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. 2
JULY 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. 2 • July 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 COPY EDITOR Sharon Cunningham PHOTOGRAPHY Ric Lambert ADMINISTRATION MANAGER Rachel Nolen RESEARCH DEPARTMENT Henry Bishop Dan Brawner Kyle Carrol 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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4. Contemporary Longrifles as Documentary Statements: An Important and Necessary Paradox Mark Silver 18. THE CREATION OF AMERICA’S FIRST WEST: The crucible of long hunter culture Ted Franklin Belue 30. NATIVE AMERICAN CULTURE: LIFE AS ART Michael Galban
44. “CERTIFIABLY NATIVE” – The 2010 CLA Live Auction T. C. Albert 50. RELICS, RIFLES, RESEARCH & RECREATION Frazier International History Museum Historic Locust Grove The Filson Historical Society National Society, Sons of the American Revolution 54. BOOK REVIEWS Lee A. Larkin and Gigi Lacer 56. SOURCES & RESOURCES Russ Young
Front Cover: Gracing our cover is an outstanding contemporary longrifle and powder horn by Jud Brennan. These items are bench copies of the 1791 dated longrifle by Thomas Simpson for G. Mansker and its accompanying powder horn. For more about this fine rifle and others, see Mark Silver’s article on page 4. Photograph by Ric Lambert
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Editor’s Note
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MEL HANKLA
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foundation of early American culture upon which the Contemporary Longrifle Association is built. Starting in the 1600s he vividly explores and documents the journey up to the period we consider the core of today’s contemporary Longrifle Culture. New for this issue is a museum section. Many members travel hundreds of miles to the CLA meeting in Lexington, Kentucky. Each of the featured historical entities offers something of interest to our membership; perhaps you might choose to arrive early or stay an extra day. A list of other nearby historical attractions is added for your convenience as well. And as a regular service to our membership, once again you will find several book reviews and Russ Young’s column “Sources & Resources.” The American Tradition journal staff believes that focusing on articles pertaining to the “art of the Longrifle Culture” will promote a greater number of CLA artists and better serve our membership. Not to exclude individual artists, we offer the opportunity to all CLA artists and/or collectors to sponsor an artisan. You will find seven artist–sponsor pages in this issue. These sponsorships allowed for the addition of eight pages of exquisite photography. If you are interested in becoming a sponsor please contact me at 1-270-566-3370 or [melhankla@amhiss. com]. Sponsor pages are limited and will be awarded on a first come, first served basis. And now, I am proud to present to you issue two of American Tradition: The Journal of the Contemporary Longrifle Association.
Mel Hankla
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H. DAVID WRIGHT
t the conclusion of the “Editor’s Note” in the premier issue of American Tradition, I mentioned I was anxious to hear your thoughts. Well, hear them, I did! The obvious excitement within our membership was rather overwhelming and inspired all involved in the production of this publication to achieve our best yet again. Must admit I had doubts we could improve upon our first attempt, but I had not taken into consideration all we had learned and the experience gained on the premier issue. I believe you will agree this second issue is equally impressive. Each of the three current feature articles is written by a noted expert in his field. Each author has also generously donated his time and talent. Mark Silver gives us his first installment of three articles discussing John Bivins’ classifications of contemporary makers—Documentarians. Mark’s future articles will cover Interpreters and New School; watch for them in issues three and four. This article, “Contemporary Longrifles as Documentary Statements: An Important and Necessary Paradox,” features several breathtaking examples of “bench copies” as well as other examples from artists doing their best, from measurements and photos, to document an existing antique. This year’s Contemporary Longrifle Foundation fund raising auction is entitled “Certifiably Native.” Focusing on items made by, or traded to, Native Americans, twentyseven CLA artisans have generously supported the CLF with donations of their art. Tim Albert writes, “Every item to be auctioned is made in the most historical manner, often utilizing the exact techniques and methods used to create the documented original trade items by which they were inspired.” Providing insight into the niche Native American art holds within the philosophies of the CLA, Michael Galban in “Native American Culture: Life as Art” delves into historical significance and offers a glimpse into the study of 18th century Native art. His thoughts are illustrated with images of both historical and contemporary pieces that are truly a feast for the eyes. Ted Franklin Belue follows with, “The Creation of America’s First West: The Crucible of Long Hunter Culture.” Well known for his books on Daniel Boone, buffalo, and the hunters of Kentucky, Belue explains the
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Part one of three installments examining the contemporary schools of gunmaking
Contemporary longrifles
documentary statements ~ An Important and Necessary Paradox ~ Mark Silver
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n the January issue, Volume I of American Tradition: Journal of the Contemporary Longrifle Association, author Mel Hankla reminded us in his article “Celebrating the Old with the New” of the late John Bivins’ characterization of the approaches taken by makers when building contemporary longrifles. These approaches were set out three decades ago in the introduction to Robert Weil’s important 1980 book, Contemporary Makers of Muzzle Loading Firearms. Bivins states, “Some while back, friend Lynn Fichter—a geologist and gunstocker—and I spent quite a bit of time trying to buttonhole just what sorts of work were being done.” I would strongly suggest that you take the time to read John’s entire introduction. It is as relevant and fresh today as it was in 1980. John outlines three categories of historically oriented work: Documentary, Interpretive, and New School. He states of the Documentarians, “This group searches out ideals in early ‘school’ design and identifies itself in a very direct manner with the work of early masters…The goal of this group is an exacting recreation of existing forms,
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working within tight framework of period, region, and style, usually involving the work of distinct individuals in one school without mixing motifs that may have been used by different makers in that early school.” Bivins adds, “…each completed piece represents a conscious attempt to work completely within the stylistic vocabulary of separate individuals within each school.” These categories have always made sense to many of us, yet we hear less discussion of them than might be expected. One question consistently comes to mind: do we really need to pigeonhole a fine contemporary rifle into this admittedly academic scheme? To make sense it must provide an effective framework for enhancing our understanding of the way in which contemporary work is conceived, designed and executed, as well as how it relates to existing 18th century pieces. This should be true for makers, collectors and other aficionados. The boundaries of the three categories are difficult to define and can reasonably shift slightly depending on the context of the viewer. I hope this article will serve as a spur to ongoing discussion of contemporary work.
