Contemporary Makers

Rum Horn by Steve Herburger

2012-01-29T07:03:00.000-05:00

Photos supplied by Steve Herburger .

Jack Brooks Lock

2012-01-29T07:02:00.001-05:00

Jack produced and assembled this copy of an antique Bonewitz lock. The bottom lock with the flint is the antique.

Photo supplied by Jack Brooks.

Banister-back Chair, 1715–35

2012-01-29T07:00:00.000-05:00

This chair epitomizes the attenuated proportions, dynamism, and vertical thrust of early Baroque, or William and Mary, style seating furniture. The back consists of dramatically turned split banisters that were turned on a lathe, split in two, and positioned with the flat side facing the sitter's back. A carved and pierced crest rail continues the vertical sweep of the back while playing off the carved "Spanish" feet that resemble a fluted scroll or an inverted paintbrush.

Copy and photos from The Metropolitan Museum of Art.

Revolutionary War German States Hessian Musket

2012-01-28T07:03:00.000-05:00

70 caliber, 46" part octagon barrel with twin ring turns. Convex lock with free standing pan. Full length stock with pin barrel fasteners. Brass mounts with intertwined sideplate. A beautiful Rev War period musket showing an even brown patina, excellent wood and mounts. Maker's mark on the barrel flat. Very likely one of the musket issued to George III "KING'S GERMAN LEGION".

Copy and photos from Monty Whitley.

Scott and Cathy Sibley Horn

2012-01-28T07:02:00.001-05:00

Photos supplied by Scott Sibley.

House Brothers Knife Seminar 2011: Photos

2012-01-28T07:00:00.000-05:00

Photos supplied by Gary Bertelsen.

Mike Small Horn

2012-01-27T07:03:00.000-05:00

Photographed at the 2011 CLA Show by Jan Riser.

Menomonee Bag by Jan Zender and Rochelle Dale

2012-01-27T07:00:00.000-05:00

This Menomonee style bag is fashioned after an original in the Neville Public Museum in Green Bay WI. Not only is it attributed to a specific tribe but also to a specific person, Chief Ashwebenon.

Copy and photo supplied by Jan Zender.

Mike Gahagan

2012-01-26T07:03:00.000-05:00

Photos supplied by Mike Gahagan.

Powder Measures by David Rase

2012-01-26T07:00:00.000-05:00

These powder measures are all adjustable from 20 to 100grains. The measures are turned and hand filed from roundstock in either brass, steel, wroght iron or a combination of brass and steel.

Copy and photos supplied by David Rase.

Joe Seabolt Knife

2012-01-25T07:03:00.000-05:00

Photographed at the 2011 CLA Show by Jan Riser.

John Plybon Horn for Jerry Rice

2012-01-25T07:00:00.000-05:00

Photos supplied by Jerry Rice.

Iron Mounted .40 Smooth Rifle by Bruce Everhart and Scott Staten

2012-01-24T07:03:00.000-05:00

This gun started with a conversation between my uncle Bruce and me that lasted over a year. I was looking for a light gun for round ball as well as small shot. A gun for feeding ones self in the woods.

We started with a red maple blank and a Rice 44“ .40 A weight smooth bore. Add a Chambers Colonial Virginia lock and we almost had a gun. Bruce did the layout work and hand forged the iron furniture. I did most of the inletting and Bruce did the shaping, carving, engraving and finish work.

Copy and photos supplied by Scott Staten.

Jeff Bottiger Southern Blowing Horn

2012-01-24T07:02:00.000-05:00

Photos supplied by Jeff Bottiger.

Shawn Webster for Joe Mills

2012-01-23T07:03:00.000-05:00

Shawn Webster measure

primer by Brad Mills

blade forged by Kenny Lutes from Winchester, KY

re handle by Joe Mills to fit his hand

ax by Brian Barker

horn strap by Shawn Webster

Photographed at the 2011 CLA Show by Jan Riser.

2012 HCH Annual Meeting

2012-01-23T07:00:00.001-05:00

The HonourableCompany of Horners 2012 Annual Meeting will be held in Carlisle, PA at the U.S.Army Heritage Education Center from March 2nd - 3rd, 2012. This display and event is opens to the public at 12:00 noon on Friday, March 2, through 5:00 p.m. on thatday. On Saturday, March 3, the event is open from 9:00 a.m. to 4:00 p.m. Membersare asked to bring their original blowing horns to the meeting.

The maintheme will be centered around education, with hands on work stations manned byMaster Horners assisted by Journeymen. All phases of work will be covered fromthe selection of raw horn for your particular project, to the finished item.

 Listedare some of the events that will take place:

· Freeman Cheryl Davidson will openceremonies on Friday morning singing our National Anthem.

· The Guild’s ceremonial blowing horn willbe unveiled.

· The blowing horn/drinking vessel contestwill be judged.

· The member’s annual horn contest will beheld and judged on entries in Contemporary Engraved Horn, Traditional EngravedHorn, Carved Horn, plus Horn and Bag and Horn Objects.

· The Guild’s horn and bag for raffle,donated by GM Elect Jeff Bibb and Publications Chair Billy Griner, will be ondisplay.

· All members registering will have theirname placed in a drawing for a special door prize, a beautiful adjustablepowder measure turned from horn, donated by Freeman Dave Rase.

· There will be a display table of originalblowing horns.

· Our Spring Pole Lathe will be on displayand demonstrated.

· Memberswill have their hornware and related items on display.

There will bedisplays of members work, demonstrations by several of our Master Horners and alecture by one of the curators from DuPont's Winterthur Museum relating tocharacteristics of horn and its working properties. Time is still"tbd" on this talk.

We also expect to have David Williams,the current Master of our "sister" organization The WorshipfulCompany of Horners in England as an honored guest throught the weekend. The Worshipful Company of Horners is the original horn workers guild formed over700 years ago in England. It is still active today, and our organizationwas patterned after theirs.

Theannual business meeting will be held Friday morning. The banquet will beSaturday evening and in addition to the meal there will be an Awards Ceremonywith a special guest speaker. The event will conclude with the Passingof the Horn followedby Freeman Davidson singing God Bless America.

All membersattending are encouraged to dress in 18th, early 19th Century attire throughoutthe event including the banquet.

Copy provided by HCH and Art DeCamp. The Pinetree Carver Horn was photographed at the 2009 HCH Meeting by Jan Riser.

