of North America Quarterly Publication of the - · PDF file · 2011-03-09Quarterly...

Quarterly Publication of theArtist-Blacksmith’s Association of North America

VVolume 34 | Number 1 | Fall 2005olume 34 | Number 1 | Fall 2005

Fall 2005 | Anvil’s Ring Fall 2005 | Anvil’s Ring 1

The Anvil’s Ring (ISSN 0889-177X) is the official publication of the Artist-Blacksmith’s Association of NorthAmerica, Inc. It is mailed to the members on a quarterly basis in Spring, Summer, Fall and Winter by ABANA,P.O. Box 816, Farmington, GA 30638-0816. Membership is available to any individual or organization interest-ed in the art of blacksmithing. The annual fee for a regular membership is $45; $24 of this amount is for a subscription to The Anvil’s Ring for one year. Permit to mail at periodical postage rates is registered atFarmington, GA, and additional mailing offices. POSTMASTER: send address changes to The Anvil’s Ring, P.O.Box 816, Farmington, GA 30638-0816. Matters related only to membership and subscription, including dues,change of address and subscription complaints, should be addressed to LeeAnn Mitchell, ABANA ExecutiveSecretary, P.O. Box 816, Farmington, GA 30638-0816. (706) 310-1030 or e-mail to [email protected]. All edito-rially related materials, such as articles, book reviews, queries, tips, announcements of activities, ads, etc.,should be mailed to The Anvil’s Ring, Sebastian Publishing, P.O. Box 1849, 6690 Wentworth Springs Rd.,Georgetown, CA 95634. Include SASE for material return. (530) 333-2687 phone or (530) 333-2689 fax or e-mail to [email protected]. The contents of this publication may not be reproduced either inwhole or in part without the permission of the editor or the individual contributors. Contributors retain allcopyright privileges; the material is copyrighted solely for their protection. The Anvil’s Ring, ©2005 The Artist-Blacksmith’s Association of North America, Inc.

Women Do IronSee page 22

"Ann’s Candlesticks"by Toby Hickman of Westport, California.26" high x 15" wide. Mild steel, wax finish.See Cover Story on page 40.

F E A T U R E S22 Exhibition

Women Do Iron

28 Focus

James Garvey

32 Profile

Nick Moran

34 Selected Works

Richard Prazen

38 Showcase

Jerry Spiker

40 Cover Story

Ann’s Candlesticksby Toby Hickman

41 Tribute

To Leonard Masters

42 Gallery

Pompeii: Stories from an Eruption

D E P A R T M E N T S3 Prez Sez...

5 Mail

6 Previews and Notes

8 ABANA Business

10 Conference News

15 New Works

- Phil Abernethy- Bob Bergman- Jack Duckworth- Phil Fortwengler, Sr.- Susan Madacsi- Bobby Sharpe

18 Around & About

Story of the Rebar CoyoteBy Jim Pyles

44 Regional Report

IronFest 2005: Artistic and Functional IronworkBy David W. Wilson

48 Book Review

Tradition and Innovation in the History of Iron MakingReviewed by Daniel Kerem

49 Calendar

50 Educational Opportunities

52 Classified ads

54 International Report

Cross Making at Lviv AcademyBy Oleh Bonkovsky

64 Ad Index

TABLE OF CONTENTS ❘ FALL 2005

2 Fall 2005 | Anvil’s Ring

EditorRob Edwards

PublisherSebastian Publishing

Assistant to the PublisherMimi Clark

Designers/Art DirectorsSID Graphics

Denis MurphyLinda Murphy

Jennifer Schrader

Advertising ManagerRob Edwards

Next deadline: December 2, 2005Address all materials for publication to:

The Anvil’s RingP.O. Box 1849 / 6690 Wentworth Springs Rd.

Georgetown, CA 95634

Contributor Information

We appreciate and accept written material, graphics and photography pertaining to the art, science and business of blacksmithing.

Our current writer’s guidelines are available upon request and posted at www.abana.org

We reserve the right to reject or professionally edit any works submitted.

Advertiser Information

Advertising rates/sizes are readily available for The Anvil’s Ringand Hammer’s Blow by contacting Rob Edwards

or at www.sebastianpublishing.com

Sebastian Publishing and its staff do not manufacture, test, warrant, guarantee or endorse any of the tools, materials,

instructions or products contained in any articles or advertisements published herein.

Sebastian Publishing and ABANA disclaim any responsibility or liability for damages or injuries resulting from

the use of any information published in The Anvil’s Ring.

The Anvil’s Ring c/o Rob Edwards

Sebastian PublishingP.O. Box 1849 • 6690 Wentworth Springs Rd.

Georgetown, CA 95634Phone: 530/333-2687 • Fax: 530/333-2689

e-mail: [email protected] site: www.sebastianpublishing.com

Hammer’s Blow c/o Brian Gilbert

3404 Hartford• Chattanooga, TN 37415Phone/fax: 423/876-1016

e-mail: [email protected]: tips, techniques,

event info for Hammer’s Blow.

