This .50 caliber Lehigh Valley longrifle is stocked in a nicely figured curly piece of maple and trimmed in brass furniture. The striped figure has nice contrast from muzzle to butt when viewed in bright daylight. The buttstock is fitted with a sliding wood patchbox. The Jim Chamber's late Ketland lock, and Getz straight octagon barrel are finished to a silvery gray patina. This classic golden age longrifle is neatly built and signed by contemporary builder Wayne Blaker.
The custom made 42" length by 13/16" straight octagon barrel by Getz Barrel Company is cut rifled with a .50 caliber bore. The .50 caliber bore has seven lands and grooves with a slow twist for a tightly patched round ball. The bore is bright in as new condition.
We present a Bowie knife of the lineage of the "D" guard.
With a blade forged in complex Turkish damask in three steel: 15n20, 5160 and 1070, has a guard in 1070 and 15N20 pattern welded engraved with floral motifs. The same material was used in the collar and the disarmament nut. The handles are Wenge wood and nickel silver spacers ornamented with a file work. Complete set a classic wooden scabbard wrapped in leather, with nickel silver throat and chape.
Copy and photos supplied by Forja Fontenla, a two craftsman brother’s Argentinean knifemakers.
This is a rifle I have just completed. Germanic style rifle 1760's era with stepped wrist, elongated lock panels, incised and relief carving, and a reshaped buttplate. There is a late Tennessee trigger guard to replace the broken original one. A large early style sterling silver oval on the wrist, and a small wide early style patchbox. All parts are engraved in Rococo. Nitric Acid from Eric Kettenburgwas used for staining. Oil finish, 50 cal. Radius groove rifled barrel from John Getz. Relief carving around rear entry thimble.
When Robert Weil started collecting images for the Contemporary Makers book in 1973 the challenge to record contemporary gun work was daunting. Gathering material was difficult and time consuming. Few makers thought that there was any value in published documentation of their work. Electronic publishing has changed all that. Having a website or having one's work available to view on the internet is becoming a necessity. In spite of all the potential to finally have a true overview of what's being produced by the artists of today, a great deal of work still remains covered up and basically unknown. Our role is to make an effort to document some portion of what’s going on today. To comment on the established makers and to uncover the unknown. We welcome your comments and suggestions and look to you our readers to make us aware of the talented makers out there. Art and Jan Riser Robert Weil and The Makers