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The Folky Artist

This treatise is designed to promote study and discussion about a group of 18^th century American powder horns that have been recognized to all be created by one hand. As there is no indication, what so ever, as to whom this person may have been, early Americana and powder horn expert Walter O’Connor has kindly labeled this 18^th century American craftsman, “The Folky Artist”.

This Horner that I am wishing to encourage us to study was quite prolific. He appears to be one of only three Horner’s whose existing known specimens number over thirty. This would include the work of both Timothy Tansel and the “Pointed Tree” carver who each have more than 50 horns identified as being by their hand. I feel I should mention that although the work of Tim Tansel and the Pointed Tree Carver are not that un-similar, the Folky Artist’ work is still unquestionably very distinctive and readily identifiable.

It seems the Folky Artist did not have much of an imagination, using many of the same characters over and over on most of the horns identified. Perhaps with him making numerous horns it would be a natural phenomenon to use the same features again and again, especially when taking in for consideration that he most probably did not have the influence of various makers/carvers as do the contemporary Horner’s of our day. In retrospect, I contend that it is almost impossible for us to scrutinize any 18^th century carver without struggling against the involuntary use of 21^st century thoughts and processes to analyze his work and methods.

One of the most recognizable figures we find is an amusing hunter, with bag, horn and flintlock rifle. He is dressed in colonial attire; knee breeches, frockcoat, complete with tricorn hat. Many times he is with his dogs running an almost comical bug-eyed deer. These deer are most always very similar, but in one example the deer’s head is turned to the reverse, looking back at the hunter and his dogs. At least twice “the little man” is found portraying “Adam” with his hat in one hand accepting an apple from an 18^th century clad “Eve” with the other. Often circle designs are found with two or three smaller spheres inside a larger one, with “sun, moon and stars” or other personified faces carved within them. This same compass scribe method is used to produce the center for his pseudo “Coat of Arms”. Another unique feature is a moth like bug and/or a floral type vine with a bloom that closely resembles a Scottish thistle blossom, a feature not too unlike Fraktur style designs that are commonly found on Pennsylvania Dutch painted blanket chest. A figure resembling the Masonic image of “King Solomon’s Temple” is sometimes found suggesting a possible Masonic connection and on one horn is the “Constantinople Eagle”.  There are two pillars supporting the crown above the eagles’ head. I feel sure these are symbolic of the pillars of King Solomon’s Temple, and the eagle is also holding a sword in both talons. The Constantinople Eagle is a recent symbol of Free Masonry entering the Order in 1758.The creators were a group of Masons in Paris, France known as the Council Of East And West. In 1761 the Council dispatched a Brother to America to establish Councils in several of the Colonies. One was established in Charleston, South Carolina. The Charleston Council found a very fertile environment and has prospered to the point that today it is considered to be the Mother Council of the World. I feel instinctually that this Horner had Masonic connections and that possibly he was a Scotsman. Rich Pouncey of Tallahassee, Florida suggests that perhaps he was a Jacobite and probably had to leave the country after the rebellion. “There were close ties between the Jacobites and intellectuals in France who were very active in supporting them in their attempt to restore control in Scotland and get away from English domination. He may well have called on his Brothers in France to spirit him out of harms way, thus the connection to the Constantinople Eagle”. And on that note, I shall mention again that a Scottish (like) Thistle is a common theme on most all of the horns.

The Folky Artist’ earlier work appears to mimic some of the higher art horns of the day with him creating his own quirky version of the British Coat of Arms with a wild-eyed lion yet a rather nice unicorn. His work, the distinctive sculpture of the raw horn as well as the design of his engraving, is all very “folksy” in nature. Most of his horns that I have examined would be considered small, 10 ½ to less than 15 inches along the curve. Only three horns that have been inspected are larger. This trait leads me to consider that most likely they were made for riflemen whose weapons commanded considerably less gun powder than the common musket the customarily large professionally engraved priming horns were being made for. Upon inspection, we must admit that although simple in nature, as a general rule his designs are neither too repetitious nor boring and noticeably create a feeling of intrigue. I also believe that a few particular traits give us at least something to speculate upon as to where each individual horn was possibly manufactured or perhaps only engraved.

At present there are 53 or 54 of these horns for which we can account. Four of which are treasured by the noted museums at Colonial Williamsburg, Davis-Elkins College, and Valley Forge. The 18^th century owners of at least three of these horns are known. Although few are dated they seem to range from very near the beginning of the French and Indian War continuing throughout the American Revolutionary War. The earliest dated horn, is inscribed, New York Annu 1756. It is from the collection of George C. Neumann and now resides at the Valley Forge Museum in Pennsylvania.  The last date known (other than secondary, much later scratching) is 1777, and it is found carved in the wooden bottom of one horn and in the cartouche of another. In each case the date was obviously put there by another hand and after the horn was made. The only other horn dated by whom I am relatively sure was the maker is found in a cartouche and is 1775.