Fall 2005 | Anvil’s Ring 3

P R E Z S E Z …

Have you ever spent a lot of time won-dering “how" you could make a pieceof iron into the artistic form you have

visualized in your mind? Well, so have I! Andspent [read ‘‘wasted’’] considerable time won-dering [read "worrying"] about the problemsone may encounter in making the piece.

The purpose of Peter Lynch’s counsel (seeright) sounds a lot like a current slogan we haveall seen, JUST DO IT!

Whether it is getting the forge hot, grabbingsome stock, laying out the form and beginningthe forging -- working with your local affiliatemembers to increase the knowledge of formingart in iron -– or educating the public and pro-fessional community on their satisfaction andappreciation gained when your artistry in ironfills their needs and wants.

“JUST DO IT!"It’s when we focus on these goals of your

affiliate and ABANA that real progress isachieved. Sure, there may be some problemsneeding solving, but by Jiminy, I bet you arejust the person/s who can find the answer!

Ideas worth reviewing:1 - Are there related businesses in your area

that would be anxious to sponsor some activ-ities if they were asked? It always pleases methat the contributions from business firms help

make ABANA conferences so successful everytime. Make up a " Win-Win" plan and be sur-prised by the responses you get!

2 - A local or regional gallery exhibit of “ironartistry" acquaints the professional and buyingpublic with our art. Galleries often are anxiousto become involved. Sponsors can come fromthe likely -- and most unlikely sources. Invitea well-known artist to jury the show; everyonelikes a little competition -- and recognition.

3 - Does your organization have a MediaLiaison? Getting awareness in the local newsof events, builds membership -- and exposurefor the public to learn about and appreciateyour art.

4 - ABANA formed a new Professional / Aca-demic Outreach Committee last year. Elizabeth

Brim and committee are working hard to fur-ther this vital part of our efforts to our mem-bers. Is there an Architecture or Interior Deco-rating chapter that your organization can forma liaison with? A presentation of the possibil-ities available from your members’ work willsurely be of interest. Is there a school or col-lege program in the metal arts to approach withinformation or demonstrations? The interest isthere, and be surprised by the satisfaction whenyou become associated!

Each of us is always looking towards oppor-tunities for new ideas.

Speaking of which, don’t forget to put the2006 Conference of ABANA next July in Seat-tle Washington, on your must-do list. Manydemonstrators from around the Pacific Rim willbring different ideas of work to tantalize andinspire.

Early registration is now open and availablefor your convenience. Save money and get thejump on your 2006 Conference plans. The earlybird saves a buck – and has first choice ofaccommodations and more. �

See you in Seattle in 2006!May your clinkers be few, Good forging,

“If you spend more than14 minutes a yearworrying about thestock market , you’vewasted 12 minutes."

Quote from Peter Lynch, noted stock market guru, 1987.

• Traditional hammer design with all the cutting edge of progressivetechnology.

• X & Y adjustment on all modern ANYANG hammers bottom die.

• The 8-bolt head provides a simple in-shop advantage to change thehammer to a right handed, left handed, parallel, or diagonal hammerdie adjustment. / \ — l

• STRONG SIMPLE WARRANTY: 3 years on new hammers sold byGraham Manufacturing, lifetime on main casting, the rest 3 years +.


PATINAS &ANTIQUING SOLUTIONS

B R OW N A N T I Q U EFOR SOLID & PLATED COPPER BRASS

B L AC K A N T I Q U EFOR BRASS & COPPER ALLOYS

R U S T Y PAT I N A SFOR STEEL, BRASS & COPPER

B L AC K A N T I Q U EFOR TIN/LEAD & ZINC, SOLDERS, PEWTER, SILVER,

NICKEL & FERROUS METALSM E TA L L I C C O P P E R & B R A S S C OAT I N G S

(PAINTS) VERDE GREEN/TIFFANY GREENOLD GREEN LOOK FOR COPPER AND BRASS

T U R Q U O I S E B L U EFOR COPPER ALLOYSB R I G H T D I P S

REMOVES CORROSION/TARNISHP E W T E R L O O K

FOR COPPER ALLOYS AND STEELT I N L O O K

IMMERSION TIN FOR COPPER AND BRASSIMMERSION COPPER FOR STEEL

A I R D RY L AC Q U E R S7 - SA M P L E F I N I S H I N G K I T $ 5 0 . 0 0

TRIPLE-S CHEMICAL PRODUCTS, INC.3464 UNION PACIFIC AVE., LA., CA 90023

TEL: (323) 261-7301 FAX: (323) 261-5567Toll Free: 1(800) 862-5958

www.patinas.com


117 DAV ID B IDDLE TRA I L , WEAVERV I L LE , NC 28787E-MAIL: [email protected] FAX: 828-645-2128 PHONE: 800-635-2596

SEND OR FAX US A DRAWING. IT'S THAT SIMPLE!

