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October 2010 – vol.5, Larry Pletcher, editor

I first met Ken Scott at the Conner Prairie Gun Show in 2001. I bought at journal from him.

Since then I have seen and admired his work at many muzzleloading events. His bags are, in my opinion, the benchmark by which other bags are compared.

Ken’s bags caught my eye at the CLA show this August. His bag “No King by Jesus” is a favorite of mine.

Among Ken’s other products are folk art prints, and Records of Births and Marriages.

This past week I had the opportunity to see Ken teaching his class on bag making at Conner Prairie. His class and the others there will be covered in a photographic article coming up on Blackpowdermag.com. Below are a couple of photos of Ken with his class:

Ken’s web sites with more photos and contact information are below:

http://www.americanfrontierart.blogspot.com

http://kenscottpouches.blogspot.com

photo credits: Steve Chapman, Larry Pletcher

October 2010 – vol.4, Larry Pletcher, editor

I think I first met Mark at Dixon’s a few years ago and was impressed with his work. Since then I have admired his rifles at the CLA shows in Lexington. Mark’s gun making started as a hobby, but now is a full time occupation. He won a “Best of Show” at Dixons in 2005.

I remember a conversation with Mark a few years ago at CLA when I mentioned that I had a nice stock and was worried that I would not stop carving before I exposed my inabilities. His reply was, ” I remember getting over that.”

In a field with so many aging builders, it is great to see the prominence of a younger generation of gun makers. I look forward to seeing Mark’s work for many years. In fact I will get to see his work this week at his carving class at Conner Prairie.  These photos came from that class:

Mark’s web site and contact information is found below:

http://www.markwhelandrifles.com/index.html

October 2010 – vol.3, Larry Pletcher, editor

Charles Wallingford is an old-school knife maker from Union Kentucky. His blades are hand forged with traditional handle materials. Most I have handles have been antler. He also makes a fine long rifle, but I suspect his passion is his blades.

A man can’t have too many knives; I have a fair number. My favorite knife was made by Charlie.

You can see Charlie and his knives at numerous shows, Friendship, and CLA. Below is his web address with contact information:

Wallingford web site

Hershel House and his Woodbury School By Mel Hankla Photography by Ric Lambert, Jan Riser, Mel Hankla and H. David Wright

Reprinted with permission from Muzzleloader magazine, July/August 2009. For more information on this and other black powder topics visit the web site atwww.muzzleloadermag.com

Hershel Carmen House was born July 4, 1941 and needs no introduction to these pages. His work has been nationally known for the better part of four decades. Hershel and his younger brothers, Frank and John, are the progenitors of what is known as the “Woodbury School” in today’s contemporary longrifle society, named for the small Kentucky town on the banks of the Green river in which they grew up. Products made by this family ingenuously express their personalities, exhibit varied artistic talents, and reveal a genuine way of life that has significantly influenced many aspects and countless members of today’s contemporary longrifle culture.

The first longrifles that Hershel remembers seeing were in an old store in Jamestown, Kentucky. He says it would have been about 1950. His family had temporarily moved and was living there while his father worked on Wolf Creek Dam that now holds back the Cumberland River and forms Lake Cumberland.  After moving back to Butler County in 1956, Hershel found an ancient half-stocked percussion squirrel rifle in his neighbor, Mrs. Gibbs’s, old barn. A long time family friend, he asked her if he could have it. It had belonged to her father, but she let Hershel have it anyway. He promptly fixed it, got it firing, and received a tremendous amount of pleasure hunting squirrels while exploring the woods and paddling the Green river in a homemade canoe.

In 1967, Hershel started building very intriguing mostly iron mounted rifles and through the years has truly become a living legend. In 1979 he was featured in Foxfire V, one of the ongoing series of books recording the customs and lifestyles of people from Southern Appalachia. In 1984 and again in 1985, Hershel was awarded a National Endowments of the Arts ~ Folk Arts Apprenticeship Grant. These grants provide funds for traditional craftsmen to take on worthy apprentices, thus passing on their unique trade. In Hershel’s words: “I am usually pushed for time and deadlines which I almost never make. So without this financial assistance I would probably never have been able to share my experience. The grant gave me 300 hours for the project, which allowed time to explain what I was doing and to go into the smallest of details. A lot of these specifics I had never taken time to explain even to myself…”

Through his years as a gunbuilder he continues to go through recognizable phases or periods of specific stylistic trends. In the early years his greatest influence was from the pages of Joe Kindig’s book, Thoughts on the Kentucky Rifle in its Golden Age. Thus, his first guns followed Golden Age styling of Pennsylvania’s gunbuilding schools.  Most of these early guns were brass mounted, a feature rarely found on his rifles today.

