American Tradition July 2014

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 5, NO. 2

SUMMER 2014

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

CONTENTS

Volume 5, No. 2 • Summer 2014 EDITOR John W. Hayes

ASSOCIATE EDITORS -

3. WESTERN PENNSYLVANIA RIFLES - OLD AND NEW Charlie Kaufmann

ART DIRECTOR John W. Hayes Summer Criswell Walter

20. THE TOKEN OF A COVENANT: WAMPUM, TRADE AND DIPLOMACY ON THE AMERICAN FRONTIER Joshua Sheppard

PRODUCTION MANAGER Summer Criswell Walter COPY EDITOR John W. Hayes

29. A GOOD WEAVER WILL MEET WITH ENCOURAGEMENT… Weavers Within the Warp and Weft of the CLA John W. Hayes

PHOTOGRAPHERS Ric Lambert Jan Riser ADMINISTRATION MANAGER Rachel Nolen

38. BOOK REVIEW Guyasuta and the Fall of Indian America by Brady J. Crytzer Reviewed by Joshua Sheppard

RESEARCH DEPARTMENT Dan Brawner Kyle Carroll

40. PRODUCT REVIEW John W. Hayes

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

Front Cover:

Gracing the cover of the AT are two Western Pennsylvania rifles. The rifle in back is an original David Morton rifle, with its dark, root beer colored, maple of good figure. The lock and furniture are well patinated from age. The rifle beckons from a bygone era. In response to the call of the original, Jud Brennan has skillfully and artfully crafted the rifle sitting in front. It is his interpretation of a David Morton rifle.

Copyright 2014 by the not-for-profit Contemporary Longrifle Association, all rights reserved. CONTACTING THE EDITOR: For editorial inquiries, contact John W. Hayes at <jwhcrosshares@yahoo.com>, phone 218-327-3546. Mail written material to: John Hayes, 38110 County Rd 469, Cohasset, MN 55721

Most notable on both rifles is use of the bird head.

Printed by Modern Litho Jefferson City, MO 65101 American Tradition

EDITOR’S NOTE

PHOTOGRAPH BY RIC LAMBERT

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EDITOR’S NOTE

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s promised, here is the second issue for 2014.

I endeavor to always have two pithy article on period firearms. This issue, however has but one article but then again there is a lot there. In this issue you will be content to peruse the extensive article on Western Pennsylvania Rifles by Charles “Charlie” Kaufmann. In this article he explores the attributes of the original Western Pennsylvania rifles and then goes on to show rifles made by the modern artisans of the CLA, inspired by the originals. Joshua Sheppard has prepared an article on wampum, its origins and importance as a trade item how the market flourished and fell. It also showcases a number of CLA artisans who work with actual wampum, the glass wampum beads as well as the modern polymer wampum which is a fair visual representation of the actual stuff. Lastly is an article on an item that does not seem to receive much press; namely, woven straps, their practicality and use as a medium for decoration. These strips of woven art are only the tip of the iceberg for those CLA artisans who successfully weave, exhibit and continue create commerce in this eye-catching medium.

more than just fantasy. It is rather the story of an artifact, the making and use of that artifact, its wear and tear that gives us clues to the maker and the user. The allure of an artifact begins with a person in a particular origin of the country in a given year who plied his or her skills, guided by the norms and styles of the day. Any time we as artisans can give historical substance to that gun, horn, bag, knife, ax, cloth, cookware or piece of jewelry we give anyone, who can experience the item with their fives senses, the opportunity to grow in their understanding of the past. I look forward to the contributions of the members of the CLA not to just this magazine but to the new members, old members, and prospective members so that our skills and the skills of those who came before us do not fade into obscurity. Thanks to all people who made this issue possible, the artisans who loan their pieces, the photographers, writers, and layout personnel, runners, secretaries, the administration, board members, and volunteers. All of us keep those skills from fading into obscurity. Keep up the good work. Your most humble and ob’t servant,

John W. Hayes, Editor

Please ponder for a moment that each of these articles represents an effort to reach into history and bring forward into the present, the detailed art and craft which gives new relevance to the efforts of our hands. It is that same skill which artisans within this organization have coaxed from a spark into a fire and in so doing, they have made their mark. It is a mark which exhibits one of three directions: documentary, interpretive and new school. Regardless of the direction, all the work performed by our artisans begins, as it must, in the historical origins of the made items which existed as real tools and/or real embellishments for real people living out real life circumstances. The products of our efforts should be

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WESTERN PENNSYLVANIA RIFLES â&#x20AC;&#x201C; Old & New

Charlie Kaufmann

INTRODUCTION

estern Pennsylvania was the home of some truly beautiful rifles. They have extremely wide butt stocks that serve as platforms for large, elaborately pierced and engraved patch boxes. Long barrels, combined with the slender wrists that were developed early in western Pennsylvania, resulted in rifles that were far more slim and graceful than their period counterparts made farther east. These characteristics have often caused western Pennsylvania rifles to be dated later than their actual period of manufacture. Most of the western Pennsylvania architectural styles and design elements with which we are familiar were developed in Allegheny and Westmoreland Counties, and more fine rifles from these counties have been available for study than from other parts of

the area. So, the antique rifles presented in this article are from these two counties. However, it should be noted that fine rifles with similar architecture and design elements were made in the nearby Pennsylvania counties of Washington, Greene, Fayette, and Beaver, as well as nearby sections of West Virginia and Ohio. So, many of the discussion points in this article can be applied to some rifles from those areas as well. Space does not permit telling the story of western Pennsylvania rifles in detail. So, the focus will be on the most important historical and geographic aspects of gun making in the area, as well as the major architectural and design elements of the rifles themselves. Contemporary rifles built in the western Pennsylvania style will also be shown and discussed.