Ornamental Hardware • Custom Metal PartsArt Objects • Custom Grilles • Signs and Letters

DEAR EDITOR,It looked great! Thank you for

publishing the article about BobSelvaggio (see Summer 2005 issueof The Ring). I am so glad to see hiswork in print. I am sure that thisarticle will be an inspiration toother PAABA members to joinABANA or further their skills inblacksmithing. We truly appreciatethe “shot in the arm" you provid-ed our affiliate.

Thank you for your effort andfor publishing a great magazine.

Ciao!Chris Holt, Pennsylvania ArtistBlacksmith Assn. Secretary/Edi-torDEAR EDITOR,

I want to thank you for publish-ing some of my work in the Sum-mer ‘05 issue of The Anvil’s Ring.The professionalism of your mag-azine is impressive and does an outstanding service to our craftby sharing the work of talentedblacksmiths. Keep up the greatwork!James R. Johnson, Alvord, Texas.

EDITOR’S NOTE:In the Summer 2005 issue of The

Ring, credits for the photographscontributed to the article “Demon-strations by Iron Master at the Car-roll County Museums page 50”,were inadvertently omitted. Thephotograph of the bird and nest wastaken by George L. Hughes, West-minster, MD, and the photos ofNikolai Pakhomov and the otherRussian smiths were taken by KenKoons of Finksburg, MD. Manythanks to both for their submis-sions.

In the Spring 2005 issue of TheAnvil's Ring regarding the "Forg-ing Ahead: Contemporary Ameri-can Blacksmiths" exhibit inLouisville, Kentucky, there is a cor-rection to the photo credit on page40. It should have read: “Botani-cal Bench,” A collaborationbetween Erika Strecker and TonyHigdon. �

M A I L

• Bandsaw Blades

•Sanding Discs

•Air Tools

•Sanding Belts

•Grinding Wheels

•Flap Discs

•Flap Wheels

•Cut-off Wheels

•Cutting Tools

•Bench Wheels

•Wire Brushes

Quality Industrial Supplies Since 1967!

Call us for information or to place an orderPHONE: 800-328-4560

FAX: 800-553-7224LOCAL: 763-535-2403 FAX: 763-535-2708

E-MAIL: [email protected], MN 55429


BLACKSMITHS FORGE THEIR SUCCESS ATTHREE COUNTIES SHOW

Four first-year student blacksmiths fromWarwickshire College won five awards in therecent Three Counties Show, held at Malvern,England, from June 17th-19th, 2005.

The students, who are all studying the firstyear of the National Certificate in Blacksmithingfunded by the Coventry & Warwickshire Learn-ing & Skills Council at the College’s MoretonMorrell Centre, entered their work into a stat-ic display of farriery and blacksmithing at theshow. Divided into showing categories, the stu-dents entered their work into the first-year stu-dent class, in which they earned a remarkablesecond, third, fourth and fifth place.

Student Kosuke Nakatsuka, 23, from Japan,currently living in halls of residence at theMoreton Morrell Centre, also gained an impres-sive second place for his farriery testboard inthe professional-level category for traditionalpieces valued at under £150.

In the first-year student class, 25-year-oldPaul Possart, from Leamington Spa, gained sec-ond place with a wrought iron table composedof female figures. Irishman Steven Murphy, 23,who currently lives in halls of residence at the

Moreton Morrell Centre, gained third place witha chessboard featuring a tree design. David Ver-rier, 20, from Leckhamstead, Bucks, was award-ed fourth place for a beautifully made pondcover. Kosuke Nakatsuka gained fifth place inthis category for his farriery testboard.

Michelle Parker, blacksmithing tutor at theCollege’s Moreton Morrell Centre said: "TheThree Counties show is the top artistic black-smithing show in the country. We are all veryproud of them – they have shown exceptionaldedication towards their chosen vocation. Tohave won so many places in the show also indi-

cates the consistent standards of high qualityto which we train our students. They will beentering a trade that is very much in demand,with the rise in national interest in home andgarden design."

Ms. Parker, as well as teaching at Warwick-shire College, is a renowned blacksmith whohas had her work featured in two Chelsea GoldMedal gardens and a Gardener’s World LiveGold Medal Garden.

To find out more about full- and part-timecourses in blacksmithing at Warwickshire Col-lege, call toll free: 0800 783 67 67 or [email protected]

NEW BLACKSMITH CLASSES BEINGOFFERED AT OLD CITY PARK MUSEUM

When: Weekends, ongoingWhere: Old City Park Museum, 1717 Gano

Street, Dallas, TX. Phone: 214/421-5141. Website: www.oldcitypark.org/blacksmith.htm. E-mail: [email protected].

The Old City Park Museum announces thatthey are now offering weekend classes in BasicBlacksmithing, Advanced Blacksmithing, andChildren’s Basic Blacksmithing.

