Jump to content

Wild Rose

Members
  • Posts

    273
  • Joined

  • Last visited

  • Days Won

    1

Everything posted by Wild Rose

  1. Another option based on some 18th and early 19th Century originals I've examined is - all were local made blacksmith products rather than commercial products: 1 - Start with 1/4 inch stock (use wrought iron or mild steel as a substitute) and bend in a U shape leaving a 1/4" cap at the base of the U 2 - Weld a section of 1/4" in the base of the U that will give you a poll the length you want 3 - Preform the eye around your drift about an inch or so lower down on he drift than you want the finished ye 4 - Proceed as normal when making a wrapped axe and weld in your steel bit, drift eye to finished size, etc. 5 - On some a steel plate 1/4-3/8" thick was either brazed or welded to the end of the pool to help keep it from splaying quickly with use like iron tends to do - to aid in retention of the plate you can use a fairly large headed rivet countersunk into the steel and then driven into the iron poll followed by welding or brazing into place. Another method I've seen was to make the steel plate in a T shape and either slotting the iron and then cross pinning along with brazing/welding, or using the T shaped steel plate as the filler between two layers of iron rather than forming a long strip into a U and adding an iron filler - some of the T's were pinned and welded in place while others were just welded. In a time and place when both iron and steel, especially in larger thicknesses, was at a premium this method worked and saved a bit of work as well. I made a Biscayne style falling axe using his method many moons ago and it's still being used by my friend, albeit the bit has been re-steeled a couple of times, a common occurrence back when. Just another way to skin the proverbial cat.....
  2. Thank you Art - do you have any recordings of your work? I also like the mix of native flute and nouveau flamenco - a favorite is the album Native Flamenco http://www.amazon.co...e/dp/B00000JNKP probably due to my partial heritage of Tuscarora/Choctaw and Spanish Gypsy.......... I also happen to live in the country (the Four Corners on the So Ute Rez) where it's a "natural" mix of cultures ............ Carlos Nakai is another favorite along with Ottmar Liebert (I like old school traditional flamenco as well but for many it's an acquired taste)........
  3. Some noce pieces Wade and yep Jim along with Moscow Hide and Fur checkout Eidnes Furs - both are on line and are great folks to deal with........using elk they must be big blades? I've got a buffalo leg that one day............
  4. Glad ya'll enjoyed the look and like Jim P the hair came from my own head - I've worn it long for most of the last 45 years except when doing construction work back in the 1980's. A couple of years ago I was wearing braids and it had gotten to be about 38" long (I'm 5; 11") and one day I got tired of sitting on it and cut a foot off.... Art - I love flute music, especially "native" stuff and I'll take anything that helps..... Jim I don't burn much charcoal for blade smithing these days due to health concerns (damaged immune system due to long term chemical exposure causing some chronic systemic problems - not curable but at least controllable that along with a 30 year old back/neck injury has made me old before my time - did lose 50 pounds, tough way to do it though LOL!), but I still love doing the handles and fittings so still do a bit of pounding for the latter - doing collaborations with three other blade smith friends keeps me supplied with blades - I love working with others and bouncing ideas around. One friend lives just 4 miles away and so I have access to his forge and shop anytime I want. As for my beaded Indian/Scout/mtn man gear, funny thing is about 10 years ago I came close to quitting doing any frontier gear with beadwork which had always been my first love since age 8 (I'm 59) - I had gone off in another more modern direction for a while with my leather work and then on top of that my brother in-law got invalided and I gave him my beading stuff for therapy. A couple months after that though I got some longhorn beef stew bones from a neighbor and after boiling the meat down I found a hock bone that just sort of screamed war club to me. I asked a friend, knife maker Gib Guignard, if he wanted to forge a blade for me and then we decided to do a companion knifeand sheath. That re-fired my 40+ year passion for "frontier" gear -due to my back issues I also found it was easier on my bod then the heavy stamping and tooling work I had gotten into and now I prefer doing this typework more than anything else and so far the fire in my gut is still burning bright- it was passion for most of my life and now looks like it will stay that way. Here's the set Gib (RIP mi amigo) collaborated on - I added a piece of deer antler to the hock bone for a handle and made it into a quirt/club. The knife has a deer leg bone handle with a piece of deer antler for a bolster. The bead work is in the pre-1850 Absaroka style. a
