture are the criteria for inclusion at the annual CLA show; for the first three years, it was all about the longrifle. Other items such as paintings, sculpture, slipware pottery and such were not allowed as part of our celebration. Even porcupine quillwork was not considered pertinent unless it was adorning a powder horn strap or shooting bag, items that supported the use of the longrifle. Slowly these art forms have American Tradition
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been accepted. Each year, proposals and then sometimes heated discussion during meetings of the CLA board of directors have approved their inclusion. Now many feel our show would be lifeless without them. Recently it was asked, “What about clothing?” Generally it is not considered art, but if skillfully hand sewn and artfully designed, it can be very exciting. On more than one occasion, historically styled porcupine quill-decorated Métis coats have been exhibited. Although they are made to wear, and thus clothing, they are also works of art and surely cannot be compared with a common pair of breeches, stockings or hunting shirt. Properly styled and handsewn clothing is obviously part of the historic longrifle culture, probably more so than some items we comfortably place alongside rifles, horns and bags. However, with the addition of racks of multiple hanging garments and tables piled with other items common at rendezvous and re-enactment events, many complained this year that we were starting to take on the appearance of an 18th century trade fair. So what’s the difference? What do we do?
Many “smalls” complementing the longrifle are found at our annual show. The Indian effigy salt horn is by Harris Maupin. The engraved priming horn shaped like a fish is by Mark Odle. Note how the small carved plug gives the impression of a minnow swallowed by the fish. The horn beaker is by Bruce Horne, and the bullet board with angelic horn overlay is by Art DeCamp.
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COURTESY OF THE NATIONAL GALLERY OF CANADA
The Death of General Wolfe by Benjamin West was painted in 1770 in remembrance of this occurrence during the Battle of Quebec in 1759. This cropped portion from that painting exhibits several existing items from West’s collection of Woodland Indian artifacts. These objects are still inspiring artists today.
Personal pride has been the jury for the CLA until this time, and our show, our organization, has become the buzz in the movement. It’s the place to be! And the reason is the quality, the art, the integrity that creates that wow factor when you walk into that room. Even the ambiance of our show being in the Grand Ballroom at Heritage Hall has placed the CLA in a position of distinction. Perhaps it is time for all to take a discriminating look at what we bring to our show, to personally express our celebration of the old with the new. The pride and consideration of the items, the artwork we present to our fellow members, is the lifeblood of this organization. We have truly evolved into an eclectic art show of many associated items created by diverse artists and opened the door for the full spectrum of antique arms, their accoutrements and associated arts as well. 8
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Facets of the Spectrum In the Introduction of Robert Weil’s 1980 groundbreaking book, Contemporary Makers of Muzzle Loading Firearms, John Bivins presented his thoughts and provided terms for the different styles of gunmakers: interpreters, new school, and documentarians. Gunmaker and author Mark Silver, in his introduction to the museum catalog, Three Centuries of Tradition, explains, “documentary is the closest to an existing antique, and ‘new school’ is the most divergent.” Many builders or artists strive to be very traditional, studying old methods and old styles, with the vast majority being rather well educated in the field. Many have a favorite geographic style of firearm, with some builders well known for their interpretations faithfully following the unwritten rules of
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