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longrifles as statements
A fine original Germanic smoothbore, circa 1730 (left), and copy by the late Ron Ehlert. Documentary work has its place in the study of European work as well as American. Here we see Ron’s facility as an engraver recreating the design of a worn wrist escutcheon and copying the relief chiseling and detail of the original on the brass plate of a commercial lock.
RIC LAMBERT
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RIC LAMBERT
MCINTYRE PHOTOGRAPHY, INC.
Most longrifle builders work at various times in carving layout leaves a small world unsaid in artistic at least two of the categories, sometimes all three. I presentation. What is the depth of relief, what tools— believe all are legitimate and worthwhile approaches gouges or V-tool—were used to set in the pattern, was to our art. Many of today’s academically trained artists the modeling of the scrolls or fluting of the leaves done believe copies should never be done, whether historic with a U-shaped veiner or radiused gouge? Was the or otherwise. While this attitude has been much lauded background of the carving finished with clean chisel cuts, over the past century, it is strongly in the minority when sanded or scraped? The appearance of the engraving is considered over the long run of cultural history. The not just a function of the pattern. Engraved lines have copying of master works has commonly been a serious a three-dimensional reality created by the shape of the part of the study of art in most periods, while in many cutting tip and how it was guided through the metal, Asian traditions it is considered a worthy art in its own how deep it was cut, and whether it was rolled to the right. For many of us, building or commissioning a rifle left or right a bit as the curve was cut. Was the engraving done as a documentary “copy” is a way to “own” a of the patchbox cut while it was attached to the stock or revered antique longrifle whose price or ownership by was it removed and set into a pitch block before cutting? another collector makes it unavailable. Beyond this, is Likewise, the very tools used to shape the stock have a there value in building such a piece? very significant impact on the rifle. What types of marks A “bench copy”—building a copy of a rifle with the are left on the finished surface—small clean facets from original readily available plane or chisel cuts, The late John Bivins, prolific gunmaker, writer and historian of American to check details and remnant file marks, decorative arts, standing in front of the mantelpiece he carved in 1986 for the dimensions, essentially wash-boarded curl or Charleston Room at the Museum of Early Southern Decorative Arts in Winstonwith it “sitting on the micro-chatter from a Salem, North Carolina. John, in conversation with friend Lynn Fichter, worked out three categories describing types of contemporary work. work bench next to the scraper—all have a major maker as he works”— impact on how a surface is the most rigorous “reads,” reflects light, form of documentary and develops patina. To approach. This process what extent were the file potentially provides marks on the face of the the closest duplication lock polished? In short of the original 18th these seemingly small century piece. What details affect the actual does this actually mean? overall appearance of the Obviously copying rifle. the actual physical If an accurate bench dimensions of barrel copy is going to be made, length, breech and it may mean making a muzzle diameters, stock lock or the mounts by dimensions of drop at the hand. Even the best of comb nose and heel, and today’s cast locks rarely details such as carving, allow enough latitude engraving and patch to duplicate exactly a boxes affect the look particular 18th century and handling qualities handmade lock. How of the finished piece. serious a copy is being This however can be a made—are the actual long way from a serious barrel contours, not just documentary work. the nominal dimensions A myriad of details being faithfully followed? affect the actual visual A hand-forged and -filed presentation and barrel shows irregularities intangible “feel” of the when compared to even a piece. Merely copying a carefully machine-made 6
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Above: Jud Brennan took on the dedicated task of producing this “bench copy” of an original rifle, signed “T. Simpson—fecit” in a silver plate on the barrel. This antique rifle is accompanied by a finely decorated powder horn that appears to be engraved by the same hand as the rifle. Brennan’s copy of this horn is featured on the front cover.
COURTESY OF WALLACE GUSLER
Above Left: This example of early American artistry is signed by the maker (Simpson), inscribed with the owner’s name and, as shown in this photo, dated 1791. These elements provide a rare document. Left: Jud Brennan’s rendition of the sideplate region of this rifle is hardly distinguishable from the original rifle above.
RIC LAMBERT
Shown in this photo of the original rifle, “G. Mansker” is inscribed on the patchbox lid. It is assumed that this rifle belonged to Gaspar Mansker, famous longhunter and founder of Goodlettsville, Tennessee. COURTESY OF WALLACE GUSLER
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These quartering views of the butt stock and wrist areas of the contemporary piece by Chris Moyer, engraved by Bruce LePage, show off the exciting architecture as well as the bold carving and engraving designs, very different from that seen on most longrifles. These Colonial forms of design are difficult to execute while retaining the spirit and feel of the original. The long tang Continental form of fowler buttpiece is a challenge to inlet—much more difficult than the British form where all edges taper to the front allowing for easy shifting to eliminate gaps.
Notice the striking similarity of the Moyer copy to this view of the original. More detailed photos of this antique can be found in Shumway’s, Rifles of Colonial America, Volume II, No. 144.
RIC LAMBERT
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