The front panel and flap of this pouch are made from hair-on calf hide. The back panel, gusset, strap tongue and buckle parts are cowhide. The flap is bound and lined with pigskin. The strap was made by Kris Polizzi (Kris-Polizzi-Custom-Weaving on facebook here) and then aged slightly. The steel buckle was made by blacksmith William Bisher of Black Turtle Forge here.
I was extremely honored when this shot pouch was awarded the Madison Grant Award at the 2014 Dixon's Gunmaker's Fair. Like all my work this pouch was inspired by different elements of original pouches and from contemporary work by artists I admire greatly. I owe both groups a debt of gratitude for this award as well as those who bring the work out for us to see.
Copy and photos supplied by Eric Ewing. More of Eric's work can be seen here.
This piece was built to resemble a circa 1620 English snaphaunce musket for CLA Artisan Kenneth Gahagan. Documentary evidence strongly supports that Myles Standish, the Military Captain of Plymouth colony, was armed with a mechanical lock musket. Most others were armed with matchlocks at that time. Matchlocks disappeared quickly in the new world due to the impractical nature of the ignition system. By the mid 1620's, letters are being sent to England, urging prospective colonists not to bring matchlocks.
The barrel was made by Coleraine. The lock was built by the maker, utilizing some Rifle Shoppe parts and many hand forged parts. The stock is walnut and all mounts are hand forged iron. It will be on display at the 2014 CLA show on the maker's table."
This is my recent interpretation of a European trained gunsmith (possibly Bavarian) working in colonial America, in the years leading up to the F&I war. I attempted to look at rococo from a baroque point of view assuming an experienced gunsmith was trying his hand at carving in the newer fashion yet still retaining the roots of his training. This I think blended old parts with new art and some charismatic flair thrown in creates a rifle with an interesting yet a business like personality in the game taking 58 cal.
Michael Galban wrote an article on his blog Edge of the Woods on Gorgets, Moons, Heads & Coins. Below are two of the images with an into pragraph.
"Among the myriad objects which hold special meaning to Native peoples is a group of objects known as a shell gorget or “moon” gorget. The moon gorget in simple terms is a round plate which hangs before the breast. They were originally cut from marine shells and were at times quite large, but soon after contact, the flourishing trade in silver objects spawned a silver version which held equivalent meaning for Native people. Sometimes, in the past, a round gorget-like ornament could appear permanently pricked indelibly into its owner’s chest as a tattoo."
British officers study a map in their billet, 1776 (c)
Engraving by Jean Benait Winkler, after artist C Trrost, published by Carington Bowles, 1776 (c).
British officers study a map in their New York billet. There were about 7,000 British troops in the American colonies on the eve of the War of Independence (1775-1783). Some of these garrisoned the remote forts controlling the Proclamation Line (the divide between Native American and colonial territory) and the main overland routes.
The remainder policed the towns and ports. As well as defending settlers from border attacks by Native Americans, smuggling and civil disturbances were the main problems faced by the Army.
Soldiers posted to colonial garrisons were generally accommodated in purpose-built barracks. In America, extra soldiers brought in to police the Stamp Act of 1765 were accommodated 'in inns and uninhabited houses' at local cost.
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