By 1975 his work had already evolved through a phase of building rather plain iron mounted Appalachian mountain rifles. He leaned more toward elaborate late flintlock period arms, specifically the type found in Southwestern Virginia or East Tennessee. By this time in his career it became obvious that his personal creative signature would be hand forged iron mounts for most every firearm he made.

By 1980, his guns started becoming considerably wider at the butt and took on the style of earlier, pre-revolutionary war period firearms. These are the guns he has probably become most noted for and are highly sought by collectors, hunters, and shooters. About this time, antique Kentucky Rifle collectors discovered his talents and started having him apply his knowledge and skill in the restoration of some of the finest antique Kentucky’s that are in existence today. Hershel says, that being able to handle and become intimate with these grand old originals helped his career more than anything else.

On April 1st. 1987, Hershel fell victim to a disastrous fire. He had worked for many years and produced countless rifles in a small one room shop that had once been a smoke house. In the spring of 1984, Hershel and friends built a larger two room structure that would provide space for the soon to come N.E.A. funded apprentice. Much like Hershel’s rifles it just never seemed new. His tools was an array of patinaed antiques, but obviously used often and included the complete set of his Grandfather’s (and namesake, Hershel Finney) cabinetmakers planes. There were volumes of well-worn books in an ancient glass fronted cupboard; Hershel’s shop was literally filled with treasures from another day.

Basically a hand worker, Hershel tends to avoid most power tools, not from some romantic notion of using old-fashioned tools, but from personal preference. He generally uses manufactured barrels and “brought-on” lock and trigger components, although his ability at the forge, without a doubt, could be commonly applied to the making of barrels and locks from scratch if his customers were willing to pay for the extra time and effort needed for such work. This is quite evident from his recent involvement in the House Brothers, “An American Tradition” longrifle project. His stockwork has always been from the stick and his stylish iron mounts exhibit perfected skill of both black and whitesmithing.

“… In his work, Hershel’s attitude clearly follows that of the early gunmaker. Whether at the forge, filing vise or stocking bench he is fast, sure and efficient; he wastes no time fussing about. That is a blend of skill and experience that was very well defined by the adjective “workmanlike” which eighteenth-century patrons used to describe sound products of an artisan’s hands.” He continues by saying, “Original pieces have made a strong impact on Hershel’s personal style, but not to the point of duplication. In fact, Hershel’s translations more often than not seem more successful than the originals.”Even when Hershel borrows elements of design from originals, his rifles are not copies; they are Hershel’s own statement of the many styles which he has encountered and absorbed from living his everyday life, precisely in the fashion that an early gunmaker developed his own identifiable style.

Hershel is well known for his ability in shooting competition and therefore understands what is necessary for a rifle to become an extension of the rifleman and for its components to function efficiently. First and foremost, his main concern with a gun is for it to be a shooter, always considering function before form.

This practical philosophy reflects the essence of utility, a traditional concept and an integral component of the gunsmith trade. However, the most significant signature of his work is the feeling of mellow age and long, but careful use. Even when the piece is brand new, Hershel’s rifles have the look and feel of having traveled a lifetime in the hands of a southern longhunter. Handling one of his rifles spurs the imagination toward visions from an earlier day. The rifles of Hershel House have a special feel about them. This quality of “feel” is hard to describe, but is well known to those who use their rifles for more than mantle decoration.

In the last several years, Hershel has been featured in “Field and Stream” magazine and on Sports Afield T.V. show.  He has also become a much sought after presenter appearing at a multitude of workshops and conferences nationwide. He continues to produce several unique long rifles and pistols each year, along with a multitude of one of a kind knives. This past June, Hershel and his brothers hosted the first Woodbury Gunmaking Seminar; it was a great success, and they are now accepting applications for students next year.

Those in attendance at the 2008 Contemporary Longrifle Association Show in Lexington, Kentucky had the opportunity to see the unveiling of a one-of-a-kind completely handmade Kentucky Longrifle by Hershel, Frank, and John House. The building of this exceptional work of art was donated by the brothers for a fund raising raffle for the Contemporary Longrifle Foundation and will be given away at the CLA show this August.

The rifle is a beauty; the wrought iron barrel, the lock, double set triggers, iron mounted hardware, and even the screws are made by hand in the same tradition as those firearms produced by American gunmakers in the 18th century. The rifle is built in their nationally recognized Woodbury School style, and includes many personal and unique attributes for which each are well known. It is relief carved, with engraved iron mounts. The patchbox is tastefully engraved with touches of sterling silver overlays, and a sterling silver escutcheon (for a future owner’s initials) accents the top of the graceful wrist area. The 41″ tapered and flared barrel is rifled in .45 caliber.The only thing not handmade by Hershel, Frank, or John is the fine piece of curly maple wood in which the rifle is stocked. This piece of hand selected wood was donated by Freddie Harrison of Bradford, Tennessee, a supplier of stock blanks to muzzle loading gun makers for more than 30 years.