SHORT HISTORY OF GUNMAKING IN WESTERN PENNSYLVANIA The first gunsmiths to work in western Pennsylvania were in the employ of the Indian traders. John Frazer is a good example of an early gunsmith. By 1752, he had established a trading post with a gun and blacksmith shop at the Seneca village of Venango on French Creek, but was driven out by the French in 1753. He relocated to the Monongahela at the mouth of Turtle Creek and was with Braddock at his defeat in 1755. After Braddock's defeat the British abandoned the land west of the mountains to the French and Indians until 1758, when Brigadier General John Forbes was appointed to capture Fort Duquesne. In November, 1758, French forces burned Fort Duquesne and left the area to General Forbes' army, which built Fort Pitt in 1759-1760. Fort Pitt became the hub of the fur trade, and gunsmiths Moses Henry and Richard and William Butler were working in Pittsburgh then. The accounts list numerous transactions with these men for repair work and for rifles that they furnished. Most of the rifles in use at that time were made in the East, but it is likely that some guns were being made in Pittsburgh at that early date. These rifles would have been of large caliber, .45 -.50, with stocks of heavier construction than those discussed in this article. Few rifles from this period have survived, and none are known by western Pennsylvania makers. The golden age of gun making in western Pennsylvania began after the American Revolution. New settlers poured into the area, and tradesmen of all sorts, including gunsmiths, came with them. The need for gunsmiths attracted skilled artisans from eastern Pennsylvania, Maryland, and Virginia who would develop the distinctive western Pennsylvania style of

rifle. Many of these gunsmiths were Germans who came from Lancaster County, Pennsylvania and set up shop in Westmoreland County in the city of Greensburg and surrounding Hempfield Township. A sense of the scope of gun making in this area can be gained by looking at the federal "Statement of Arts and Manufactures" for 1810, prepared by Tench Coxe. This volume lists 12 gun "manufactories" in Westmoreland County, exceeded only by Lancaster County with 16, and York County with 13. By the 1820's, the center of population had shifted to Pittsburgh in Allegheny County, which was becoming an important manufacturing and supply center for the western migration. Most of the Pittsburgh gunsmiths could trace their training back to the Ferrees. Jacob and his family had moved from Lancaster County in 1786 to their farm on Peters Creek in Allegheny County, where they built a gun shop and powder mill. The Ferrees were quite successful in their ventures, and the Allegheny County style of rifle can be traced to them through Joel Ferree's apprentice, Thomas Allison, and Allison’s large number of apprentices. The early gunsmiths usually had small shops, and commonly employed an apprentice and perhaps another journeyman. Rifle production in these shops is estimated to have been from 15 to 30 guns per year. These men were capable of building a complete rifle from raw material, but by 1800, good quality locks, barrels and brass mountings were readily available from local hardware dealers. The small shop continued through the first third of the 19th century, but as in other geographic areas, percussion ignition had replaced the more complicated flintlock, and decorative carving had gone out of style. Beginning in the 1840s plain, inexpensive, mass-produced, percussion half stock rifles were taking over the market.

&DESIGN ELEMENTS

ARCHITECTURE

Although these rifles incorporate design influences from various areas such as Lancaster and Franklin Counties, Pennsylvania, Maryland, and Virginia, their major design characteristics appear to have been developed primarily in western Pennsylvania. 4

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Before discussing the design details of the rifles, a few words should be said about how the rifles evolved in Allegheny and Westmoreland Counties. Although the rifles from the two counties have many characteristics in common, there are distinct differences in style. This is most likely due to the way that the rifle developed in each county.

County Characteristics In Allegheny County the evolutionary trail is relatively easy to find and follow. Although there were many early gunsmiths in the Pittsburgh area, the Ferrees, who came from Lancaster County, were the most prominent. All evidence points to the fact that Thomas Allison learned his trade from Joel Ferree, and Allison, in turn, trained John Fleeger, Samuel McCosh, Charles Cheney, Joseph Graham, and possibly David Pollock, Andrew Joy, and some others. Ferree's original Lancaster County influence is readily apparent in the work of all of these men, and they continued to use many of the details originated by Allison and passed them on to succeeding gunsmiths such as Joel Thornton Ferree, Elisha Pancost, and A. B. Smith. With a few exceptions, it is interesting to note that most of the gunsmiths' names are of English or Irish origin, which is consistent with the fact that most of Allegheny County's early settlers were of English or Scots-Irish stock.

BILL OWEN

This rifle is signed I. or J. Ferree and is the earliest known rifle that was probably made in western Pennsylvania. It was found inside a partition wall of an old house in Allegheny County. It has many Lancaster characteristics, except for the patch box, which is probably original to Allegheny County.

KENTUCKY RIFLE FOUNDATION (KRF)

This typical Allegheny County rifle was made by Thomas Allison. The percussion lock is original to the rifle, indicating manufacture in the late 1820s or early 1830s. Allison was the master for many Allegheny County gun makers.

KRF

This typical Allegheny County rifle was made by John Fleeger. Fleeger was Allison’s best known apprentice and a prolific gun maker during a 50-year career. This rifle is probably one of his earliest and is notable for having the early Monongahela Valley patch box.

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This fine Westmoreland County Rifle was made by George Kettering probably in the 1820s. Kettering was a highly creative individual, and this rifle has many unusual design details.

RIC LAMBERT

This rifle was made by David Morton of Westmoreland County. Morton was one of the few gun makers in that county who was not German. He was very creative, and the eagle-head patch box finial on this rifle was probably designed by him, as it has not been seen on rifles by any other maker.

In Westmoreland County the situation is more complex. The German population there produced a large number of excellent gunsmiths, whose work, while related to that of the Allegheny County gunsmiths, is generally more individualistic. It also shows influences from Lancaster, Franklin, and York Counties, Pennsylvania, as well as Maryland. In addition, the carving, especially on the earlier rifles, is usually finer and more detailed than that on Allegheny County rifles of the same period. It is apparent that many of these men knew each other, and gunsmiths such as George Kettering, Jacob Earnest, John Sherry, and Solomon and Benjamin Cempf are all listed in the early German church records of Greensburg.

One exceptional early Westmoreland County gunsmith, David Morton, was not German. He settled in West Newton in 1796, and his early work has very strong Lancaster County influences, while his later work bears more similarity to that of the German gunsmiths. Some of the details that he used are similar to some of Thomas Allison's, and the Lancaster County characteristics could possibly have been learned from Joel Ferree, Allison's master. This connection, while speculative, could be the original link between the styles of the two counties. In addition, Morton's location in Westmoreland County was very close to the southeast corner of Allegheny County and could have positioned him as the transitional figure between the two counties.

Patch Boxes The patch boxes of western Pennsylvania rifles are by far their most striking feature. They are large and very well designed to fit the wide butt stocks, as well as to flow into the long slender wrists. They are often elaborately and finely engraved. Many different designs were used, and the three most common are shown here. They are often referred to as Monongahela Valley, keyhole finial, and acorn finial. Other patch boxes, with roots in Lancaster, York, and Franklin Counties were also used in the area, as well as some showing a strong Maryland influence.

KRF

Above: This was the most commonly used patch box design in Western Pennsylvania. It is commonly referred to as the keyhole finial patch box. It was used by almost every gunsmith in Allegheny County and a few gunsmiths in Westmoreland County. Its use also spread into Ohio. It is probably a western Pennsylvania creation, and its earliest use appears to have been on flintlock rifles by Thomas Allison and Samuel McCosh in Allegheny County. This example is on a rifle by Thomas Allison.