  5. Still dealing with some chronic health issues (and otherthings) that have slowed me way down, but I finally got something done.... This is a pre-1850 quiver and bow case made of heavy braintanned elk with early Cheyenne style pound bead work. Other deco includesfringe, brass beads, tin cones, horse and human hair. The base of the quiver ismade of 5/16" thick neck hide the arrow points from dulling with an outercover of rawhide to keep the points from poking through. While not a direct copy it is based on several originals A belated Christmasgift it's a companion piece to this SW style knife and sheath and Cheyennestyle pipe bag ---
  6. Tyler - you may have seen one - Tim Albert did an article for Muzzleloader Magazine some time back and IIRC made one with sometype of stock, but as far as I know none have shown up in the archeo records. Wild Rose aka Chuck Burrows
  7. Nicely done especially the decoration which is not tto much but just right. As for the flatness - plenty of originals are flat so no problem there - here are just a few originals that are flat. Iroquois - 1700's Osage - mid 1800's Pawnee painted by Catlin 1834 Lakota 1860-70's As for being made from gun stocks - never happened, for the simple reason if nothing else they would have been too fragile with all the inlets for the barrel, lock, etc. Plus this style of war club is older than guns in the new world - the name is derived from the sort of resemblance to gun stocks, not because they were made from them . Note the club on the right with the early celtiform flint blade - this is the MesoAmerican deity Quetzalcoatl - a pre-Euro painting
  8. Go to IMDB.com - look up the program and who he production company was and contact them - they should be able to tell you who the props were supplied/made by although sometimes the props are part of a prop suppliers stock and the items are just part of the stock that may be years and years old, especially since this was filmed in Europe.....
  9. My well considered opinion and hopefully not to tic some one off - it's a 1970's arti-fake, too many things not "quite" right, including the handle shape, too thick tang (how thick is it? - that will be a good clue...), the blade back edge with the notches (this is a bayonet style 18th Century blade, made in England and imported to North America by the thousands as a trade item to the Indians) and such notches were not included on an as sold blade via HBC , but could have been added later?), etc. Just because the patina matches in various areas really means nothing - say it was all force aged and then let set around for 20-30 years, everything would be in balance, but still not necessarily old - FWIW even the best experts get fooled by this stuff. Now admittedly that is opinion, but it is opinion based on 50 years of in depth study, so take it as you will. If you want to know for sure about the age there are tests, both destructive and non-destructive such as spectro-analysis, that can give you a "scientific" dating - unfortunately not cheap. Again unfortunately tons of this stuff was done by "skinners' back in the 70's and early 80's, and now much with 20+ years of aging, is being passed off as the real McCoy. I've seen a ton of it on E-bay for example - including my own work being touted as original! For instance - one study (by a couple of well respected researchers) of bear jawbone dags being touted as originals was one out of 100 were originals i.e. 99 were arti-fakes made in the 70's and 80's.
  10. Luke you can get them online with search function http://lewisandclarkjournals.unl.edu/ and you're welcome....
  11. check out - Lewis & Clark: Tailor Made, Trail Worn--Army Life, Clothing, & Weapons of the Corps of Discovery - one of the best sources on the equipment carried by the Corps http://www.amazon.com/Lewis-Clark-Worn-Army-Discovery-Expedition/dp/1560372389 Pretty much what Alan said along with some gunsmithing tools such as the tools to fresh out a bore (NOT re-bore it) - http://www.flintriflesmith.com/ToolsandTechniques/freshening.htm
  12. Well FWIW I've made leather armor using the traditional method which takes it over 160° F which makes it as hard as it will ever get. It was made for and stood up to actual sword and knife use like the original armor did - that is with proper padding underneath. Some original cuir bouilli armor I've examined was finished with traditional resins for a water resistant finish, but not for any hardening. I've known many over the years to use modern resins, but I personally always found it unneccessary when?if the traditional method is done properly. Glad you enjoyed my work...........