You are invited to join the Contemporary Longrifle Association and be present at the 2009 annual meeting, August 14th & 15th, at Heritage Hall in Lexington, Kentucky. Come meet Hershel, shake his hand, be part of this exciting project, and the continuing history of the Kentucky Rifle. DON’T MISS YOUR CHANCE to win this entirely hand-made House Brothers , “An American Tradition” longrifle. Chances are available, 5 dollars each or better yet, 5 tickets for $20.00. Everyone interested in being a member of the CLA and supporting our endeavors by buying or helping sell tickets can visit our websites;www.housebrothersproject.com andwww.longrifle.wsfor detailed information about the CLA, photos of the rifle, the House brothers, and the building process. Or call 1-540-886-6189 for more information. See you in August!

About the author

Mel Hankla is a charter member of the Contemporary Longrifle Association and a noted collector of House brothers rifles, tomahawks and knives. Hankla has worked with the Kentucky Humanities Council as a Chautauqua-Living History Character portraying Simon Kenton and George Rogers Clark since 1995. He also portrays Kentucky’s first governor, Isaac Shelby and Benjamin Franklin in other venues. A noted writer, he has contributed articles to many publications. Visit his websitewww.americanhistoricservices.comto learn more.

Larry Pletcher, editor

A NEW KID ON THE BLOCK By Paul R. Jones

Reprinted by permission of the National Muzzle Loading Rifle Association/ Muzzle Blasts magazine, November 2008. For information on the NMLRA and other black powder topics please visit the website at www.nmlra.org

I like tomahawks! I always have, even when I was collecting Colts or Scottish swords, but I just never could afford them. Then, when I discovered that contemporary craftsmen were making them I got excited. Eventually I met the incomparable Richard Guthrie, of Virginia, dean of colonial blacksmiths. Richard is not only unsurpassed at the anvil, but he has a true love and understanding of pipe tomahawks. Owning a Guthrie is the next best thing to owning an original.

I also met Glenn McClain, whose technique, although different from Richard Guthrie’s, produced tomahawks that were spot-on to the originals. (See article in July/August 1999 Muzzleloader magazine)

And as you might expect, there is always “a new kid on the block.” If you watch the wonderful DVD The History of Tomahawks produced by Alan Gutchess, you will spot a young man working at the forge in one scene. That is Brian Barker from Belleville, Michigan. I first met Brian at the Sauder Village gun show some years ago. He had just finished a copy of Jim Dresslar’s Squire Boone tomahawk, not a tremendously fancy axe, but I was greatly impressed with the accuracy of his copy. I didn’t see Brian again until the Eastern Woodland Indian Conference almost a year later. There he had a fine inlaid copy of the tomahawk, on pages 101 and 102 in Jim Johnston’s Accoutrements I. Since then, Brian has produced a number of highly accurate copies of some of the most exciting originals around.

I think it is best to let Brian explain his love of tomahawks in his own words: “My real passion is pipe axes, and I wanted one like Squire Boone had made. I met Jim Dresslar through Don Rettig and Alan Gutchess. He very kindly let me go through and handle his collection so I could see things close up and on every side.

This is something books and videos cannot do – nothing beats looking at the real thing. I found a wrought iron gun barrel in an antique shop and used it for my first attempt. To my surprise it went together right the first time. Since then I have always used wrought iron for my pipe and poll axes.

It welds great, looks right, and is what they used in the 18th century. I have some old springs that I use for the bits. Welding in the bit and not burning it is always the tricky part of making an axe.” Brian signs his fancy tomahawks “B Barker” and everything else with a “B” in an oval.

Brian is a self-taught blacksmith. An early attempt at making a knife from a saw blade without drawing out the hardness got him interested in blacksmithing. A worn-out riveter’s forge given to him by a great uncle got things started. All that was salvageable of that riveter’s forge was the blower. He made the rest from wood, clay, and pipe from a muffler shop. For pipe axe making he has had to make many of his tools and modify others for specific jobs. An article on blacksmithing by Joe DeLaRonde got him started, but Brian says the Hershel House tape on blacksmithing was the most helpful of all. “It seems like I learn better and quicker when I can see things done.”

I don’t want this to sound like all Brian does is make pipe axes; he certainly does much more. Brian makes belt knives and fabulous 18th-century folding knives. He makes his knives from 1080 or 1084 plain steel, and the handles out of bone, horn, or wood. He chooses the harder varieties of wood, since so many people like to use the butt of their knives to start the ball when loading.

Brian also does powder horns. Scott Sibley, probably the best known and most prolific producer of powder horns around, has been a teacher and inspiration in this area of his endeavors. Scott started giving him advice long before his book came out, but Brian says he has still learned a lot from the book.