Subjects covered in Basic Blacksmithing are:

P R E V I E W S & N O T E S

Blacksmithing winners l. to r.: Steven Murphy,Kosuke Nakatsuka, David Verrier, Michelle Parker,blacksmithing tutor at Warwickshire College’sMoreton Morrell Centre and Paul Possart.


LITTLE GIANTMAYER BROS.

FACTORY POWER HAMMER REPLACEMENT PARTS

LITTLE GIANTH. “SID” SUEDMEIER

420 4TH CORSONEBRASKA CITY, NE 68410

402/873-6603

NOWAVAILABLE:Crucible S-1 Atha Pneu 3/4”, 5/8”, 1”2-foot lengths

We can do repairs on any or all components of your

Little Giant front assembly. Call for details.

Call or write for new parts list

209-296-6471

LANDER TOOL & DIE18023 Shake Ridge Rd.Sutter Creek, CA 95685

• Remote foot pedals• Self-locking wedges• Quick change die conversions• More hammer-specific& custom applications.

Your source…for Improved

Power HammerProductivity & Efficiency

What you need to start out. Building a coal fire.Learn the difference between iron, mild andtool steel. Blacksmithing without modern tools.Learn to make nails and nail header. Make apair of tongs.

Subjects covered in Advanced Black-smithing are: Forge welding, complex twistsand pineappling. Punch and hot cutter mak-ing.

In Children’s Basic Blacksmithing, they willlearn: What is iron and steel? How to be safearound a fire. How to make nails and hooks.How to make harts and a horsehead shoe.

Cost: $125 per adult student and $75 perchild student.

Old City Park Museum members may takethe class at the discounted price of $100 foradults and $65 for children. Limited to two stu-dents per class. The classes are two days long,Saturdays 12 - 4 and Sundays 12-4.

Children’s classes are for children between12 and 17 years (with a parent).

PETER C. HOBART ESTABLISHES TWOUNIQUE SCHOLARSHIPS

International entrepreneur and board mem-ber of the Hobart Institute of Welding Tech-

nology, Peter Cahill Hobart, has established twoscholarships in the amount of $1,000 dollarseach for selected students to further their edu-cation in welding at the Hobart Institute ofWelding Technology.

A major collector of welded metal sculpture,the truly American art form, and a long-timeadvocate of combining the science and tech-nology of welding with art and creativity, Mr.Hobart has designated one of these grants "TheDavid Smith Award", for a promising artist andwelded metal sculptor.

In keeping with his life and internationalinterests and the institute‘s worldwide reputa-tion, Peter C. Hobart has provided a secondscholarship, "The Peter C. Hobart WeldworldAward" for deserving international studentsfrom outside the continental USA – a studentwho is dedicated to the basic industry of weld-ing in his country.

Applications for these scholarships that are(due by April 1st of each year,) may be obtained

through The Troy Foun-dation, 910 West MainStreet, Troy, Ohio 45373U.S.A.

An independent selec-

tion committee of The Troy Foundation willreview applications and make the awards inMay based on the Institute’s professional rec-ommendations. Students may use the schol-arships only toward tuition for any program ofwelding training at the Hobart Institute. Unusedportions of any scholarship will be returned tothe fund within the Troy Foundation for use byfuture scholarship winners.

The Troy Foundation manages funds of $48million dollars that are granted to education-al, benevolent, religious, or charitable uses.Established in 1924, The Foundation holds over145 established funds that provide services tothe Troy community.

The Troy Foundation910 West Main StreetTroy, Ohio 45373 U.S.A. Hobart Institute of Welding Technology,

established in 1930, is dedicated to weldingtraining and education excellence and is a non-profit educational facility located at 400 TradeSquare East, Troy, OH 45373.

Phone: 1-800/[email protected]://www.welding.org �


Order by mail, fax, phone, or through our site:

Artisan North America505 Kimball Ave., Westfield, NJ 07090tel: 908 232.3755 • fax: 908 232.5439

email: [email protected]

Metal Design Annual Set:48 World-Class Smiths from 14 Countries6 extraordinary volumes each containing 100s of photos,

published by Hephaistos

www.ArtisanIdeas.com

• The biggest & best collection available anywhereof the work of contemporary Artist-Blacksmiths

• Set includes the annuals published from 1999 through 2004• Reduced from $345 to $320 plus $15 UPS insured shipping

2005 Annual$58.50

+ $6 shipping1999 – 2004 Set

$320 + $15 shipping

A B A N A B U S I N E S SHURRICANE KATRINA

If you know of anyone whose mail deliverywas affected by hurricanes Katrina or Rita,please contact LeeAnn Mitchell at the ABANACentral Office. We are holding their magazineat the Central Office until we receive a for-warding address for the person. We will mail itout when we get confirmation of an addressfor them.