Left: This patch box is the least common of the three regional designs. Because the finial is sometimes engraved in an acorn pattern, this design is often referred to as the acorn finial patch box. It is found primarily on percussion rifles made in Allegheny County in the late 1830's and early 1840's. Makers such as John Fleeger, Charles Cheney, Andrew Joy, and A. B. Smith used this design. This example is on a rifle by Charles Cheney.

BILL OWEN

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This design was used on flintlock rifles by many gun makers in both counties. David Morton used it, and he died in 1823, so we know that it was in use before then. It is very wide, and its large number of piercings provides a very delicate appearance. Its long, pointed finial sometimes extends high onto the wrist and accentuates the length and grace of the rifle. It is often referred to as the Monongahela Valley style, as it probably originated there, possibly by Morton. It was very popular over a wide geographic area and time period, and is often found on fine rifles made in Ohio. This example is on a rifle by John Fleeger of Allegheny County. KRF

Butt Stock Carving On rifles from both counties, the carving behind the cheek piece is often of the double C-scroll design that originated in Lancaster County. On Allegheny County rifles it tends to be relatively simple, while on Westmoreland County rifles it is often more complex and has much finer detail. Also, in Westmoreland County, some of the gun makers moved away from the double C-scroll pattern and created some beautifully individualistic designs. In Allegheny County the carving is usually in relief on the earlier rifles and incised on the later ones. The designs are similar, and the transition from relief to incise began to occur in the early 1830's, concurrent with, but unrelated to, the switch from flintlock to percussion ignition. In Westmoreland County relief carving persisted well into the percussion era, and very few incise carved-rifles were made. By the 1840's carving had virtually disappeared in both counties.

This is typical Lancaster style double C-scroll carving on a rifle signed I. or J. Ferree. The rifle was found in Allegheny County and is the earliest known rifle that was probably made there.

BILL OWEN

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Right: Westmoreland County rifle by George Kettering. The carving has its origin in the Lancaster County double C-scroll, but Kettering’s imagination and skill took it to a much higher level of artistry.

Below: Butt stock of a typical Allegheny County Rifle by Thomas Allison. Allison’s master was Joel Ferree, who came from Lancaster County. The double C-scroll carving behind the cheek piece and the small volute carved directly in front of the cheek piece are often found on rifles from Lancaster County. KRF

KRF

Left: Westmoreland County rifle by David Morton showing double C-scroll carving behind the cheek piece. As with most of the other Westmorland makers, Morton’s carving is much more detailed, individualistic, and sophisticated than that done in Allegheny County. Note also the carved volute, another Lancaster characteristic, just in front of the cheek piece.

RIC LAMBERT

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Other Regional Carving Details In addition to the carving behind the cheek piece, many western Pennsylvania rifles exhibit unusual carved details unique to the region. The most significant ones are shown in photographs throughout this article.

RIC LAMBERT

The transition from wrist to butt is often accomplished by carving that sets the comb away from the wrist and makes the wrist appear to flow into the butt stock. Cameo carving just above the patch box finial often accentuates the transition (David Morton rifle)

KRF

“Feather” carving on the wrist. This pattern is also sometimes used behind the cheek piece on the lower butt stock. (David Morton rifle)

KRF

Gadroon carving forward of the lock. (Thomas Allison rifle)

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Gadroon carving on wrist. Slash and scoop carving on lower butt stock. (Thomas Allison rifle)

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Other Regional Design Elements

KRF

AUTHOR

"S" stamping used repetitively along the forestock of a Thomas Allison rifle. On many Allegheny County rifles it was also used along the sides of the butt stock and along the bottom of the butt stock between the toe plate and the trigger guard. In Westmoreland County David Morton used it on three of his five known rifles.

The toe plates of Allegheny County rifles usually had a semi-circular protrusion or a semi-circular cut-out. Since nothing was wasted in those days, when a toe plate with a protrusion was cut out, the mating piece was used as another toe plate. In Westmoreland County, there was much more variation in design, with no single pattern being extensively used. Left: Typical western Pennsylvania inlays that were often used as barrel key escutcheons. The distinctive engraved "tusks" were also commonly used on the patch boxes. These can be seen on the two inlays on the left. AUTHOR

AUTHOR

[1]

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KRF

The trigger guards are usually long and graceful to conform to the slender architecture of the rifles. The bow is usually elongated, regardless of whether a single trigger or a double set trigger is used. There is usually a raised, elongated triangle, sometimes truncated, on the bow, and the bow typically ends in two raised, elongated triangles along the trigger guard extensions. One of the extensions often has a small scooped-out depression cut into it. (John Fleeger rifle)

KRF

Right: Westmoreland County lock bolt plates. Top to bottom – John Sherry, Solomon Cempf, and George Kettering.

KRF

Opposite Page (Bottom three images): A complex inlay that is sometimes found on the wrists of Allegheny County rifles is shown in the top picture [1]. (Fleeger rifle) It was also used on rifles made in Ohio. A wrist inlay more commonly used in Allegheny County is shown on the right [2]. Another complex inlay (George Kettering rifle) used on Westmoreland County rifles with some variation is shown at the bottom [3]. This inlay was also used in Fayette County by Peter White and in Maryland by John Armstrong, and may have had its origin in one of those areas.

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Left & Below: Allegheny County lock bolt plates. [1] has its origin in Lancaster County. [1] Thomas Allison, [2] John Fleeger, [3] John Fleeger

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[2] BILL OWEN

[3]

KRF

Right: A scalloped engraving pattern often appears at the base of the patch box along the curve of the butt plate. On Allegheny County rifles, it is usually found on both patch box side plates, but not the lid. On Westmoreland County rifles, it sometimes continues through the lid and occasionally is found on the lid only. (Left - John Sherry, Westmoreland County; Right – John Fleeger, Allegheny County) BILL OWEN

KRF

As we have seen, western Pennsylvania rifles have some design characteristics that are unique to the area and some that have their origins in other geographical areas. The blending of these various characteristics has resulted in rifles of exceptional grace and beauty.

WESTERN PENNSYLVANIA STYLE RIFLES BY CONTEMPORARY CLA ARTISTS Within the past few years contemporary makers of fine longrifles have begun to notice the western Pennsylvania school. However, only a few rifles have been made so far. Some of these will be shown here, and it is hoped that they will provide a stimulus for making additional contemporary rifles in the western Pennsylvania style.

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RIC LAMBERT

Silver-mounted western Pennsylvania style rifle by CLA artisan Jud Brennan. This rifle was inspired by the work of David Morton and exhibits a mix of Morton’s designs and Jud’s. The sophisticated Lancaster style carving behind the cheek piece is similar to that of Morton’s, but Jud has enhanced it with the use of engraved silver accents.

RIC LAMBERT

The upper portion of the patch box combines Morton’s eagle head finial with the traditional Monongahela design. The wrist-to-butt transition is typical western Pennsylvania, complete with cameo carving. The “feather” carving is a nice addition to the wrist area.