Pistol by Daniel Casey

2012-01-22T07:03:00.000-05:00

This is a 40 cal., iron mounted pistol. The barrell has a hand filed swamp in it and measures 14 in. long, with my name,and a scroll on either side engraved on the top flat. The breech plug tang is, evgraved and inlayed with silver, and stamped with a heart. The stock is of curly maple stained dark with nitric acid. On the back of the grip there is an engraved steel band all the way around to the trigger guard, which has a silver plate for the owners name, and 4 raised silver flowers. There is an engraved silver plate on the bow of the trigger guard, along with a cross and two flowers stamped on the rear section of the grip. Each double ramrod thimble is filed octagonal with a wedding band on either end of all four. The nose cap is cast pewter, and the sideplate is inlayed with silver and stamped with my touchmark.

Copy and photos supplied by Daniel Casey.

Reproduction Beads by Ward Oles

2012-01-22T07:02:00.000-05:00

18th cen repro full strand, some look like those currently available from the "African market" however the subtle difference is sets of 3 compound stripes and not the common 4 as with "modern" beads. Olive/ovilette, "dogbone", mulberry, twisted tube, and marvered included in this batch.

Graduated short strand...eventually I will get around to either making this a full matched strand, or adding "plainer" beads in between.

a really short strand of 17th cen types

Copy and photos supplied by Ward Oles of The Eastern Door.

Death of Horner John Plybon

2012-01-22T07:00:00.000-05:00

We are sorry to learn of the death of horn maker, John Plybon. John was truly a pioneer in horn work and was the first recipient of the HCH’s prestigious “Lanthorn Award”. Our condolences to the Plybon family.

Information from the HCH.

Petite Neck Knife by Glen Mock

2012-01-21T07:03:00.000-05:00

The handle is black walnut with an ivory inlay and poured bolster. The knife is eight inches in length.

Copy and photo by Glen Mock.

Antique Tinder Lighter

2012-01-21T07:02:00.000-05:00

Supplied photo.

Marsha Hibbs Marbleized Box

2012-01-21T07:00:00.000-05:00

The art of marbling paper had it's origin in Japan around 800 AD and by the 1600's the finest papers were being made in Germany and Holland. The dutch in an effort to avoid import duties, often wrapped items to be exported to England in marbled paper. In turn, by ironing out the wrapping the English bookbinders were able to press them and reuse them as endpapers in their bindings. Some designs were French Curl, Peacock, Dutch Feather and Flame.

The concept is to suspend colors on a thick watery medium as oil floats on water and comb or swirl the colors depending on the pattern and finally transferring the design by touching it with the paper for just a moment. These papers were used in the bookbinding process and early bandboxes.

Today I am using these papers to cover blank books and bandboxes. The bandbox had been used as early as the 17th century. Although some boxes were constructed of thin bent veneer, the majority wre made of pasteboard. These boxes were used to store personal finery such as collare, jewelry, ribbons and hairpieces. some of the larger boxes were used as stagecoach luggage.

Each of these boxes or books are completely handmade---from the creation of the marble paper to the finished box or book.

Upon receiving this book or bandbox, you will have acquired some of tomorrow's heirlooms.

Copy by Marsha J. Hibbs with photos by Jan Riser.

Nate McKenzie Rifle After John Schuler

2012-01-20T07:03:00.000-05:00

Bucks Co. Rifle loosely patterned after John Schuler. It has a Colerain 44in swamped barrel and a Chambers Golden Age lock. This rifle and several others can be seen on my table at the 18th Century Artisans show in Lewisburg, PA on Feb 3-4.

Photos supplied by Nate McKenzie.

Berks Co. Horn by Lee Larkin

2012-01-20T07:00:00.000-05:00

Photos supplied by Lee Larkin.

Ken Netting Fowler

2012-01-19T07:03:00.000-05:00

barrel by Ed Rayl

Photographed at the 2011 Lake Cumberland Mini CLA Show by Jan Riser.

Honourable Company of Horners 2012 Raffle Set

2012-01-19T07:02:00.000-05:00

The horn and pouch set are the raffle items for 2012 and will be displayed at the annual HCH conference in March, and at Dixon’s in July.

The horn made by Billy Griner, is a copy of an original Rowan County, NC piece. It features three bands with a turned, applied antler tip, and a pecan wood base. Overall length is 11 inches around the curve.

The pouch was made by Jeff Bibb and is a copy of an original pouch from Iredell County, NC. Constructed from cowhide, the pouch is 6.5 inches wide by 7 inches deep. The flap is bound and backed with hemp. There is a hanging ball or patch pocket inside.

This awesome Southern pouch and horn are complimented by other handmade items. The measure was turned from horn by Mark Ewing, and pick and brush set were made by Jeff Bottiger.

Copy and photos supplied by Honourable Company of Horners. Tickets can be downloaded from the link.

Three Rivers Silversmith

2012-01-19T07:00:00.000-05:00

Kim Robinson has a web site, Three Rivers Silversmith, where his reproduction buckles, medals, rings and seals can be found. Kim has now retired from teaching and is devoting his time to being a full time artist.

Images from Three Rivers Silversmith.

Glen McClain Plug Bayonet with Cami McClean Sheath

2012-01-18T07:03:00.000-05:00

Photographed at the 2011 CLA Show by Jan Riser.

Fire Bucket by Steven Lalioff

2012-01-18T07:00:00.000-05:00

Photo supplied by Steven Lalioff.

Antique Rifle

2012-01-17T07:02:00.000-05:00

Powder Flask by Brian Anderson

2012-01-17T07:00:00.000-05:00

The large one is wood covered with velvet and iron bound. The primer is all iron

Copy and photos supplied by Brian Anderson.

David Crisalli Plug Bayonett

2012-01-16T07:03:00.000-05:00

Photos supplied by David Crisalli.

Mark Thomas Horn

2012-01-16T07:00:00.001-05:00

Photos supplied by Mark Thomas.

Swedish Auction Items

2012-01-15T07:03:00.000-05:00

Supplied photos.

Sons of Liberty Bowl by Paul Revere, Jr.

