Cherokee Campaign Horn by Mike Burke

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.

Horns by Mike Burke

Plain Horns, c. 1750-1820. The following three horns are typical of the vast majority of plain, unadorned powder horns used in early America. While one is of unknown origin, another based on an original from Canada, and the last from New England, all are similarly unassuming in their architecture, keeping the focus on the beauty of the horn, iron, leather, and wood used in their construction.

Copy and photos supplied by Mike Burke.

Mike Burke Horn

Ft. Pitt Horn, c. 1760. This horn combines elements from several extant powder horns depicting Fort Pitt (Pittsburgh) and the Forbes Road, carved between 1759 and 1764. The hastily rendered designs reflect the chaotic life on the Pennsylvania/Virginia frontier in the aftermath of the French and Indian War.

Copy and photos supplied by Mike Burke.

Crown Point Horn by Mike Burke

This horn reflects examples mad at Crown Point, by a carver identified as Richard Cressey, in the early 1760's. It is fully engraved and features a large depiction of the winged creatures that serves in place of a signature on the majority of his horns.

Copy and photos supplied by Mike Burke.

Mike Burke Horn

Lake George School, c. 1756. This horn draws heavily on a handful of original examples, made at Forts Edward and William Henry in the autumn of 1756, primarily those owned by Col. Nathan Whiting and Capt. David Baldwin. Like most surviving powder horns from this "School", the designs, with the exception of the chip-carved geometric panels, were truly engraved, using a variety of hand-held burins of the type used to engrave silver and other soft metals in the period.

Copy and photos supplied by Mike Burke.

Powder Horn Depicting the Siege of Boston 1775 by Mike Burke

This horn depicts a snapshot of the hasty fortifications thrown up around Boston in the wake of the battles of Lexington, Concord and Bunker Hill. The towns of Cambridge and Roxbury, where the New England army was encamped, are shown in detail, as are the British fortifications at Boston Neck, and the armada of warships which sailed into Boston Harbor to aid in suppressing the rebellion. It is based on several horns made by semi-professional carvers during the time of the Siege, primarily those owned by William Latham and Jesse Starr, and is typical of those churned out in large numbers to satisfy the demand for souvenirs of this momentous event.

Though the architecture of the horn is a little more involved than most, all the shaping was done with knives and files, including the spiral carving at the spout and cherry base plug. As on Latham's original (one of at least two owned by him), an iron staple is driven directly through the bottom edge of the horn to provide a means of attaching the strap.

Copy and photos supplied by Mike Burke.

Mike Burke Buffalo Horn with Strap by Nathan Kobuck

The strap was based on a reputed Cherokee strap in a European collection. It is made of natural dyed yarn and done in the oblique weave. The white beads are in repeating circles and zig zags and woven on the strap as was done on the original.

 

Photos supplied by Nathan Kobuck.

Mike Burke Horn with Strap by Nathan Kobuck

The horn was in the clash of empires exhibit and the strap is a se beaded belt that was in the Warnock Collection. The set was made for Dr. R.S.S Stephenson.

Photo supplied by Nathan Kobuck.