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Below: Left-handed copy of a Henry Wolf rifle by CLA artisan Mark Wheland. Wolf was an early gun maker in Pittsburgh, Allegheny County. The first record of him there goes back to 1787.

RIC LAMBERT

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The patch box on this rifle is unusual. Henry Wolf used it on all three of his known rifles, and Andrew Joy and John Fleeger each used a variation of it on later guns.

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RIC L

As with the original, the cheek piece side of the contemporary Wolf rifle has no ornamentation other than the silver inlay.

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RIC LA

Silver-mounted western Pennsylvania style rifle by CLA artisan Jud Brennan. This rifle was inspired by the work of John Fleeger and exhibits a mix of his designs and Jud’s. Fleeger made quite a few silver-mounted rifles, all of which were finely engraved. The quality of the engraving on this rifle lives up to Fleeger’s.

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Jud used the classic Monongahela patch box engraved in the traditional manner, but with detailed enhancements.

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Above: Silver-mounted western Pennsylvania style rifle by CLA artisan Allen Martin. This rifle was inspired by the work of Westmoreland County gun maker, David Morton. Allen combined features from several Morton rifles when designing this one.

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The body of the patch box on this rifle was used by David Morton on two of his five known riles. The finial was used on three of the five. RIC LAMBERT

The carving behind the cheek piece on this rifle closely follows Morton’s work. However, the detailed carving under the cheek piece is a nice touch created by Allen. The lock bolt plate also carries more engraving than is typical of Morton.

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It is not known whether John Fleeger made any relief-carved rifles. If he did, none has yet been found. The carving on this rifle is partially based on carving from other period rifles from the region and partially the product of Jud’s imagination. There is a lot going on, but it all seems to flow well.

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Pennsylvania This layout was especially challenging. Some of the photos are over 20 years old and those same guns are no longer available. Not all photos have the same clarity due to their diminutive original size. This article also represents a great deal of work, and refinement by the author Charlie Kaufmann without whom it would not exist. -The Editor

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“The Token of a Covenant”:

WA M P U M , Trade, and Diplomacy on the American Frontier Joshua Sheppard

t was the greatest native confederacy ever forged in North America, but, according to tribal legend, the Iroquois League was born in a grim era of bloodletting and anarchy. “Everywhere there was peril and everywhere mourning,” asserted tribal elders; “Feuds of sister towns, and feuds of families and clans made every warrior a stealthy man who liked to kill.”1 Such brutal and chaotic civil war spared neither women nor children. Hiawatha, an Onandaga chieftan disconsolate over the murder of his family, fled his village to seek comfort in the isolation of the wilderness, but was

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witness to a bizarre miracle. A lake was lifted to the sky on the wings of ducks and, searching the dry lake bed, the chief discovered beautiful shells which he then strung on reeds. For a renewed Hiawatha, it was a cathartic experience – the very genesis of the Iroquois League - that would bring peace and unity to his people. “This would I do if I found anyone burdened with grief even as I am. I would take these shell strings in my hand and console them. The strings would become words and lift away the darkness with which they are covered. Holding these in my hand, my words would be true.”2

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Such mythology elucidates the sacred reverence which the natives held for wampum, and how such a seemingly trivial cultural fixture as beadwork could shape tribal diplomatic protocol for nearly two centuries. Initially, English colonists were unaware of the beads which held such mystique for the Indians. The Pilgrim fathers of Plymouth labored for the better part of a decade to establish a trading network with the tribes of New England, but with little more to offer than corn and trinkets, the colonists’ efforts to obtain beaver met with limited success.

Matters changed dramatically in 1627. During a state visit to Plymouth, Isaac de Rasieres, Secretary of New Netherland, introduced his English neighbors to curious blue and white beads which Dutch settlers had found could command the fur trade. “Wampumpeage” it was called, and known colloquially as “peage” or “wampum”, an Algonquian term roughly translated “strings of white.” Although shell beads were crafted by natives throughout North America, wampum, strictly defined, was found solely on the Atlantic seaboard. Consequently, manufacture of the beads was largely

Cherokee belt of actual wampum, courtesy of artisan and owner Richard Saunook. The belt is approximately 53 inches in length and is about 1.5" wide, it carries over 825 wampum beads. Such belts would come to the Cherokee as messages or gifts and the separate beads by trade.

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controlled by coastal tribes, who cut white beads from whelk shells and dark blue beads from the shells of quahog. A French observer in 1632 described the laborious process of making wampum. “They cut” the shells, he wrote, “in a thousand pieces, and polish them upon a piece of fat. They pierce these, and make collars and bracelets of them with great toil.”3 When Englishmen began offering wampum to the tribes of coastal Maine, Plymouth experienced a dramatic influx of fur – and profits – into the colony. One delighted settler noted that the beads were “the source and mother of the beaver trade.”4 Tribal demand for wampum was nearly boundless. Widely used for personal adornment, wampum could reflect the status of its owner. Its real value, however, was as a remarkable social, political, and economic tool. The tribes used wampum to formulate engagements and marriages, consecrate graves, pay tribute, and seal treaty agreements. Colonist Daniel Gookin explained its use in the barter economy of North America. “With this wompompeague,” he wrote, “they pay tribute, redeem captives, Satisfy for murders and other Wrongs, purchase peace with their potent neighbors, as occasion requires; in a word it answers all occasions with them, as gold and silver doth with us.”5 The tremendous economic power of wampum was not lost

on the colonists of the New World, who, separated from their mother countries by thousands of miles, lacked a sufficient circulating currency. Eventually wampum, strung on hemp or animal gut and measured in lengths of fathoms (or about six feet) was adopted as legal tender throughout New England and New Netherland. Rates of exchange, established by statute, reflected the law of supply and demand over a century before it was codified by Adam Smith. Blue beads, often described as “purple” or “black”, were roughly twice as scarce as white beads and were consequently twice as valuable. European involvement in the wampum trade wrought unparalleled upheaval to native economies. Dutch and English settlers manufactured wampum beads on a commercial scale, resulting in radical price fluctuations, and some desperate tribesmen raided graves in order to retrieve wampum that had been buried with the dead. Eventually counterfeiters entered the game, driving down the value of blue beads and forcing the commissioners of New England’s United Colonies to order the destruction of all “false, badd, and unfinished peage.”6 The value of wampum, naturally dependent on the price of beaver, plummeted when the center of the fur trade moved farther west. By the 1660’s the colonies no longer regarded wampum as legal tender for tax payments but the beads saw

Courtesy of David Dittmer of Cousin Dave Silversmith, these three necklaces are made from actual glass wampum, which was made in place of shell wampum. A shell pendant is suspended from the bottom of one necklace, note the similarity of purple/blue color but also the difference in character; the glass beads lack the natural translucence and white streaks. The two earrings are chunks of quahog shell.