CONFERENCEThe biennial ABANA Conference will be held

July 5 - 9, 2006 at the University of Washing-ton and Sand Park, Seattle, Washington. Seebrochure and ad, back page of this issue.

CONTRACTSCentral Office contract will be reviewed year-

ly and extends until 2005.The Anvil's Ring contract extends until the

year 2005. The Hammer's Blow contractextends until 2006.

ABANA MEMBERSHIP DUESThe ABANA membership dues will be

increasing from $45 to $55 on January 1, 2006.If you would like to renew for two years beforethe end of the year at the current rate of $45,you can do so. Send to the ABANA Central

Office, PO Box 816, Farmington, GA 30638. Ifyou have any questions, call the Officeat:706/310-1030 or email them [email protected].

REPRINT POLICYABANA Affiliate newsletter editors are

authorized to reprint anything published ineither The Anvil's Ring or Hammer's Blow intheir affiliate newsletter.

SCHOLARSHIPSABANA scholarships are available to all

ABANA members. The closing dates are: Jan-uary 1, April 1, July 1, and October 1. Infor-mation can be obtained from the ABANA Cen-tral Office, call 706/310-1030.

Artist-Blacksmith's Association of NorthAmerica, Inc., PO Box 816, Farmington, GA30638 USA, 706-310-1030 tel, 706-769-7147fax, [email protected], www.abana.org

2005 ABANA Board Election Results

THE WINNERS OF THE 2005 ABANABOARD OF DIRECTORS ELECTIONS AREAS FOLLOWS:

Maegan Crowley, Dave Mudge, Don Kemper,Chris Winterstein, and Eric Ryser.

The top five candidates will serve on the

ABANA Board of Directors and their termsextend through 2008. Congratulations to thefour incumbents and welcome to Eric Ryser,our newest addition.

James Viste has also been nominated andelected by the ABANA Board of Directors to fillin the position left vacant when Louie Rafflo-er resigned in July. The term extends until 2007and is effective immediately. Viste is a gradu-ate of the Cranbrook Academy of Art in Bloom-field Hills Michigan. He is currently employedat the College for Creative Studies in Detroit,Michigan and is a fulltime artist blacksmith.Welcome James!

THE WINNING ELECTION RAFFLE NUM-BER

The lucky ABANA member who holds num-ber 0957 is the lucky winner of the hammer,tongs and fullering set. A big thanks to DeanCurfman of BigBlu Hammer for donating theitems as part of the Voter Incentive Program!For more information about Dean's productsvisit www.bigbluhammer.com

If you have the winning number please con-tact LeeAnn Mitchell in the Central Office.(707)310-1030 or via email [email protected]

DEAR ABANA AND AFFILIATE MEMBERS,

John Steel, president of the PittsburghArea Artist-Blacksmiths Associationproposed that ABANA establish a dis-

aster relief fund for blacksmiths impact-ed by hurricane Katrina. After evaluatingJohn’s proposal an ABANA Disaster ReliefFund is now in place. ABANA members,ABANA Affiliates and members of thepublic may contribute to this fund.

Donations should be by check, US PostalMoney Order or Canadian Postal MoneyOrder made out to “ABANA Relief Fund”.ABANA will provide a receipt for all dona-tions of $250 or more. Please address yourdonation to:

ABANA RELIEF FUNDP O BOX 816

FARMINGTON, GA 30638

Canadian, Mexican and internationaldonations are welcome, but please makesure your check is drawn on a US bank inUS funds and contains a nine-digit rout-ing number on the bottom of the check.US banks have great difficulty processing

checks without this routing number, eventhough the check may say US funds. Pleasedo not send cash. No credit cards please!

LeeAnn Mitchell Arts, Inc. and staff vol-unteered their time to record all transac-tions and make deposits to the fund. Onehundred percent of the funds will be dis-tributed to affected ABANA Affiliates or,if necessary, to other public charities. Dis-persal and distribution of the funds mustbe based on need and not on any affilia-tion to ABANA or an ABANA Affiliate.

People donating money may suggestwhere they think the need is greatest. Thefinal distribution of funds, however, mustbe made by ABANA. If it is critical for youto donate to a person or ABANA Affiliate,that donation should be made directly tothe person or Affiliate and not to theABANA Disaster Relief Fund. If you knowof people in need, please pass that infor-mation on to a local Affiliate and not toABANA. The reason is a local Affiliate willdistribute all funds to individuals. Affect-ed affiliates are asked to tell their mem-bership about this resource. Please dis-tribute this letter to others you think may

help.Toby Hickman of the California Black-

smithís Association and John Steel of thePittsburgh Area Artist-Blacksmiths Asso-ciation will work with the affected affili-ates to establish an equitable means to dis-perse the ABANA Disaster Relief Funds

Distribution will begin no later thanOctober 14, 2005 and the last distributionwill be made no later than March 15, 2006.The cost of this mailing was underwrittenby private individuals and no ABANAfunds were used in this project. Please takea moment and contribute what you canand never underestimate the power ofhuman kindness.