He likes to find horns sixteen or eighteen inches long with about a three-inch base, which he plugs with either pine or poplar. He tapers the holes in the mouth so they will let go of the stopper easier in wet weather. Brian engraves the horns with a knife he adapted by giving it a short blade for control and a steep bevel for a wider cut.

Tomahawks, knives, and horns are not all you will see if you run into Brian at a show. He also makes carved antler powder measurers, pick and brush sets, turn screws, tow worms, and ball pullers.

Brian has been married to Susan for twenty years and has a fifteen-year-old daughter, Chelsea, who loves to hunt with him on their sixty-acre farm in Kentucky using muzzleloaders. He has worked over twenty-two years for the University of Michigan. In eight years he plans to retire and devote full time to blacksmithing.

Brian is a member of the NRA, NMLRA, and the CLA. If you would like to contact him about any of his work you can do so at squirehawk1774@yahoo.com or give him a call at 734-697-4274.

About the author:

Paul Jones began his interest in living history in 1960 with Ralph Marcum and Randy Cochran, he was a charter member of the Kentucky Corps of Longrifles and began attending Friendship in 1959. His interest in contemporary makers started in the 1970’s when Dr. Glen Marsh introduced him to the work of Gary Birch and Jud Brennan. In conjunction with David Wright he wrote the “From the Hands of Master Craftsman” articles for Muzzleloader magazine and has been writing for Muzzle Blasts.

IAN PRATT’S IRON-MOUNTED MAIDENS By Sharon Cunningham Photographs by John Pratt and H. David Wright

Reprinted with permission from Muzzleloader magazine, May/June 2008. For more information on this and other black powder topics visit the web site at www.muzzleloadermag.com

To give the reader the added advantage of color and extra space on the website, we are adding photographs to the story. We realize you would like to see more of the artist’s work and therefore are including new photos. The original story as written by the author remains the same.

From being an excavation laborer/pipe layer, Ohioan Ian Pratt has become a premier custom longrifle maker. In a little over ten years, his iron-mounted flintlock rifles have become “most wanted” by shooters and collectors from all over the country.

“(In 1996) I made the first left-handed rifle for myself, and pretty much from the start, I hoped to do this for a living some day. For a few years I built guns and sold them locally (northeastern Ohio, south of Akron) and out at Friendship (the National Muzzle Loading Rifle Association’s semi-annual shooting matches at Friendship, Indiana)…In 2006, however, I had so many orders for guns I quit my job and started doing this full time,” explains Pratt.

After a few years of experimenting and teaching himself the craft of longrifle making, in 2005 Ian took Jim Chambers’ lock-building class and Mark Silver’s stock-finishing techniques at the NMLRA’s gunsmithing school, which is held each June at Western Kentucky University in Bowling Green, Kentucky. Later, Pratt attended John Schipper’s metal-engraving class, held at the annual October Arts & Arms Making Workshop sponsored by Historic Connor Prairie in Fishers, Indiana. During the winter of 2006, he found his muse when he attended Hershel and John House’s gun-stocking class at Canter’s Cave, Ohio.

Ian states, “…it was a major change in how I did things afterward.” When asked during a written interview about having a mentor, Pratt stated, “I definitely think of Hershel as a mentor. Everything he does and the whole Woodbury School of rifle making has had a strong effect on my work.”

Pratt now specializes in iron-mounted flintlocks with a Southern influence, from the mid-1700s through the early 1800s. He likes brass-mounted rifles, has owned a couple, but he does not enjoy building them as much as iron-mounted longrifles.

Ian states, “If a brass mounted rifle is a pretty girl, the iron-mounted gun is her sister, just as pretty, but there’s something in her eyes that lets you know if you ever crossed her, you might not live to tell about it…”

I’d say that Ian Pratt is more than smitten with iron-mounted muzzleloading longrifles, which is the reason his rifles are classically beautiful and are so collectible.

Ian believes that the riflemaker’s self sufficiency and his ability to make “something wonderful” with limited materials is more apparent in the iron-mounted rifles.

“A lot of them show work that is little more than functional, but others are real works of art.” And so it is with Ian Pratt’s artfully carved and embellished “Iron-Mounted Maidens.” Pratt was born in Ohio in 1965 and is married to Maryellen. The couple has one son, John. During his rifle-building career, he has made between 40 and 50 guns, and except for the very first one, all have been for sale. He is a member of the Contemporary Longrifle Association, at whose annual meeting, August 14–16, 2008, one of his famous Iron-Mounted Maidens was auctioned.

Ian Pratt can be reached at 330-658-4049.

Sharon Cunningham worked for Dixie Gun Works for many years and was editor of Dixie Gun Works’ Black Powder Annual for several years. Now retired from Dixie, she still retains a lively interest in black powder sports.