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Regarded as “the token of a covenant”, belts were likewise used as diplomatic messages.

continued use in private transactions into the early 18th century. The prevalence of wampum would nonetheless continue unabated due to its vital importance to intertribal diplomacy. In a culture devoid of written language, wampum belts would take the place of tribal histories, treaties, and declarations of war. Both wampum strings and belts were used to invite sachems to tribal councils, and during negotiations it was common for a speaker to present a string or belt as proof of his sincerity. “Our forefathers used soft cloth to dry up their tears,” claimed Delaware chief Tetabokshe while presenting a white string at the Treaty of Greenville in 1795, “we use this wampum and hope by this influence to do away with all

Left: A copy of a Treaty Belt, courtesy of Gary Bertelsen. This 72" long belt depicts a treaty belt similar to those crafted to commemorate alliances such as the league of the Iroquois nations. Its 7.5" width is made up of 15 rows of beads and contains and estimated 2500 beads. It is artfully crafted using polymer beads which deftly simulate the look of authentic wampum beads, but are lighter in weight.

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past misfortunes. We have now opened our eyes and ears and hope to settle all difficulties.”7 Magnificent treaty belts, which could exceed six feet in length and contain thousands of beads, and were often woven to depict an elaborate design that would serve as a visual record of a speech. Among the Iroquois, who placed the beads in the very mythology surrounding the creation of the League, wampum was held as nearly sacred. At tribal councils a five (and later six) string bundle of wampum, representing the constituent tribes of the confederacy, was held by the presiding chief as a symbol of authority. Regarded as “the token of a covenant”, belts were likewise used as diplomatic messages. In 1754, Ohio tribes reported to

Below: "Cherokee Legend" by artisan and owner Richard Saunook, was designed and crafted by him at the request of a museum. It employs the use of traditional figures common to Cherokee culture.

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English authorities that they had received belts from the Seneca enjoining them “not to meddle with the French… but to stand Neuter and keep their Ears and Eyes towards the Six United Nations.”8 The presentation of a belt could likewise signal an abrupt end to an alliance. When the Seneca HalfKing Tanacharison attempted to deliver such a belt to the French garrison of Fort Le Boeuf that same year, the French commandant, recognizing the magnitude of such a move, assiduously avoided accepting the belt. The Half-King “offr’d the Wampum to the Commander, who evaded taking it, &...made many fair Promises of Love & Friendship; said he wanted to live in Peace & trade amicably with them.”9 Throughout the eastern backcountry, wampum functioned as a distinct frontier language and could just as easily serve as either a somber warning or a token of peace. “Black”, and occasionally dyed red, beads, were seen as traditional motifs for war, death, or blood, and war belts regularly circulated among the tribes prior to the outbreak of conflict. When George Rogers Clark seized the British posts of Kaskaskia and Cahokia in 1778, he used wampum belts to issue a contemptuous and provocative challenge to the surrounding natives. “I produced a Bloody Belt of wompom,” wrote Clark, and “I told them that I had instructions from the Great Man of the Big Knives not to ask Peace from any People but to offer Peace and War, and let them take their Choice…I presented them with a Peace & War Belt…they with a great deal of seeming Joy took the Belt of Peace.”10 Despite the pivotal role which ornate beadwork played in frontier diplomacy, its use as personal adornment was observed among tribes throughout North America. Known historic examples include a broad array of jewelry and apparel, including necklaces, leg ties, pouches, moccasins, and knife sheaths. For such uses, cheaper glass beads would come to replace wampum in the Indian trade. As early as the 1640’s, enterprising scoundrels had attempted to craft counterfeit wampum from glass; more honest suppliers could produce ponderous amounts of glass beads at a fraction of the cost of genuine wampum. Moreover, the glass beads produced by European manufacturers would largely supplant the intricate but labor intensive porcupine quillwork which characterized tribal decorative arts in the colonial era. As Americans settled the full expanse of the continent, they encountered tribes who held wampum in little esteem but highly valued glass beads. The Lewis and Clark expedition, which crossed the Missouri and 26

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With the prevalence of white beads being purchased by the pound, the white accents found their way into weaving such as the finger woven garters fashioned by Tom Conde. Also the bear-yoke, courtesy of Joe Scott, is accented by the subtle use of white beads around the tape-bound edge.

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Columbia river systems between 1804 and 1806, was well supplied with white wampum, as well as glass beads in a variety of sizes. Eastern shell wampum was unwanted by the tribes of the far west, although glass beads, particularly blue, were highly sought after. Meriwether Lewis recorded that these “common cheap blue and white beads” constituted the “principle circulating medium” on the Columbia. “For these beads,” thought Lewis, “they will dispose of any article they possess.”11 The beads were largely confined to personal use. “The favorite amusement of both sexes,” wrote Lewis, “are the common coarse blue and white beads which the men wear tightly wound around their wrists and ankles many times until they obtain the width of three or more inches. They also wear them in large rolls loosely around the neck, or pendulous from the cartelege of the nose or rims of the ear.”12 As embellishment became the primary use of native beadwork, wampum faded from prominence in tribal cultures; one of the last known peace belts presented by American commissioners was given at the 1825 Treaty of Prairie Du Chien in Wisconsin. Miraculously, a number of original belts have been preserved in public collections, including the Smithsonian, Harvard University, and the Iroquois Indian Museum. One striking example held by the Philadelphia History Museum is a belt that, according to legend, was given to William Penn in 1682. Penn’s “Great Treaty”, which formalized “the broad pathway of good faith and good will”, was greeted with enthusiasm by the tribes. “We will live in love with William Penn and his children,” claimed the Delaware chieftan Tamenund, “as long as the creeks and rivers run, and while the sun, moon, and stars endure.” The treaty was solemnized by the simple exchange of wampum belts; sworn oaths were contrary to Penn’s Quaker beliefs, and a written treaty was entirely useless to the Delaware. The agreement, sealed with little more than wampum and word of honor, nonetheless lasted for generations. “The only treaty never sworn to,” observed the French philosopher Voltaire, “and never broken.”13