2012-01-15T07:00:00.000-05:00

The Liberty Bowl honored ninety-two members of the Massachusetts House of Representatives who refused to rescind a letter sent throughout the colonies protesting the Townshend Acts (1767), which taxed tea, paper, glass, and other commodities imported from England. This act of civil disobedience by the "Glorious Ninety-Two" was a major step leading to the American Revolution. The bowl was commissioned by fifteen members of the Sons of Liberty, a secret, revolutionary organization to which Revere belonged; their names are engraved on the bowl as are references to Englishman John Wilkes, whose writing in defense of liberty inspired American patriots. The Liberty Bowl, the Declaration of Independence, and the Constitution have been called the nation's three most cherished historical treasures. The bowl was purchased by the Museum in 1949, with funds that included seven hundred donations by Boston schoolchildren and the public.

Inscribed below the rim: "Caleb Hopkins, Nathl barber, John White, Willm Mackay, Danl Malcom, Benjn Goodwin, John Welsh, Fortescue Vernon, Danl Parker, John Marston, Ichbod Jones, John Homer, Willm Bowes, Peter Boyer, Benja Cobb."

One side, in a circle with a scroll and foliated frame topped by a Liberty cap flanked by flags is engraved: "Magna/Charta" and "Bill of/Rights." Inside the circle is inscribed: "No45. /Wilkes & Liberty" over a torn page labeled "Generall/Warrants."

Inscribed on the other side, a Liberty Cap in a wreath above leafy scrolls: "To the Memory of the glorious NINETY-TWO: Members/of the Honbl House of Representatives of the Massachusetts-Bay/who, undaunted by the insolent Menaces of Villains in Power/from a Strict Regard to Conscience, and the LIBERTIES/of their Constituents, on the 30th of June 1768 /Voted NOT TO RESCIND."

Copy and images from the Museum of Fine Arts Boston.

Ken Scott Pouch

2012-01-14T07:02:00.000-05:00

Photos supplied by Ken Scott.

Flat Horns by Ron Vail

2012-01-14T07:00:00.000-05:00

Photos supplied by Ron Vail.

Antique Southern Pistol

2012-01-13T07:03:00.000-05:00

Photographed at the 2011 Tennessee Kentucky Rifle Show by Jan Riser.

Antique Horn

2012-01-13T07:00:00.000-05:00

Photographed at the 2011 Tennessee Kentucky Rifle Show by Jan Riser.

Joe Mills Hunting Pouch

2012-01-12T07:03:00.000-05:00

Photographed at the 2011 CLA Show by Jan Riser.

Joe Scott Knife

2012-01-12T07:00:00.000-05:00

Photographed at the 2011 CLA Show by Jan Riser.

Hershel House for Mike Mills

2012-01-11T07:03:00.000-05:00

Photographed at the 2010 Lake Cumberland Mini CLA Show by Jan Riser.

Jan Zender Silver

2012-01-11T07:00:00.000-05:00

Photographed at the 2011 CLA Show by Jan Riser.

Michael Galban Quilled Sheath and Knife

2012-01-10T07:03:00.000-05:00

Photographed at the 2011 CLA Show by Jan Riser.

Horns by Scott Morrison

2012-01-10T07:00:00.000-05:00

I’m a relative newcomer to the sport of black powder shooting, having started in 2006 when I purchased a Lyman Great Plains rifle kit to assemble. My “first” horn was one I assembled from a kit, which was basically installing the mahogany base plug and securing it with brass pins. I did customize the horn, carefully filing four flats on the tip, afraid the whole time that I would break through. In May, 2007, I took a one day workshop on making French and Indian War period powder horns, taught by California horner Steve Vance. This one day class was a turning point in my life as I fell in love with making powder horns. My first horns were made for my two children to use when at our black powder club. Once you’ve made one though you cannot stop and I started making horns for family and friends, trying different techniques and improving my art.

What I enjoy most about working with horn is discovering and bringing forth the shape that is hidden within. I like to tell people that a horn will let me know what it wants to be and my job is to make that happen. Sometimes I’m successful and achieve what I strive for, bringing out the beauty in a horn.

One of the most inspired horns I have done was for a customer in Alaska. He wanted the horn to be a Chinook salmon, and after some discussion we settled on a Northwest Coastal Indian theme. I used a rather extremely oval horn with a lot of curve and fitted it with a cherry base plug. No attempt was made to round the horn and the oval cross-section was kept. The base plug was carved into the head of a fish with Inuit design. Native designs also were engraved on the horn body and the spout plug was a fish tail, also carved from cherry. In 2009 I took the horn to Dixon’s Muzzleloading Fair in Pennsylvania, entering it into competition. The horn was quite a sensation at the fair and it came away with three ribbons.

I continue to improve my craft and explore new ways and styles with my focus currently being the Southern banded horns of Virginia and North Carolina. I don’t like to recreate any particular original horn, but instead take inspiration from a variety of originals to incorporate into my design. I look for the unusual, some aspect of a horn that one doesn’t normally find, yet still retains the character of the style.

An example is an engraved North Carolina banded horn I recently completed. Engraving is not something normally found on the banded Southern horns, yet the 1803 original was engraved with a floral design. I replicated that engraving on my horn along with a scallop design from another Southern horn.

I am a member of the Honourable Company of Horners, having joined after finding an application to the guild in an order of horns I received from John and Linda. At Dixon’s, in 2009 and again in 2010, I spent most of my time there at the HCH table, meeting a lot of new and old friends.

I’m also a member of the Horner’s Bench, an internet forum dedicated specifically to horn work. This is one of (if not the) best online forums available. The members all share a unity of purpose: to freely promote working with horn and sharing their knowledge. It definitely is a worthwhile forum to be a part of.

Copy and photo supplied by Linda Shorb at Powder Horns and Friends.

Lester Smith Rifle

2012-01-09T07:03:00.000-05:00

This rifle is signed L Smith on the barrel and the lock is 38 cal. It was an original barrel re-rifled in the styling of the Federal Period. Earl Lanning said Lester didn't know it but he was building Federal style rifles all along. It has the most elaborate forstock wear plate I have ever seen, having 60 piercings with oak leafs, very nice comb inlay, 26 silver inlays, very hard 3-d curly maple. A very nice full pierced toe plate. The eagle patchbox is highly engraved. Overall length is 57 inches.

Copy and photos supplied by Aaron Boyeston.