  13. Probably more than you want to know on "hardening" leather via the cuir bouilli method - IMO the by far the BEST and the real period correct method for making armour, etc. http://www.personal.utulsa.edu/~marc-carlson/leather/hl.html and FWIW - I stain before hardening, harden, then apply finish...
  14. cold/rust blue it - one of the tuffest finishes around - Brownell's Gunsmithing Supplies sells a couple of different kits (I prefer Pilkington's) or you can buy LMF Brown, brown it and then boil it in distilled water - the boiling changes the brown to a nice deep blue/black (it's the finish used on high end English guns and is much tougher than any other method of bluing inlcuding hot salt bluing). Then heat it up to around 250° F and slap some linseed oil on it that will blacken it a sort of poor man's Japanning widely used in the 19th Century by black smiths at least here in the west, redo if need be - followed by a good waxing. But like Alan said if it's ferrous metal than there is no 100% guaranteed method of preventing rust, especially if it's a user - only way is keep it clean and waxed or oiled.
  15. Specifications: Bladesmith: Tai Goo Knifemaker: Chuck Burrows Sheath & Stand: ChuckBurrows Knife: OAL 14.25" -balances at guard Blade: W2 - 9.25" longx 2"wide handforged by Tai Goo Handle: Colorado mule deercrown Guard and fittings: German silver guard with cast pewter ferrule and buttcap Sheath: deer rawhide with handcarved beavertail motif over bark tan core. Sheath decoration: So Cheyenne style pound beaded braintan cuff. Full beaded edge of blade section - Brass tacks - Beaded and fringed drop - Fringed cuff edges with German silver beads, buffalo hair pipes,and tin cones - Tin cone, glass bead, and horsehair dangles Display Stand: - width: 11.375" - length: 15.25" - Heighth without knife and sheath: 11" - Decoration: - black cowhide cover with rawhide corners - alternating iron and brass tacks along all edges - mule deer antler uprights with beaded braintan wraps - mule deer leg bone stops for holding baled and sheath inposition - tin cone and horse hair dangles - Circular buffalo hide dropwith hair on one side and beaded cross and circle on the other
  16. all right now - I've lost 55 pounds and 6" around the waist so that stout comment is not appropriate or politically correct ya know .... heck I might even have to sue some one LOL and this mix is for me the one I found most effective and yep for making exacting copies of 18-19th century Sheffield/English trade knives brick dust is the "proper" filler - wonder if the "chemical" makeup of the brick (clay, lime, etc) has something to do with the preference or maybe it was the red color since many such knives used "reddish" woods such as rose wood and others were painted red???? BTW - I've even used dried buffalo chips and moose poop for the filler - makes for an interesting topic of conversation - like "Mikey" I'll try just about anything! Also with pitch/rosin/resin (not really the same things though from the same source and also exactly what it is may be dependent on the writer) will vary in consistency due to moisture content - less moisture the drier and more brittle the "pitch" will be...this can be as it comes from nature or it can be dried by heating to cook off the moisture. and yes as Alan stated thanks for doing the research.....