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Endnotes: Henry Woodhead, ed., Realm of the Iroquois (Time-Life Books, 1993), p.21, reference to “legends attest” and “an Iroquois tale relates” alluding to the source being oral traditions. 2 Ibid at 21. 3 William Beauchamp, “Wampum and Shell Articles Used by the New York Indians” (Bulletin of the New York State Museum, Issue 41, Vol. 8, 1941), 356. 4 Beauchamp, 354. 5 Alden T. Vaughan, New England Frontier: Puritans and Indians, 1620-1675 (W.W. Norton and Company, 1979), 221222. 6 Vaughan, 223. 7 Toni T. Seiler, ed., The Native Americans at the Greenville Peace Treaty, 1795 (By the Author, 1993), 9. 8 Timothy J. Shannon, Iroquois Diplomacy on the Early American Frontier (Penguin Books, 2008), 150. 9 Alan Axelrod, Blooding at Great Meadows: Young George Washington and the Battle that Shaped the Man (Running Press, 2007), 119. 10 Dale Van Every, A Company of Heroes: The American Frontier, 1775-1783 (Mentor, 1962), 161. 11 University of Nebraska Press/University of Nebraska – Lincoln Libraries – Electronic Text Center, The Journals of the Lewis and Clark Expedition, http://lewisandclarkjournals.unl.edu. Lewis entry, January 9, 1806. 12 Lewis and Clark Journals, Lewis entry, March 19, 1806. 13 Kenneth W. Milano, The History of Penn Treaty Park (The History Press, 2009), 21. 1

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Images courtesy of David Dittmer of Cousin Dave Silversmith.

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A Good Weaver Will Meet With Encouragement… WEAVERS WITHIN THE WARP AND WEFT OF THE CLA John W. Hayes

istorically, weaving was part and parcel of the 18th century, there was a constant a demand for woven textiles and the people who made them. An advertisement in the May 1776 Virginia Gazette reads: “A GOOD WEAVER will meet with encouragement by applying to the ſubſcriber in Mecklenburg County. THACKER BURWELL. Another notice in the same Virginia Gazette reads: RUN away from the ſubſcriber in Lancaſter, on Wedneſday morning the 1ſt of this inſtant (May) a ſhort well ſet mulatto ſlave named APPLEBY, who

is a weaver by trade… Whoever apprehends the ſaid fellow, and delivers him to me, ſhall have 5 l. reward, … Five pounds reward is quite a bit of money. As shown in the American Tradition 2014 No. 1 issue, that amount of money would purchase a handsome and well decorated long rifle. No doubt the owner sought to acquire his slave but also the marketable industry which that slave provided. The art of homespun was not ubiquitous and every home did not necessarily produce its own weaving. Consequently, when a professional weaver entered the village or town for several days or weeks, it became an opportunity to use all the available

Wool gartering woven by Tony Baker of Baker's Bundles. American Tradition

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raw material, be it linen, hemp, wool or other. Though threads of every thickness were used, the best judge of the proper thread weight and tightness for a specific item, was the weaver himself. This specialization was seen as economically efficient. Those who wove well tended to continue weaving and benefitted not only themselves and their family, but also communities across the landscape. Today, in the 21st Century a good weaver, or for that matter a number of good weavers, will also meet with encouragement. The main focus of this article is to showcase those artists, within the fabric of the CLA, who ply their skills in weaving various straps, belts, garters and tapes, though it cannot be understated that some weave whole bolts of fabric. This article, which only scratches the surface, should inspire the reader to explore these artists and take away a new appreciation of their work. A number of these artists are known for weaving textiles in strips and straps, using natural fibers which have been dyed, in many cases, with the same dyes accessible to our ancestors and in so doing have captured that old look, and historical flavor.

But it begs the questionâ&#x20AC;ŚWhy a woven strip of cloth, instead of a strip of leather? The short answers can be packaged as follows. Perhaps, the initial reason is because the woven piece can be made in any weight depending on the weight of the threads used. The very nature of weaving can allow the maker to create pieces which are tightly woven and therefore dense and heavy or those which are loosely woven and, therefore, limp and supple. Moreover, wool, hemp, linen not to mention a combination of several these fibers, lends themselves to different textures all of which have different properties. Lastly, consider that the woven piece can be dyed to display any number of colors, patterns and combination of the same. These textiles go to our character and show who we are and from whence we came. The common thread (forgive the pun) in this overview is the melding of pragmatic use with a decorative art form. A strap or belt in its purest form is mere utility. Moreover, they are rather mundane until viewed as an appropriate medium, upon which decoration may be applied. The decoration may be subtle or extravagant. In fact any strap-like textile can: qualify for a mix of colors, warrant a decorative weave or beg for the addition of beads within the weave. Thus, they can be both strong and attractive. The strong, heavily woven straps integral to hunting/shooting pouches, haversacks and powder horns generally runs from fortyfive to sixty inches in length. As such they are generally the most visible portion of the pendant item and in many instances display a decorative weave of several colors to suite the taste of the owner. The smaller narrower textile strips tend to be applied as gartering in lengths of twenty-four inches for a single wrap or fortytwo inches for a double wrap. Narrow strips were also sewn to a Tony Baker's wool gartering in use on a pair of wool leggings RIC LAMBERT

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woman’s dress waist as well as used to hold her stockings in place, under the dress. The garters used for men’s leggings can be quite gaudy as when white beads are added to a finger woven strap or belt to create a design that really stands out against a black or red background. With or without the beads the woven strip performs its function, but the look is certainly reminiscent of the Native Americans inhabiting the eastern woodlands during the seventeenth and eighteenth centuries. The simplest use of a belt is to girdle clothing close to the body. However belts can be said to be a badge of office. Take for instance the sasher d’flashe, the lightning sashes, which were often woven for the canoe men, by a woman or loved one and could be considered the badge of dedication and family pride among the canoe-bound “movers of freight.”

LOOMS, THE FOUNDATION OF WEAVING

the legging under the knee, as well as belts and sashes. Such textiles saw favor with the hunters of the middle ground and woodsmen in general. Besides closing the hunting shirt, these belts did double duty to support knives, belt axes, and bullet bags. Even though a strip of braintan might suffice to perform the task, a woven belt or strap may actually be superior in maintaining its shape and especially when wet afford greater ease in tying and untying. The addition of a woven textile perhaps gave the hunter a touch of home. These men of the woods eagerly sought out the woven strips as Reverend Joseph Dodderidge recalled, “Young as I was, I was possed of an art which was of great use. It was that of weaving shot pouch straps, belts and garters. I could make my loom and weave my belt in less than one day. Having a piece of board

about four feet long, an inch auger, spike gimlet and drawing knife, I needed no other tools or materials for making my loom. It frequently happened that my weaving proved serviceable to the family, as I often sold a belt for a day’s work or making an hundred rails. So that although a boy, I could exchange my labour for that of a full grown person, for an equal length of time.”1 There is a good deal more to this trade than simply crossing threads. Weavers have plied their skills in creating interesting designs for centuries and there are a number of properties which separate weavers and their

Simple looms were often employed to make straps for the shooting pouch, gartering to bind

A wool finger woven strap with white beads, a classic look, produced by Alec Foureman. RIC LAMBERT

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From left to right, A slit-wallet by Tony Baker, made from a short piece of sash material and bordered with silk; Second and third from the left both by Paula Hoagland are a Linen and wool strap with blue stripes and next the Blue "Bartlet" strap of linen; Woven linen garters with hand sewn ties by Jeanne McDonald; Woolen strap by Tony Baker, showing a "chain-mail" effect using brown and beige; A bolt of gray, black and white linsey-woolsey material spun and woven by Karen Hainlen of Applecart Creations. RIC LAMBERT

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products from other weavers. Those properties are: substance, pattern or construction, density, and weight or yarn size.