Cherokee Campaign Horn by Mike Burke

2012-01-09T07:02:00.000-05:00

This c. 1762 horn is based on several original horns, most the work of a single professional engraver, produced in the wake of Col. James Grant's campaign against the lower and middle Cherokee towns in 1762.

Copy and photos supplied by Mike Burke.

2012 Lake Cumberland Mini CLA Show

2012-01-09T07:00:00.000-05:00

The Lake Cumberland Mini CLA Show will be help February 3rd, 4th & 5th, 2012 at Lake Cumberland State Resort Park in Jamestown, Kentucky.

The guest speaker this year will be Harold Edwards noted collector and authority of Kentucky make longrifles. The program is at 4:00 PM on Saturday afternoon.

Music will be provided throughout the weekend by Larry Spisak & Morgan's Glade.

Contact Mel hankla at 270-566-3370 or melhankla@amhiss.com

Powder Horn by Eric Van Alstine and T.C. Albert

2012-01-08T07:03:00.000-05:00

This horn is a collaborative effort by two friends. It was built by Eric Van Alstine and then carved and antiqued by T.C. Albert. The carving is based on an original western horn that was actually made later in the percussion era, but exhibits all of the folk imagery found on horns carved much earlier.

Copy and photos supplied by T.C. Albert.

American Pocketbook, circa 1750-1800

2012-01-08T07:00:00.000-05:00

New England

8.5 x 14.5 x 3.3 cm (3 3/8 x 5 11/16 x 1 5/16 in.)

Wool embroidery on linen with wool lining and wool twill binding tape

Copy and images from Museum of Fine Arts Boston.

Powder Measures by Bruce Horne

2012-01-07T07:03:00.000-05:00

Photos by Jan Riser.

Antique Ladle

2012-01-07T07:00:00.000-05:00

Photographed at the 2011 Tennessee Kentucky Rifle Show by Jan Riser.

Chuck Edwards Rifle for D. Brads

2012-01-06T07:03:00.000-05:00

Photos supplied by Chuck Edwards.

Steve Lodding Axe

2012-01-06T07:00:00.000-05:00

Photos supplied by Steve Lodding.

Joe Seabolt Axe with Engraving by Ian Pratt

2012-01-05T07:03:00.000-05:00

Photographed at the 2011 CLA Show by Jan Riser.

Buffalo Horn by Lee Larkin

2012-01-05T07:00:00.000-05:00

Photo supplied by Lee Larkin.

Roy Stroh

2012-01-04T07:03:00.000-05:00

Photographed at the 2011 Tennessee Kentucky Rifle Show by Jan Riser.

New Blog by James Rogers

2012-01-04T07:00:00.000-05:00

James Rogers now has a blog that showcases his 18th Century Sporting Reproductions. Above is a Germanic Pouch from the mid 18th Century.

Square Virginia Double Pouch

Germanic Flask

Powder Horn with designs from early 18th Century English Fowling Gun engraving

Copy and photos supplied by James Rogers.

Map Horn by Jeff Bottiger

2012-01-03T07:03:00.000-05:00

Photos supplied by Jeff Bottiger.

Lock by Brian Anderson

2012-01-03T07:00:00.000-05:00

These photos relate to the December 31st posting of the 'German Casket'.

I made this lock some years ago - in a late 16thcentury style with a moderately complex mechanism inspired by these german strongbox locks. The pan cover and match holder are both spring loaded and released consecutively when the sear is tripped. The the pan cover can be closed independently.

Copy and photos supplied by Brian Anderson.

Creating Powder Horns by Scott and Cathy Sibley

2012-01-02T07:03:00.000-05:00

Cathy at work scrimshawing

banded horn components

Photos supplied by Scott and Cathy Sibley.

Chair by Ken Gahagan

2012-01-02T07:00:00.000-05:00

Transitional William and Mary to Queen Anne chair I made about 20 or so years ago.

Copy and photos supplied by Ken Gahagan.

Tavern Sign by Steven Lalioff

2012-01-01T07:03:00.000-05:00

This is my favorite tavern sign I made for Williamsburg in the last century. Originally, this hung inside the Williamsburg Inn but it wasn't long before I got a call from the museum's interior decorator. They received a complaint from a guest who objected to the nudity. I offered to buy the sign back, or better, paint them a different one. (I wanted to exchange it for a mermaid that was fish on top and nude on the bottom.) But, I would not paint clam shells over the breasts as suggested unless I could paint her nose blue....the guest, not the mermaid.

The inset shows the back of the sign. This was a common "joke" heard at taverns in the period.

Copy and photos supplied by Steven Lalioff.

Items from the Colonial Williamsburg Foundation Online

2012-01-01T07:00:00.002-05:00

Blanket Chest

1795-1805

Origin: America, Virginia, Eastern Shore

H: 24 3/4"; W: 56"; D: 20"

All components of yellow pine.

Six-board chest format; rectangular top with thumb molding across front and side edges; additional molding nailed to bottom of lid where it overhangs sides; wrought iron strap hinges replace cotter pin hinges which originally held lid to case; back consists of two horizontal, butt joined boards that are rabbeted to receive the case sides (thus exposing ends of back boards); each side consists of typical stile-and-rail construction with a single, square raised panel; front consists of two long rails and four short stiles that frame three panel groups; central front panel group consists of two diagonally crossed rails flanked by four triangular raised panels ("St. Andrew's Cross"); right and left front panel groups each consist of four astragal rails centering a lozenge-shaped raised panel and flanked by four roughly triangular raised panels; corner stiles on all sides continue below case to form supports on to which shaped bracket feet are nailed; base molding nailed to lower edge of case on front and sides; case painted bright green (now oxidized to blue) and all panel moldings picked out in white.
The lid is composed of two butt-joined boards. Thin cleats are nailed to the underside of the lid at both ends, and integral moldings run along the leading edges. The lid was originally mounted on cotter-pin hinges. The front and sides of the chest consist of raised panels resting in grooved stiles and rails, which are, in turn, mortised-and-tenoned together and secured with wooden pins. The back is made of plain horizontal boards. The side panel assemblies are nailed into rabbets on the front panel assembly and the backboard. The butt-joined bottom board rests within the chest and is secured with nails, the heads of which are concealed by the applied base molding. Mitered at the corners, the front bracket feet are nailed to downward extensions of the stiles that frame the front and side panel assemblies. They also are nailed into the underside of the base molding. The side faces of the rear feet are similarly attached, but there are no rear faces.