Sincerely,

Don Kemper, President


ABANA Relief FundDistribution Change

Hurricane Rita impacted more black-smiths along the Gulf Coast and otherdisasters are still possible. ABANA

believes funds from the ABANA Relief Fundestablished with the September 5, 2005 letterto the membership needs to be revised. Therevision would allow ABANA to donate fundsto Katrina and Rita survivors and survivors ofother disasters impacting the blacksmithingcommunity between now and March 15, 2006.

Therefore ABANA is informing its mem-bership that it intends to distribute all fundsreceived in the Central Office through Sep-tember 30, 2005 to hurricane Katrina sur-vivors. All funds received between October 1,2005 and March 15, 2006 will be distributedto the survivors of hurricanes Katrina and Ritaand survivors of other disasters impacting theblacksmithing community as described in theSeptember 5, 2005 letter which establishes theABANA Relief Fund.

Thank you ,

Your ABANA Board

THE ANVIL'S RING:Vol. No. Issue#6, #1 Summer 78#6, #2 Fall 78#6, #4 NEVER PRINTED#8, #2 Summer 80#8, #4 Winter 80/81 #9, #1 Spring 81 #9, #2 Summer 81 #9, #3 Fall 81 #10, #1 Spring 82 #10, #2 Summer 82 #11, #1 Spring 83 #12, #2 Summer 84#14, #2 Fall 86#14, #4 Spring 87#15, #3 Winter 87/88#15, #4 Spring 88#16, #1 Summer 88#16, #2 Fall 88#16, #3 Winter 88/89#17, #2 Fall 89#19, #1 Summer 91 #19, #2 Fall 91 #20, #2 Fall 92#20, #4 Spring 93#21, #1 Summer 93 #21, #2 Fall 93

#22, #1 Summer 94#22, #3 Winter 94/95#23, #3 Winter 95/96#24, #2 Fall 96#24, #3 Winter 96/97#24, #4 Spring 97#25, #1 Summer 97#25, #3 Winter 97/98#25, #4 Spring 98#26, #1 Summer 98#26, #3 Winter 98/99#27, #1 Summer 99#29, #2 NEVER PRINTED#29, #3 NEVER PRINTED#29, #4 NEVER PRINTED#31, #2 Winter 03 #31, #3 Spring 03 #31, #4 Summer 03 #32, #1 Fall 03#32, #2 Winter 03#32, #4 Summer 04#33, #1 Fall 04

HAMMER'S BLOW Vol. No. Issue#1, #1#1, #2 Summer 93

#1, #3#1, #4 NEVER PRINTED#2, #1 Winter 93/94#2, #2 Spring 94#2, #3 Summer 94#2, #4#3, #2#3, #3#3, #4#4, #2#4, #4#5, #1#5, #2 (summer)#5, #2 (spring)#5, #4#6, #1#6, #2 Spring 98#6, #3 Summer 98#6, #4#7, #1 Winter 98/99#7, #2#7, #3 Fall 99#8, #3 Summer 00#10, #4 Fall 02 #11, #1 Winter 03

NOTICE • NOTICE • NOTICE • NOTICEI S S U E S P E R M A N E N T L Y O U T O F S T O C K

A B A N A R E L I E F F U N D ABANA Business


C O N F E R E N C E 2 0 0 6 N E W SOPENING CEREMONY

The Opening Ceremony will feature twokeynote speakers: Brent Kington of SouthernIllinois University, Carbondale, and Tom Joyceof Santa Fe, New Mexico. Tom will also do amajor media presentation on Thursday night ofthe conference.

CONFERENCE WEB SITEThe 2006 ABANA Conference web site is

expanding significantly. Almost half of thedemonstrators now have individual webpages. Take a look at www.abana.org.

CALL TO ARTISTS:Announcing the 2006 ABANA Conference

Poster Contest.This will be a contest to choose an “Official

Poster” for the 2006 ABANA Conference inSeattle, Washington!

Who can participate?Anyone who is over 18 years old is invited

to submit their original art work.

WHAT IS THE PRIZE?The winner will receive two free passes to the

conference.This does not include room and meals.Interviews with the winner will be published inThe Anvil’s Ring and on the ABANA web site.

WHAT ARE THE RULES?Be sure to include your name, address, phone

number and e-mail with your submission. Sub-mit any 2-D medium or digital file on a CDsuch as tiff, gif or jpg. (NO E-MAIL) Size mustbe smaller than 36” x 36”. The design mustinclude the words: ABANA,2006,

Seattle, Washington,in any configuration that the artist choos-

es. Keep in mind that the theme of the confer-

ence is “Fusion and Transformation in the Ringof Fire!”