SUBSTANCE

Woven belts/straps are things of beauty, they are strong, durable and generally consist of the materials readily at hand for the weaver, such as: wool, linen, hemp but also fibers such as dog bane, milk weed and nettles. Wool has been used for centuries for woven textiles. It is elastic, color fast, and retards staining. Unlike hemp, linen and other plant fibers which swell substantially when soaked with water; wool swells only slightly when wet. On occasion wool is labled as “worsted,” a description which means the longest fibers are used to manufacture the yarn which in turn makes the woven fabric strong, stable, even smooth in its finish. Linen and hemp, on the other hand, have been used for strength in the making of sail cloth and ropes. Thus in the weaving of tapes, gartering, straps or belts they exhibit very little stretch, retain their shape, and stay firmly in place when securely tied.

PATTERN OR CONSTRUCTION The “broad” or plain weave, which is the most basic, is accomplished with the simple “over-and-under” technique. Historically, a number of flat textile items were woven using small, two-heddle table looms. In weaving cloth for a shirt, waistcoat or frock coat, the addition of one darker color to the warp of a broad weave presents a pleasing thin, linear pattern. A basic line consists of at least two warp threads of the darker (or contrasting) color. The addition of a third and fourth thread of that same color, enhances the boldness of that line. When placed every inch or so across the breadth of the fabric, the collection of stripes creates a thinning effect. The twill weave, is accomplished by working the weft thread over one warp thread and then under two adjoining warp threads, hence the mantra “one-up, two-down.” This is accomplished by using, a significantly more complicated, fourheddle loom. Twill weaving in its simplest form, results in parallel ribs running diagonally to the warp threads. Reversing the twill weave in the middle of the strap with result in two opposing rows of slanting lines creating a “V” or inverted “V” design running in line with the warp threads. This is also referred to as a “herring-bone” or “Chevron” pattern. The number of designs which have been woven into straps is endless. Some mimic a American Tradition

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chain or perhaps chain mail, and still others create innumerable geometric shapes and points. The smallest and simplest of looms, referred to as Tape Looms, make use of a single heddle which remains stationary. Tape looms were common items for creating flat tapes of linen, wool and even silk of up to one inch in width. Their intended use might be garters, trim, hat bands, watch fobs and the like. Finger weaving, most often associated with North American Indians, is possible without a loom and is dependent on the skilled handiwork of the weaver. Wool has been employed in this endeavor on the North American continent since European contact. In this technique every thread begins as a warp thread but in turn becomes a weft thread for a whole pass across (over-underover-under) the other threads or a portion of a pass if being used to create a complex design. Some woven straps have been identified by their owner thereby creating provenance for the style and hence the item can then be traced to that time and geography consonant with its owner and his or her travels.

DENSITY The density is dictated by how tightly the warp and weft are woven. Gartering for instance should be tightly and densely woven so as to remain flat. This affords a grip on the stocking, or legging, while remaining comfortable to wear.

From top to bottom, the linen tape lying on top of the loom was produced by Jenna Gatliff using a tape loom; a portable tape loom produced by Rudy McKinney and the two tapes at the bottom produced by Pat McKinney, are exemplars of tape loom styles made in linen.

Belts and sashes, used to girdle the body, can be found in many different thicknesses. The common attribute is not only to remain flat 34

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The smallest and simplest of looms, referred to as Tape Looms, make use of a single heddle which remains stationary.

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The weaver, like any other artisan, becomes proficient through experience and thereby performs his or her task efficiently...Therefore, when opportunity presents itself, take some time to know and appreciate weavers who can be found within the warp and weft of the CLA.

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Colorful fingerwoven strap of wool in the chevron pattern with white beads produced by Tom Conde and based upon the Jasper Grant strap.

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upon the body, but also to resist “scrolling” or rolling into a tube while being worn. Generally, a soft loosely woven strap or belt has the greatest tendency to scroll which transforms the flat piece into more of a tubular rope which increases pressure against the body. It becomes uncomfortable to wear. Likewise a loosely woven strap, when subjected to tension, will shrink in width. Thus, straps which are more densely woven will tend to retain their width.

YARN SIZE OR WEIGHT The size of the yarn or thread is often determined by how densely it has been spun. Loosely spun yarn will be soft and lofty and will likely be woven into clothing. Tightly spun yarn will be much more firm. A tightly spun yarn is more compatible for use in a sash, garter, strap or belt which requires more density to retain its shape. More over, a tightly spun yarn is more able to endure the hard use of tying and untying without fraying, but also tends to maintain its shape and resist “scrolling.” In conclusion, the reader should realize by this point that weaving is more than putting threads together. There are a number of factors to consider in the intended use of the textile, the materials used and the manner in which it is woven. Before purchasing a strap or belt, the buyer should ask, whether the piece is ordinarily fit for the buyer’s intended use. If so, it will be an appropriate application and thus meet or exceed the buyer’s expectations. Those who are in need of a well woven strap, or perhaps fabric, might want to consider obtaining that textile from those who do good work. The weaver, like any other artisan, becomes proficient through experience and thereby performs his or her task efficiently. The question can be put to anyone; How long it would take you, the non-weaver, to do the same? It is a blessing that the use and enjoyment of this centuries old tradition persists today within our ranks. Therefore, when opportunity presents itself, take some time to know and appreciate weavers who can be found within the warp and weft of the CLA. Endnotes: 1

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Rev. Joseph Doddridge, Notes on the Settlement and Indian Wars of the Western Parts of Virginia and Pennsylvania from the Year 1763 to 1783 Inclusive, Kessinger Publishing pp. 146-147.