  17. Thef ollowing are from teh Museum of the Fur Trade boo, Fur Trade Cutlery Sketchbook. ANYONE interested in period knives in America from the1600's to the 1800's IMO should have this book it's cheap (about $8.00) and is chock full of scale drawings taken from originals in the MOFT Collection - it can be purchased direct from the museum or from suppliers such as Track of the Wolf. The eariliest "dag" blade was the Bayonet style, with the others following years later - these are all the commercially made styles of dags. There is also a good amount of blacksmith/gunsmith made dag blades (most mid-late 1800's) - the latter vary considerably in size, shape, type of tang, and handle material (one of the most common handle materials on the commercially made dags was water buffalo horn or ebonized wood. As for the centerline being forged or ground - could and porbably was a combo effort - most of the Sheffield blades were produced using dies and tilt hammers, then ground, etc. in order to minimize the use of steel. Here are links to pics of some originals: http://rockymtncollege.proboards.com/index.cgi?board=blades&action=display&thread=273 A repro - but with some very good images especially of the handle http://www.bladeforums.com/forums/showthread.php/600822-Today-s-quiz-I-amp-H-SORBY-but-Whut-Izzit http://www.worthpoint.com/worthopedia/i-h-sorby-dag-knife-h-peake-collection Page 322... http://books.google.com/books?id=E6NZd17WtWoC&pg=PA323&lpg=PA323&dq=sorby+dag&source=bl&ots=pG37smtobj&sig=NGKCi_f1LuG_gK6Pao44MQciXAY&hl=en&sa=X&ei=e01WT6LjOKioiQLsxd3hBw&ved=0CEAQ6AEwATgK#v=onepage&q=sorby%20dag&f=false
  18. Being that it is a buggy spring from that era I would suggest it is probably not shear or cast steel but rather blister steel - the base steel for the other two, and the type most commonly used in period for items such as large springs and other waon parts. Shear steel due to it's extra work in making was generally used for knives and other cutlery, seldom in period for anything else. While cast steel was originaly developed by Huntsman for CLOCK springs, it again was used mostly for higher end cutlery, fine quality springs for guns and other things such as watches/clocks, some gun lock parts, and by the mid-1830's for gun barrels. Blister steel can also have all the impurities as any other WI based steel and while not as highly refined as shear steel, it can show the layers (perhaps not as defined) as well.
  19. yes you can - here's a basic how-to http://www.wrtcleath...als/pewter1.gif 2 changes when I do it and I do lot of them as do many others and the pewter is always cast in place...As for being done in colonial times - maybe but there is little evidence for poured pewter bolsters until the early 19th Century, but then again a lot of period smiths use them despite the lack of documentation 1) I use manila file folders for the wrap 2) I use masking tape rather than tying it on - I use lots of tape to make sure all edges are sealed so the pewter won't leak out anywhere 3) As a help for flow use a soft lead pencil and coat the areas you want to fill . The flow temp for pewter is about 50 degrees hotter then the melt temp. Warm the blade/tang if possible before pouring - I use a heat gun on low. 4) To work pewter go to the auto parts store and get some of the files made for filing lead body filler. Also plenty of sandpaper in varying grits.