These horns range from being almost archaic in nature, to very professionally wrought.   They have been found as far north as Canada and at least six are known that have southern provenance. There is much speculation and varied opinion as to where these horns are from or where they have been made. My original thoughts were that the horns were actually from a “southern” school of horn making.  My rationale was that many of these horns have what I consider to be southern characteristics. Palmetto trees, longleaf pine sprouts, a particular type of butt molding, and among other things cur dogs running deer. One of the two obviously different cities or towns found on these horns is a water front city that could easily represent Charlestown, South Carolina. The “Valley Forge” horn is engraved New York, so we know that the city on that horn does indeed depict early New York. One horn that I feel is very telltale actually has an alligator, a palm tree and what appears to be a Spanish Mission. And just above this feature is the Hessian symbol of a double-headed eagle. The only Hessian settlement in the south at that time was the Salzburger colony on Saint Simons Island just off the coast of Savannah, Georgia. A location just about as far North as one could expect to commonly find an alligator. But more indicative than specific details found on the horns, the first three of these horns encountered all had southern provenance.

The first horn was found in my quest for a powder horn to fill a niche in my collection that I call, “Historic Icons of Fincastle County”.  It is the horn with A. Lott ~ 1777 carved into its bottom. I do feel that it was made close to that date. Aaron and Abraham Lott were from Charlestown, South Carolina. The town engraved on this horn could easily represent Charlestown and is definitely different from the city found on the “Valley Forge~ New York” horn. It came from the Judge John Lott estate in Galax, Virginia.  Aaron and Abraham Lott were both the sons of Solomon Lott, who was a member of Capt. Alexander Shaw’s Company of the South Carolina Militia in the 1759 Cherokee Expedition. Derived from several sources is that an “A. Lott” fought at the Battle of Point Pleasant and was also at Fort Pitt. From the Virginia Militia pension list, in 1833 he was in Jefferson County, Virginia. He was 80 years old. This particular horn was brought to my attention in a presentation given by Wallace Guslar at the “Honorable Company of Horner’s” Conference at Williamsburg, Virginia, March of 1999.  Mr. Guslar compared its unique butt molding, which only covers a little more than half of the outer portion of the horn (the visual side carried away from the body) with the similar feature also found on the wonderful powder horn that accompanies what has become known as the Simpson rifle. This presentation grade rifle is signed T. Simpson and has G. Mansker engraved in a silver plate upon it’s patchbox. It was in all probability made for Gasper Mansker founder of Goodlettsville, Tennessee. The horn has T.S. engraved on a silver inlay in the bottom of the horn. Both the horn and rifle came down through the Simpson family.  Simpson was working as early as 1790 in middle Tennessee close to where Sparta is today. Though this horn has architecture resembling professionally made horns from the Philadelphia area, I personally have no doubt that this horn is of southern manufacture and was made and engraved by Thomas Simpson.

After much study and the opportunity to handle all but four of these horns that have been identified, I continue to feel that more than a few were made while the Folky Artist was in the south. More than anything…they just feel southern, much like that indescribable feel that 18^th century southern longrifles have. Yes, we can assign labels to particular characteristics of an artifact placing it into some geographic or stylistic category but unless we know the entire life history of a maker we really do not know where an item was made. Which brings up the point. Does it really matter?  Earl Lanning has said to me a hundred times, “Hankla…I’ve never seen a state line!” I contend that these wonderful totally American pieces of 18^th century folk art stand on their own merit.  They are in a class of their own and deserve to be acknowledged. It does not matter where they were made, although the speculation does add an air of intrigue.

My personal opinion, at this particular time, is that the Folky Artist was on campaign. I think he was a soldier that was quite probably as far north as the Canadian border…but I also think he was at least as far south as Savannah, Georgia. Almost all of these powder horns have been engraved with an empty cartouche.  Thus…I do not think that he was taking orders or making horns for particular individuals. Several have owner’s initials or a date scratched in, but most all these scratchings seem to be from a different hand than that of the maker.  I feel he was producing these horns to make money or for trade. Perhaps he was producing these horns for someone that was actually dealing and selling these horns as a middleman, a merchant or a “drummer” as they would have been called in the day. Although his work is not what we would usually consider as professional, I think he was somewhat of a professional Horner. I believe he was influenced by what was around him; where he was, the people, where they were from and the norm of the accoutrements that they used in that time period.

From looking at the whole spectrum of horns made by the Folky Artist during the French and Indian War to his horns made well into the American Revolution, my personal opinion is that most were made in the field under a vast range of conditions producing much variety in the quality of workmanship. I feel some were produced under very good conditions and thus were very well wrought. At least two of his horns have lathe turned bottoms suggesting a shop or place of business. Yet at the other end of the scale, one horn looks like it was perhaps a first attempt or maybe his last while laying on a deathbed!

Hopefully by bringing attention to this charming Horner more of his work will become acknowledged allowing surviving pieces of his production to be identified, photographed and properly included in this study.

                                                                                       Mel Hankla, Kentucky

Kentucky Longrifles

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