This will be the second consecutive confer-ence poster contest. The idea is to create a bodyof biennial art posters that are suitable for fram-ing and collecting. Submissions must bereceived before April 15, 2006. The winningartist must give copyright permission toABANA who will produce posters and othernovelties featuring the winning design. Suf-ficient postage and packing material mustaccompany your work if you wish to haveit returned. If you do not want it returned,it will go into the conference auction to

raise funds for ABANA.


C O N F E R E N C E 2 0 0 6 N E W S

Australian Demo TeamMark AsperyBrent BaileyPhil BaldwinBrian BrazealJay Burnham-KidwellPaul CaseyE.A. ChaseGarri DadyanFrancisco GazituaToby HickmanMendel JonkersWilliam JonkersAlfred HabermanNahum Hersom andJerry HendersonHank KnickmeyerNick Lyle and Jean WhitesavageDoug MoseleyDoug NewellGary NoffkeMark PearcePete RenzettiGonzalo RicardezPorfirio Ricardez

Erin SimmonsDorothy StieglerCorky StorerScott SzlochKomine TakayoshiJames WallaceChris WintersteinLee Dae WonYoshindo Yoshihara

WHO JUDGES THE SUBMISSIONS?All of the submissions will be displayed at:

www.metalsmithinghow-to.com/poster/. Any-one can visit the website and vote for the posterthat they like best. We will also have a link onthe ABANA website that points to the posterpage. The poster receiving the most votes willwin. One need not be an ABANA member to vote. Visit www.magichammer.freeservers.com.poster.htm to see the resultsof the “2006 Poster Contest”.

HOW DO I SUBMIT?Send your art work or CD before 4/15/06to: ABANAP.O. Box 816, Farmington, GA 30638for UPS/FedEx:1880 Old Salem Road,Watkinsville, GA 30677(do not send files in e-mail)

DEMONSTRATORS AT THE 2006 ABANA CONFERENCE:


“Focusing On Low Tech ToolsFor The Blacksmith”

www.oldworldanvils.com

Warehousing & shipment of OldWorld Anvils

Merchandise is now handled by:

New Presses for ForgingHot and Cold Stock

7 Sizes Available

24-ton hydraulic presses

Five Styles of Anvils5 lbs. to 552 lbs.

Postville Blacksmith ShopN. 8126 Postville Road Blanchardville, WI 53516

Bob Bergman608-527-2494 • fax 608-527-2494

Old World Anvils

CONFERENCE ATTRACTIONSTHIRTY GREAT SMITHS FROM AROUND THE PACIFIC RIM!

GREAT BLACKSMITH BUSINESS CLASSES!TOURS OF THE UW METALS

DIGITAL/BUILD CENTER!SOCIALIZING AT THE BEER GARDEN!

TOURS OF SEATTLE AND THE YELLIN GATES!POLYNESIAN LUAU AND DANCE SHOW!

SALMON BBQ AND BLACKSMITH CONCERT!GREAT IRON GALLERY!

Tom Joyce Brent Kington

THE 2006ABANACONFERENCE

July 5 - 8,2006 • Seattle

Washington,USA

KeynoteSpeakers

For the delicate work ofchasing and repoussé, andchisel and chase, in acomfortable seated posi-tion with minimal effort,maximum safety, and faststriking.

The machine with a 25# hammer is $1,300.00 and includesa 1 x 5 x 5" mild steel anvil and circular 5" lead anvil withattachment carriage and a seat mount.Options include vinyl padded seat, $75; 1.75 x 6 x 6" hard-wood anvil, $12.75; variable tilt anvil for angled chisel andchase work. $33.20; 30-degree fixed tilt anvil also used forangled chisel and chase work, $33.20; wheels with castorjacks, $7500 unmounted or $125.00 mounted.

Contact Dave or Betty Edwards by e-mail [email protected], or write or call the manufacturer:Four Mile Carriage and Machine, at 3220 West 6th Avenue,Emporia, KS 66801, (620)342-4440. If you pick up inEmporia, you save shipping costs and Dave can providesome free instruction.

Persimmon ForgePedal Hammer

14 Fall 2005 | Anvil’s Ring Fall 2005 | Anvil’s Ring 15

N E W W O R K S

Jack Duckworth,Waldorf, Maryland

Atlantic octopus. Mountedinside 12" sch. 80 black

pipe, 38" high. Octopus isfrom 6" sch. 40 black pipe

with tentacles of 1" sch. 40black pipe, ball bearing

eyes. Finish: hot brassbrushing. Base mount:

stainless steel.

Phil Abernethy, Nobel, ON, Canada

Winged gazelle. 10" h x 8" w x 5" d. Forgedsteel, torch-cut base. Finish: flame colored.

"Foenix." 10" h x 8" w x 5" d. Forged steel,torch-cut base. Finish: flame colored.


N E W W O R K S

Phil Fortwengler, Sr., Shepherdsville,Kentucky

Photos by Kevin Byerly

"Oak Leaf" Table. 24" x 42"l x 26" h.Sch. 10 and sch. 80 pipe. RustoleumCrystal Clear Enamel spray finish.