One of the finest surviving chests from the Eastern Shore of Virginia, this yellow pine example retains most of its original blue and white paint. It epitomizes the Eastern Shore tradition of raised-panel furniture construction, which combines ancient joinery practices with elements of contemporary eighteenth-century design. Except for the least expensive storage chests, most southern examples made after about 1725 were joined with dovetails. The case of this chest consists of independently paneled frames rabbeted and nailed together at the corners, a technique more often associated with the fabrication of interior architectural woodwork.

The chest diverges from conventional cabinetmaking traditions in other significant ways, including the structural details of its feet. On most contemporary case furniture forms, including chests, the carcass is supported by blocks set inside the foot brackets. Here the stiles of the front and side panel assemblies extend down to the floor and serve as primary foot blocks to which the decorative brackets have been nailed. Other Eastern Shore raised-panel case pieces, among them CWF clothespress 1968-750, exhibit corresponding construction. The same is true of paneled architectural walls, where downward extensions of the stiles support the great weight of the assembly and the base molding is merely an applied ornament.

Patterned on plates XXIII and XXVI in William Salmon's influential design book PALLDIO LONDINENSIS (1755), popular for much of the eighteenth century, the intricate paneling pattern on the front of the chest reflects the hand of a woodworker with advanced carpentry skills. The matching outer sections are each composed of two curvilinear V-shaped stiles that are through-tenoned into the top and bottom rails and flank a central lozenge-shaped raised panel. Each unit is surrounded by four additional free-floating quadrant-shaped panels. This complex construction is best seen when viewed from inside the chest. The central section exhibits similar details except that the crossed rails are lap-joined at the middle and mitered at the ends to fit the framing stiles and rails. So popular were these elaborate paneling patterns on the Eastern Shore, that one artisan from the region painted a diminutive unpaneled chest to suggest the presence of raised panels (MESDA research file 10,367).

At present, the CWF chest cannot be attributed to a particular maker or district on the Eastern Shore. Moreover, the production date of the object is later than its outward appearance would suggest, partly because Eastern Shore woodworkers rigidly held to earlier craft traditions for long periods. While some raised-panel chests from the area date as early as the second quarter of the eighteenth century, others, including this one, were made about 1800, evidence for which is found in the maker's use of both wrought and cut nails, the latter not being available until the 1790s. The retention of earlier craft customs on the Eastern Shore parallels the conservative tendencies of artisans in other agrarian communities. It also reflects the limited development of urban centers and trade specialization there, where residents, particularly in the post-colonial period, imported much of their more formal furniture from Chesapeake ports like Norfolk and Baltimore.

Man's Cap, Silk and Metalic Needlework

ca. 1700

Origin: Europe

OH: 10" W: 12 5/8"

Ribbed silk, embroidered with silk and silver metallic threads; lined with ribbed silk.

Man's cap of golden yellow ribbed silk, embroidered in yellow silk satin stitches and knots and couched silver metallic threads. Design consists of scrolls enclosing strapwork or basketweave pattern with additional stylized flowers and leaves. Cap has high rounded crown cut from two pieces of fabric with the addition of two darts to shape the curve. Cuffs angle out to peaks. Cap is lined with cream color finely ribbed silk; cuff self lined.

GR Jug

1724-1740

Origin: Europe, Germany, Westerwald

Overall: 8 3/8 x 5 15/16 x 7 3/16in. (21.3 x 15.1 x 18.3cm)

Stoneware, salt-glazed, gray with blue

Gray-bodied salt-glazed stoneware bellied jug with cordoned neck highlighted with two bands of blue. An applied medallion is on the center of the piece 180 degrees from the handle. The badge bears the initials "GR", which are filled with blue as well as a crown, foliage and a winged cherub's head. Beneath the GR is the date, 1724 and on either side of the crown at the top of the medallion are the conjoined initials "HP" and "W". The body of the jug is decorated with an incised deign comprised of stylized foliage that has been filled with blue.

Inscription(s): Beneath the "GR" is the date, 1724 and on either side of the crown at the top of the medallion are the conjoined initials "HP" and "W"

A number of jugs among the “GR” wares are noteworthy for the inclusion of initials within their applied badges that may represent mold makers or perhaps pottery owners. There are two main groups of these vessels. The less common examples include the letters “HP” conjoined to the left of the crown and “W” to the right, with the date “1724” divided at the base of the badge beneath the cherub’s wings. It is tempting to believe that “1724” indicates the date of manufacture, but features such as cordoned as opposed to rilled necks and the absence or presence of manganese coloring are evidence that the mold for this badge was used over a long period. Fragments of jugs with these initials and “1724” have been excavated from the Anthony Hay House, Hay cabinetmaking shop, and Governor’s Palace in Williamsburg. Intriguingly, an intact jug with this badge was also unearthed in Lauzoua on the Ivory Coast of West Africa by a member of the Dida tribe who associated the find with ancestral grave goods.

Continental Currency, Eight Dollars

May 10, 1775.

Artist/Maker: Hall & Sellers

Origin: America, Pennsylvania, Philadelphia

OW: 2 3/4" OH: 2 1/2"

Continental currency. "The United Colonies EIGHT DOLLARS. SEVEN DOLLARS. THIS Bill entitles the Bearer to receive EIGHT SPANISH Milled DOLLARS, or the Value thereof in GOLD or SILVER, according to the resolutions of the CONGRESS, held at Philadelphia, the 10th of May, 1775. VIII DOLLARS."

Mark(s): Signatures: "Jas Milligan, James Read" Serial No. "47589"
Trained as a printer, Benjamin Franklin got his first commission to print paper money in 1731. By 1739, the notes he was producing for the colony of Pennsylvania were double sided, and they included a naturalistic representation of a different leaf on the reverse of each denomination. Produced by a complicated secret process, Franklin's "nature prints" were used as an attractive anti- counterfeiting device on the backs of a number of different colonies' notes, and those of the Continental Congress, until around 1780.

Copy and images from Colonial Williamsburg emuseum.

Antique Rifles

2011-12-31T07:03:00.000-05:00

Photos supplied by Robert Weil.