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BOOK REVIEW

Guyasuta and the Fall of Indian America by Brady J. Crytzer Reviewed by Joshua Sheppard

n the remote borderlands of America’s early frontier, untold thousands of souls lived, fought, and died in relative obscurity. In Guyasuta and the Fall of Indian America, author Brady Crytzer has illuminated a nearly forgotten native leader who played a pivotal role in the transformation of the Ohio Valley. Born an Iroquois in 1724, Guyasuta came to maturity among the Seneca diaspora of the Ohio country, the Mingo, and rose to prominence as the imperial struggle for the region reached its epic zenith. His first appearance in written records occurred in 1753, when he accompanied a young Major George Washington during the latter’s famed mid-winter trek to the French Fort LeBoeuf. Guyasuta served as a hunter for Washington’s party, which included the Seneca Half King, an erstwhile Iroquois viceroy of subject Ohio tribes. Although Washington recalled that Guyasuta contributed little more than fresh meat to the expedition, it is clear that his proximity to the Half King indicated a grooming for greater prestige among the Iroquois. The outbreak of the French and Indian War brought irreversible upheaval to the tribes of the northern frontier. Although the Iroquois League attempted to maintain a tenuous neutrality, Guyasuta quickly cast his lot with the French-allied tribes of the upper Ohio and prosecuted a relentless war against the English backcountry. Although initial battlefield success appeared to validate such a decision, the eventual collapse of the French war effort left the tribes of the far west abandoned by their former allies. In the face of unfavorable trade policies introduced by the English high command, Guyasuta grew restless under the new reality of British ascendency on the frontier and proved

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instrumental in fomenting the native insurrection that erupted with unrelenting fury in 1763. The conflict, eventually labeled Pontiac’s Rebellion, was a widespread revolt that nearly rolled back the edge of the British frontier before ending in disaster for the tribes. Guyasuta’s ability to prosecute the war ended abruptly subsequent to the hard-fought Battle of Bushy Run, and the Seneca chief played the unlikely role of peace envoy between English authorities and the disaffected tribes of the Ohio country. By the outbreak of the Revolutionary War, Guyasuta had assumed the mantle of Iroquois Half King, although the League’s persistent claims to suzerainty over the Ohio tribes increasingly amounted to little more than hollow pretention. The war led to the disintegration of the Iroquois Confederacy, which violently split between pro-British and pro-American factions, and also resulted in the independence of an American republic that would ultimately settle a continent and frustrate Guyasuta’s attempts at pan-Indian unity. The Seneca chieftan’s pitiful decline serves as a tragic microcosm of the fall of Indian America. Wrecked by chronic drunkenness and broken by poverty, Guyasuta died an unheralded shell of a man in 1799. Although author Brady Crytzer is a professor at Robert Morris University, this volume is far from academic in tone, and is written in an eminently approachable style that makes for decidedly light reading. In fact, Crytzers’ selection of Guyasuta as the backdrop for this volume presented the author with unique hurdles, as written sources of the Seneca chief’s life are, in Crytzer’s words, “precious and scarce.” Such a dearth of primary documentation occasionally led the author into speculation concerning Guyasuta’s thoughts

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and actions, and brief portions of the book read more like a novel. Such divination concerning Guyasuta’s mindset might be a good guess in many instances, but remains just that – a guess – and is certainly an unusual technique for a work of historical non-fiction. The book consequently doesn’t fit the usual template for historical biography, but Crytzer does an acceptable job of interweaving the life of the littleknown and ill-starred Guyasuta into a broad overview of frontier history from the French and Indian Wars to the Treaty of Greenville. Ultimately the epic warfare of the 18th century led to the inevitable destruction of tribal culture, and Indian nationalists such as Guyasuta intuitively grasped the dangers of meddling in European squabbles even as they were inexorably drawn into such conflicts on behalf of French and British overlords. “We must be Fools indeed,” claimed Guyasuta at a 1776 council, “to imagine that they regard us or our Interest who want to bring us into an Unnecessary war.” Guyasuta and the Fall of Indian America Brady J. Crytzer Westholme Publishing, 2013 286 pages, hardbound ISBN 978-1-59416-174-2 $29.95 www.westholmepublishing.com American Tradition

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Summer 2014

PRODUCT REVIEW Reviewed by John W. Hayes

hile at the CLA show this August 2014, I spent some time at the Woodcraft table and watched the demonstration of cabinet scrapers made by Garlick Saw Company of Sheffield England. These scrapers are made of .80mm highquality steel and have many uses the most prominent of which, in our ranks, is to smooth gunstocks. There are at least fifteen different shapes and sizes. Many people like to use the modern sandpapers of today but historically, a scraper or some sort of plane was used to smooth wood. Though the catalog lists them as LYNX, the packaging shows Garlick Saw Co. Shown are photos of only several shapes of cabinet scrapers available from Woodcraft.

Also shown is the “Slip Strop” from Flexcut Carving Tools, which is also available from Woodcraft. This handy little device for the uninitiated, is a shaped surface to accommodate the various carving tools such as blades, chisels, and gouges, whether straight, round or “V” shaped. This tool allows the user to achieve a polished surface from behind the edge and up to the edge itself for a smooth clean cut. A more polished surface at the cutting edge, gives the tool a smoother, cleaner cut. I even used this tool to further polish the edge on my 18th century style straight razor. It shaves even better now.

American Tradition

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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 at i o n

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Summer 2014

CONTEMPORARY LONGRIFLE ASSOCIATION Dedicated to the art of contemporary longrifles and related accoutrements made after the mid-twentieth century

T I O N S O C I A F L E A S WINTER 2014 O N G R I R A R Y L T E M P O N O C E O F T H U R N A L T H E J O VOLUME 5,

NO. 1

Sponsor Pages Display your craftsmanship with AMERICAN TRADITION, the Journal of the Contemporary Longrifle Association. The journal is published twice a year, and includes a visual feast of Contemporary Longrifle arts as well as informative articles relating to the Longrifle Culture. The goal of the sponsor pages, or full page advertisements, is to maintain the highest level of visual quality as the publication itself. Each page is to contain at least one (but not limited to) image of work by a CLA member. Copy should be short, with the name of the sponsor, a brief message, and contact information (if desired).

Membership Not a member? Wish to give a friend a membership for the holidays? Join today! First time membership*. . . . $20.00 Annual Renewal. . . . . . . . . . $50.00 Membership Benefits: • Bulletins • Newsletters • Educational experiences • Annual Show • Regional mini-shows *See Discount Code online at www.longrifle.com under the “Join Today” tab.

Specifications: • Full page (8.5 x 11 in. vertical, w/0.25 in. bleed) • Full color, PDF in CMYK • Will accept only high res images (minimum 300 dpi) • Must include work of at least one CLA artist/member • Copy (headlines, subheads, address, etc.) to be brief • No pricing allowed Inside Front Cover. . . . . Inside Back Cover . . . . . Back Cover . . . . . . . . . . . Inside Pages. . . . . . . . . .

$500.00 $500.00 $600.00 $400.00

Sponsor pages can be produced by owner, however, it must meet the high standards as determined by the magazine staff. Should you prefer, pages can be created for you by the Art Department.* *Photography and production costs may vary. Please contact for more information: cla@longrifle.com