  20. After posting pics of this recently made strike-a-light pouch I got asked about how-to on another forum and figured I'd post here as well for those who might be interested I use mostly the Old Time Color beads from Crazy Crow. Most of my beadwork is pre-1850 so I use either 8/0 pound beads or 10/0 seed beads. Despite the oft quoted "fact" that seed beads were not used prior to 1850 in the west there is in fact plenty of evidence for seed beads also being available and used although pound beads were more often used. For some of the beaded "fringe" I also use some larger beads in 4-5mm size. When beginning doing beadwork or doing it on a budget there are also the less expensive Czech beads and by being selective with the colors you can get some nice looking work. For special projects or repairs of original gear I also use some original 19th Century beads. Some sources: Crazy Crow usually carries some www.beadmatch.com www.shipwreckbeads.com For info on how-to bead - start with here: http://www.nativetec...d/glasbead.html I use the lane (aka lazy) stitch and the appliqué stitch - appliqué is mostly used for floral style typified by the Metis beadwork. There are also a bunch of books and DVD's on how-to bead and IMO it never hurts to read and compare as much as possible. For info on pre-1840/1850 beadwork see the article in Book Of Buckskinning vol 7 by Allen Chronister - it's full of good info including a list of books that include original early western beadwork, most of which is not like the later beadwork patterns or colors so commonly seen. It also includes info on the different types of beading used, with some info on tribal styles. For info on colors used pre-1840 also see the trade lists here: http://www.xmission....~drudy/amm.html Colors were more limited in the early days and the two most popular colors by far were various shades of medium to dark blue and shades of white - both chalk and gloss. For backing leather I use only brain tan or the German Tan from Crazy Crow is also good and is cheaper, especially the seconds. With either type pre-stretch it and also use the firmer parts with the least stretch - some braintanners will do hides with a firmer less stretchy "body" on request. Cloth was often used as well both as backing and as a decorative element. Blue and Red stroud were most common, but for backing the long legging and shoulder/arm strips for instance, hemp or linen canvas weight cloth was also used. Also keep your smaller scraps of leather and sew them together with the baseball stitch - lots of old beadwork was done on such scrap. When doing the lane stitch I lay my lines out with a red stitch marker or a red water soluble ink pen. Once I get the basic lay out is done I then use masking tape as a border stop along the edge. For thread I often use the narrow imitation sinew and split it in two. I use this for two reason, strength and also so my work can not be pawned off as original work. For splay projects or on request I also use real sinew or silk thread in a button weight or a combination of the two. Cotton wrapped poly thread in button hole or carpet weight thread is another option. I've never used the Nymo beadwork thread so can't offer an opinion. Light weight linen or hemp thread can also be used but I've had strength/wear problems with it. Using real sinew is a somewhat different process since the hard tip of the sinew is your "needle" and you use an awl – I'd recommend to learn with thread first and then tackle that process. For needles most folks use the sharps needles, but I found that the size seven CS Osborne harness needles work better for me. They are a bit longer and also last longer - you can order them here: http://www.campbell-...uct_info.php/cP... For sewing the leather together glover's needles are nice and I generally use 3 cord linen or similar weight hemp thread . To see a bunch of beadwork online two of my favorite sites are although knowing what to look for as to time period will take some pre-knowledge : http://anthro.amnh.o...databases/north http://www.splendidh...com/nindex.html Colin Taylor has published several books such as the Plains Indians, Yupika, and Buckskin and Beadwork that include several pre-1850 pieces. Arts of Diplomacy – a book on the L & C Expedition also has several early pieces. Bottom line – enjoy yourself and don't be afraid to tear out and re-start if need be – even after 50 years of beading I still do it. Also with the early beading styles and beads you won't normally get the real flat and even look that later beadwork of the Rez period and later often shows. Looking at images of early beadwork will illustrate this and nobody is perfect anyway. Hope that helps and I look forward to seeing some beadwork from ya'll!
  21. Here ya go Dan..... http://www.wrtcleather.com/1-ckd/tutorials/_leatherstitch.html
  22. Art - if I ever do you're on the list. Doing such a book is and has been on my to do list, but with everything else going in my life right now, plus any real funding it's been back burnered for now.... Sean I am tempted to agree - I haven't looked at either in a while but when I did compare them seemed things were bit off........but??? here's a link to a pretty good pic of the original as owned and auctioned off by Tom Selleck back in 2009,,,, http://www.jamesdjulia.net/auctions/252/images/org/promo252x4.jpg
  23. Stapel claims to have made the knife but?? the "problem" here is that often there is more than one maker involed with movie props and gear so he may have made one of them but.. As for the sheath - yes the one Stapel shows is not the one in the movie which IIRC was made by Jerry Croft's wife and is brain tanned cover with some beadwork - Jerry, of Croft's Cusotm Saddlery in Deadwood, SD, has made most/much of Tom's leather gear over the years including his saddles........
  24. Exactly!!! - "the word for today is......"
×
×
  • Create New...