German Kasket

2011-12-31T07:00:00.000-05:00

Hunting Pouch by Maryellen Pratt with Tim Crosby Horn

2011-12-30T07:03:00.000-05:00

This authentically styled set would make a perfect companion to a later Southern rifle. The pouch is 7 3/4" high by 7" wide, made of bark tanned deer hide and hand stitched with linen thread. The straps are made of cowhide and a rectangular iron buckle provides adjustment. A banded horn by Tim Crosby with chestnut colored band and applied horn tip hangs from the pouch's straps. The knife is an antique bone and pewter handled table knife "converted" for use as a patch knife - this is an authentic detail occasionally seen on original pouches. The knife is fitted with a rawhide lined sheath attached to the strap. A simple vent pick and a powder measure made from a green horn tip complete the set.

Copy and photos supplied by Maryellen Pratt.

James Gillray: Playing in Parts

2011-12-30T07:00:00.001-05:00

Hand-colored etching and aquatint, image 37 x 26 cm., published 15 May 1801

by Hannah Humphrey, 27 St James's Street, London. Engraved by Brownlow North

Gillray lived with Hannah Humphrey (sometimes titled "Mrs.") for the entire period of his fame. It is believed that he several times thought of marrying her; on one occasion the pair were on their way ti the church, when Gillray said: "This is a foolish affair, methink, Miss Humphrey. We live very comfortable together; we had better let well alone." He died insane in 1815.

This design is based on an earlier Gillray image, "Ars Musica", published 16 February 1800, showing a trio, now much altered and elaborated to include the slightly unlikely ensemble of two flutes, violin, cello and fortepino. The howling dog, who seems to habe commandeered all the separate parts, may give the idea of the performance of these amateur musicians. In the later Bohn restrike this image was included in the so-called "Suppressed Plates", presumabley on account of the officer's sword raising the skirts of the traditionally-built lady on the far right.

James Gillray (13 August 1756 or 1757 – 1 June 1815), was a British caricaturist and printmaker famous for his etched political and social satires, mainly published between 1792 and 1810.

Marc Tornichio Rifle After Phillip Cameron

2011-12-29T07:03:00.000-05:00

The latest rifle is 32 cal. and is inspired by the Phillip Cameron rifle that shown in Jerry Noble's book. I did not make an exact copy, I include a few details that directly relate to southwest virginia style rifles. I forged all the iron mounts and made all the small parts.

Copy and photos supplied by Marc Tornichio.

18th Century Flintlock Tinder Lighter

2011-12-29T07:00:00.000-05:00

I have something new in my collection it's a still working early 18th century Flintlock Tinder Lighter. Just the screw from the trigger needs a little repair but it`s already done by myself. It's very easy to light a candle with a tinder lighter like these. All what you need to do is to fill the big pan with good charcloth; cock the hammer; shut the frizzen and pull the trigger like a flintlock gun. Than you need a small wooden stick that was first dipped in meltet sulfur; stick this one in the already glowing charcloth; blow to hold the glow and you will see that the sulfur stick begin to burn like a match and now you can light your candle. It`s a great experience to light the fire the same way like people do it in the 18th century.

Copy and photos supplied by Manfred Schmitz.

Greetings from Germany

John Proud Tansel Horn for Ron Scott

2011-12-28T07:03:00.000-05:00

Photos supplied by John Proud.

Burl Noggin by Christian Hays

2011-12-28T07:00:00.000-05:00

This Noggin features a carved Human Face, and Rum Barrel attached with a Toggle String made from Basswood Bark.

Copy and photo supplied by James Blake.

Jacob Hoak Rifle circa 1790 by Mike Karkalla

2011-12-27T07:03:00.000-05:00

Photos supplied by Mike Karkalla.

Stone Carved by David Gillespie

2011-12-27T07:00:00.000-05:00

This was a stone I carved for the City of Greenville, SC's children's garden located near the Peace Ceter at the intersection of Broad St, and River St, under the Hwy 123 Bridge. The Childrens garden included a "Secret Garden" walled up with bricks. The stone, like the story, has a secret. The Stone has 7 keys hidden on the stone. See if you can find all of them. If not go and see it for yourself!

Copy and photos supplied by David Gillespie.

Antique Pistol

2011-12-26T07:03:00.000-05:00

Brian Barker Powder Measure

2011-12-26T07:02:00.000-05:00

A powder measure I copied from an original. This one is three inches long and the original was a little shorter and a tad smaller in diameter. The measure throws 55 grained of ffg powder so its not a monster measure. The original is thought to have been made and used by a Native American.

Copy and photo supplied by Brian Barker.

The Ford Mansion, Washinton's Headquarters

2011-12-26T07:00:00.000-05:00

Ford Mansion

Washington's Winter Headquarters

Master Bedroom

Kitchen

Traveling Liquor Box

Servants Quarters

Images from National Parks Service by Kim Watts.

"A Partridge in a Pear Tree"

2011-12-25T07:03:00.000-05:00

There is one Christmas Carol that has always baffled a lot of people. What in the world do leaping lords, French hens, swimming swans, and especially the partridge in the pear tree have to do with Christmas?

For almost 300 years, from 1558 until 1829, Roman Catholics in England were not permitted to openly practice their faith. During this era, the carol, Twelve Days of Christmas, was written as a catechism song for young Catholics. It has two levels of meaning: the surface meaning plus a hidden meaning that was known only to members of the church. Each element in the carol was a code word for a religious reality which the children could remember.

The partridge in a pear tree is Jesus Christ.

Two turtle doves are the Old and New Testaments.

Three French hens stand for faith, hope and love.

The four calling birds are the four gospels of Matthew, Mark, Luke & John.

The five golden rings recall the Torah or Law, the first five books of the Old Testament.

The six geese a-laying stand for the six days of creation.

Seven swans a-swimming represent the sevenfold gifts of the Holy Spirit:
Prophesy, Serving, Teaching, Exhortation, Contribution, Leadership, and Mercy.

The eight maids a-milking are the eight beatitudes.

Nine ladies dancing are the nine fruits of the Holy Spirit: Love, Joy, Peace, Patience, Kindness, Goodness, Faithfulness, Gentleness, and Self Control.

The ten lords a-leaping are the ten commandments.

The eleven pipers piping stands for the eleven faithful disciples.

The twelve drummers drumming symbolizes the twelve points of belief in the Apostles' Creed.

This knowledge was shared with me and I found it interesting and enlightening and wanted to share it with you. Now we know how that strange song became a Christmas Carol.

Merry Christmas!

Copy and photo supplied by Ken Scott.

A Soldier's Christmas at Morristown in 1779*

2011-12-25T07:00:00.003-05:00

The luckier Revolutionary soldiers were living in huts like the one reconstructed above, but many of their counterparts still were in tents when Christmas came to Morristown in 1779.

"HALF rations again! By Christmas we'll be on no rations at all!"

—And when we came to Morristown they told us the people were all in sympathy with the cause; very few Tories among them, and that this was a land of plenty.

"Yes, plenty of cold and snow Sam, if this cold continues there won't be one of us left to live in these damned log huts. Why did General Washington pick such a place for our winter encampment?"

—Washington knows what he's doing, Henry. We're safe from attack here at Morristown. The British can never get over the mountains east of here. I, for one, am willing to go any place Washington says; I'm willing to suffer along with the rest, but I've stood all any human being can stand. We've been for weeks on half rations; half-naked and not enough blankets to go around, and the coldest winter of the century. If we could only get more grog, that would keep out the cold.

"I haven't had a drink of grog for days. The only way we can keep warm is in building these huts. When do you think we'll be in our hut, Sam? This tent is as good as nothing at all."

—About 3 days more. Perhaps we can make it by Christmas, then we'll celebrate in our new log mansion. But Captain Ashmead won't be in his hut by Christmas. He says he'll see all the privates under cover first.

"I heard that General Greene is attempting to get most of the officers in private homes, but is meeting with great opposition. No one wants an officer in their home, I guess, because they're afraid the British will attack most any day and burn their place down. If the British do get through, we certainly can't offer much resistance."

—Sam, some of the other boys ate a good meal last night—even had a chicken. What do you say we do the same tonight? Down this road, not very far, lives a farmer by the name of Wick. His yard is full of chickens and his barn is overflowing with grain—more than he and his family can ever use.

"Wick's farm!¹ That's where General St. Clair is staying. If he ever caught us there we'd be up for court-martial in the morning."

—I'd take a good lashing for a square meal. Anyway we deserve something to eat for Christmas, and we may not get caught.

"But haven't you heard General Washington's orders. No more of this pillaging, he says, and calls us a band of robbers rather than disciplined troops."

—That's easy for the General to say, but does he understand what we are going through out here?

"They say he is going to visit camp tomorrow. Let's watt. Perhaps he'll bring us some news—news that the French fleet is going to arrive, or that we can borrow some of the 5,000 barrels of flour collected for the French to use when they come. Then at least our bellies will be full on Christmas."

Reconstructed officers' hut at Morristown.

This imaginary conversation between two Continental soldiers encamped in Jockey Hollow, near Morristown, N. J., was probably typical of hundreds of others which took place during the memorable Christmas season of 1779. Both from a military and a political standpoint, the winter was an extremely critical period. Soldiers were compelled to live on half and sometimes quarter rations, which made it impossible for Washington to prevent pillaging and marauding. An attempt on his part to prevent ruthless stealing of supplies from the farmers in the vicinity caused a complete famine in camp, making it necessary to order regular foraging and marauding expeditions which went from house to house and took everything not absolutely essential to the inhabitants.²
Christmas of 1779 found the ragged, half-starved men of the Continental Army busily engaged in building crude log huts, which were to be their homes until the opening of the next year's campaign. Just before Christmas there began the extreme cold which was to characterize the winter of 1779-80, the worst of the century. Some of the men were under cover by Christmas, but others still were in the open two weeks later when a sudden blizzard brought a 5-foot snow blanket to most of New Jersey, and froze the Hudson and other rivers solid.

Most of the officers were even worse off than the ordinary privates, yet had to wait until all the men were under cover before beginning construction of their own quarters. Quartermaster General Greene attempted to obtain quarters for the officers in private homes, but found that the people offered determined resistance to the idea. Greene appealed to the civil magistrates for help, but their sympathies were with the populace. Exhausted in his patience in providing what he deemed absolute necessities for the officers, he finally appealed to Washington. Washington then threatened to obtain accommodations for his officers by the exercise of martial law, if necessary, but he never carried out his threat.

The following letter, written by Brigadier General Samuel H. Parsons, Connecticut Line, to General Greene, illustrates the difficulties encountered in housing even general officers:
DEAR Sir: I beg you to order me a large markee and a stove as the last resort I have to cover me; I cannot stay in this Trophet a day longer nor can I find a House without going four miles from camp into which I can put my Head. The Room I now have is not more than Eight feet square for six of us; and the family worse than the Devil; and the Justices threatening you and me if I continue to occupy this Hutt.
I beg you not to fail to send me the Markee and Stove to Day; or send me somebody to drive away the Evil Spirits who inhabit this House,
Your Obedt Servt
SAMUEL H. PARSONS
What did the Continental soldier eat for his Christmas dinner? While we have no record of any special food's being rationed for the day, the following general order illustrates the kind of food he must have had—perhaps only a half or even a quarter of the prescribed ration:
A pnd. of hard or soft bread & 19 Pound of Indn. Meal or a pound of flower, a pound of Beef or 14 oz. Pork to be daily Ration until further orders.³
Some of the officers, at least, were able to escape the hard times prevalent about the camp on Christmas Day. A letter written by Lieutenant Erkuries Beatty, of Hand's Brigade, illustrates a celebration in splendid style:
Camp near Morristown
Christmas Day
Dec.^r 25th [17] 79.
. . . I am just done dinner about half Drunk, all dined together upon good roast & boiled, but in a Cold Tent, however grog enough will keep out cold . . . tomorrow we all dine at or with the Colonel, which will be another excellent dinner and I think you may call that fine living, but oh! I am afraid it won't last many Days—we hutt about four miles from Morristown . . . so about one week we will be in our hutt & a fine lay out it is . . .⁴
Even the Commander in Chief, living at the Ford Mansion in Morristown throughout this Christmas season of 1779,
could not have been very comfortable. The official family was much crowded even though most of the spacious mansion was placed at its disposal. As late as January 22, 1780, Washington wrote:
. . . I have been at my prest. quarters since the 1st day of Decr. and have not a Kitchen to cook a Dinner in, altho' the Logs have been put together some considerable time by my own Guard; nor is there a place at this moment in which a servant can lodge with the smallest degree of comfort. Eighteen belonging to my family and all Mrs. Fords, are crowded together in her Kitchen and scarce one of them able to speak for the colds they have caught . . .⁵

This primitive heating system was all that warmed soldier patients in the hospital hut during one of the severest winters of the century. The interior is one of the Morristown reconstructions.

Besides the dearth of personal comforts, this Christmas was one of the most disheartening of the entire 8 years of the war. Up until November, high hopes had been held that the powerful French fleet under Count D'Estaing, which was operating in the West Indies, could arrive on the coast in time to cooperate with the Continental Army in a siege of New York City. But D'Estaing failed to grasp the opportunity and chose instead to assist General Lincoln in an unsuccessful attack on Savannah, Ga. Thus, at Christmas time, Washington found it necessary to weaken his own force to give assistance to the defeated Lincoln. Besides this, Washington and his staff became alarmed at the indications of a possible attack by Sir Henry Clinton, the British commander at New York. Clinton had called in all his outlying detachments and had the entire army concentrated on Manhattan Island. Preparations were being made to embark a large fleet, which, Washington thought, may have been a feint for an attack on Morristown. Not to be caught unawares in such a situation, Washington gave orders to place all the troops in a position to defend themselves. A system of alarm signals was organized, each brigade being directed to its proper place in the line of battle, and Duportail, chief of the engineers, and General Greene were instructed to prepare a plan for a defense of the position. Such an attack, however, never occurred.

Four days before Christmas, Washington wrote to Governor Livingston of New Jersey concerning his apprehensions in regard to the plans of the British. He wrote that Clinton could not be ignorant of the small number of men left in the Continental Army, the distress of the military magazines, and the want of forage. "The loss of our huts at this inclement season," he pointed out, "would be a most serious calamity. This loss would be accompanied by that of a great part of our baggage, and a number of our men by desertions."⁶

George Washington's Christmas dinner of 1779 may have been cooked in this fireplace, preserved today in his headquarters mansion at Morristown.
The general orders on Christmas Day, 1779, make no mention of the festiveness of the occasion, only the prosaic grind of military routine. One order dated December 24, 1779, calls for a court martial on December 25 at 10 o'clock in the morning, for a trial of the noncommissioned officers and privates who were in confinement.⁷ Another announced that a small supply of shirts had arrived and would be delivered.⁸ Still another, dated December 25, is a reprimand for the "shameful waste of forrage" in camp.⁹
But what must have added most to this disheartening Christmas season, at least to Washington, was the court martial of Benedict Arnold, who was tried for permitting a Tory vessel to enter the port of Philadelphia without acquainting other officials of the fact, and other charges. The trial was held in the old Dickerson Tavern in Morristown and the occasion made it one of the most important gatherings ever held in America up to that time. Arnold was summoned December 19¹⁰, and further sessions were held at the same place at 11 o'clock on the mornings of December 24, 25, and 26¹¹. Even on Christmas Day the trial continued! As evidence in his favor Arnold placed before the court complimentary letters from the Commander in Chief which bore out the fact that he was one of the bravest generals of the army. A sad Christmas, the first of many which Benedict Arnold was to have! Sadder still it must have been to Washington who had put implicit faith in Arnold.

So, it may be wondered, could there have been a Christmas at Morristown in 1779? These "times that tried men's souls" as Thomas Paine wrote, were never more in evidence than during that season.
Today, 160 years later, when the ageless Christmas message is said and sung again to the sound of bells and the twinkle of candles, when the firelight burns brightly on twentieth century hearths, Americans still may keep green the story of Morristown's Christmas in 1779. For that story, in the great realities of the present, well may remind us of an ancient sacrifice whereby we now are afforded, as Scrooge's nephew said, "a good time, a kind forgiving, charitable, pleasant, time."

Farmer Henry Wick, whose home (above) was the object of hungry soldiers' pilferings, provided quarters for General St. Clair.

Notes
¹ The Wick House, as well as Washington's Headquarters (the Ford House) mentioned elsewhere in this article, are now units of Morristown National Historical Park.
² Letter from the Chevalier de la Luzerne, the French Minister, to his government, New Materials for the History of the American Revolution (John Durand Henry Holt and Company, New York, 1889), pp. 217-218.
³ General Orders, January 18, 1780, Morristown Orderly Book, Morristown National Historical Park manuscript collection.
⁴ Written to his brother, Dr. Reading Beatty, "Letters of Four Beatty Brothers of the Continental Army, 1774-1794," The Pennsylvania Magazine of History and Biography, Vol. XLIV (1920), pp. 193-263, Historical Society of Pennsylvania.
⁵ John C. Fitzpatrick, Writings of Washington (United States Government Printing Office, Washington, May 1937), Vol. 17, p. 432.
⁶ Ibid., 292.
⁷ Ibid., 309.
⁸ Ibid., 310.
⁹ Ibid., 320.
¹⁰ Ibid., 286.
¹¹ Ibid., 302, 312.

By Russell Baker, Junior Historical Technician, Morristown National Historical Park, N. J.

^*Reprinted from The Regional Review (National Park Service, Region One, Richmond, Va.), Vol. III, No. 6, December 1939, pp. 3-7.

Wicks Home photo from National Parks Service by Kim Watts.

Horn by Alec Foreman with Strap by Nathan Kobuck

2011-12-24T07:03:00.000-05:00

The strap is based of one collected by Sir John Caldwell stationed at detroit in the 1770's The Buffalo Horn is based off an example collected by Andrew Foster at Detroit in the 1790's.

Copy and photos supplied by Nathan Kobuck.

Eric Kettenburg's Shop Cat

2011-12-24T07:00:00.000-05:00

That's a feral cat. He's been hanging around for almost 2 years, living under the shop. He would disappear in the winters - I don't know where he was going or how he lived - but then show up again in the Spring. I would leave food out for him, but none of us could ever get even remotely close to him. Finally, in September (this year), I took a day and just sat still near the food bowl with some cheap bologna. Deli meat! That's what did it. Within a week, I had him eating from my hand, then living in a pile of hay under the back overhang, then following me around meowing at me incessantly, and now living in the shop and driving me completely nuts. He meows at me and is underfoot all day long. All he wants to do is sit on my lap. He's probably gained about 10 pounds too.

Copy and photos supplied by Eric Kettenburg.