Detail.

Bob Bergman, Postville Blacksmith Shop,Blanchardville, Wisconsin

Chandelier. 60" diameter. Designed by TedMeows and Howard McCall. Executed by

Postville Blacksmith Shop. Traditional tech-niques, hammer textured.

Pot rack with lighting. 30" x 50". Riveted con-struction. Designed by Ted Meows and HowardMcCall. Executed by Postville Blacksmith Shop.

Photo credits: Marona Photo.

N E W W O R K S


Bobby Sharpe, Oakland, California

Balcony railing. Design reflects the development of theoval scroll. Forged and welded mild steel, 40" h x 15' w.

Photo by Kevin GarySusan Madacsi,

Norwich, Connecticut

Garden. 40"l x 22"hx 5"w. Forged and

fabricated steel.


A R O U N D & A B O U T

My wife Frances needed to produce an"animal" for a charity auction a fewyears ago. It needed to be lightweight

enough to hang on the wall, because it stuckout about 12 inches. For structural purposes,I formed a thoroughly sculpted armature ofexpanded metal that would require minimalapplication of paper mache. We started thiscollaboration on 3-D coyote work in the fall of2002. We wanted to do a forged piece. Inspiredby "Mexican Day of the Dead" skeletal fig-urines, we decided to make a coyote skeletalsculpture. We chose reinforcing bar for its obvi-ous structural significance.

The first step was to look for pictures of coy-ote and dog skeletons on the Internet. These,of course, were all two-dimensional profiles.We finally succeeded in obtaining an x-rayview of the spine and pelvis on a veterinarysite. It turned out to be a very difficult job toextrapolate three dimensions from pictures,because bones are so sculptural and nonsym-metrical.

Bones are wonderful expressions of thestresses to which they are exposed as well asthe mechanical requirements of their articula-tion. I think it is impossible to forge even astylized reproduction without some apprecia-tion for these elements. I believe the first artnecessary to blacksmithing is, as Samuel Yellinsaid (paraphrased) “to bring life to cold metal."This is achieved in forging as in fine art by con-

trol of line and weight. As living objects taketheir structural form in response to gravity, somust the objects we forge if they are to appearlifelike. Even the simplest living things have acertain gracefulness about them, telling us theyare alive.

The first coyote had a very lively posture,but I wasn’t at all satisfied with the bones. Welive in the rural foothills of California and wefound a road kill coyote. Although somewhatflattened, the body was essentially in prettygood shape – very few broken bones. Now atlast I had an accurate model from which I could

depart. However, it was just a pup, so every-thing got scaled up close to double in order tobe in the size range of the first forging. All thejoint ends needed to be upset with graceful,accurate tapers. This called for heat control –heat distribution in the stock. Also, because Ididn’t want to scale off the ribs and surfacetexture of the rebar, the material was workedcolder than usual. I switched to coke at onepoint, but went back to my Sandia propaneforge.

I realized the easy part was that I didn’t needto worry at all about the final configurationuntil I began to assemble the bones. However,they do have to be accurate. For instance, thebones of the forearm must swivel around oneanother. The bones of the feet are not made outof rebar because they’re small and delicate, andwon’t hold heat. I made the feet out of ultra-low impurity 1005 stock, which is still plasticat very low heat.

The coyote head was originally made in papermaché, but we weren’t satisfied with it. Thehead needed to be lightweight and we didn’twant a casting. We considered raising somecopper, but finally ended up fabbing it out of16-gauge sheet pewter. (From Oster Pewter inRhode Island; they were very helpful.)

Traditionally, pewter is worked and attachedby fusion welding or puddling with a hot cop-per. I tried an electric soldering gun, which wasfrustrating at 400 watts – I needed at least twice

By Jim Pyles, Springville, California

“I believe the first art

necessary to

blacksmithing is, as

Samuel Yellin said

(paraphrased), “to bring

life to cold metal." This

is achieved in forging

as in fine art by control

of line and weight.”

S T O R Y O F T H E R E B A R C O Y O T E

Crouching Coyote. 18.5" h x46" l. Forged reinforcing barwith pewter head.

Frontal view, Leaping Coyote.


A R O U N D & A B O U T

the wattage. Finally, after experimentation and practice, I was able tosuccessfully tig weld. This shortened the time required for what turnedout to be a very complex shape – the coyote skull.

I really enjoyed forming the bones and noticed that the rebar supplyhas sizes up to 2" in diameter. T-Rex anyone?

If you are interested in viewing the Rebar Coyotes in person, you cancheck them out at the Bakersfield Museum of Art until the end of Decem-ber, where it is part of the "Coyotes Shadows" exhibit. You will findinformation at www.bmoa.org or (661) 323-7219. �

Paw detail.

Leaping Coyote. 30" h x 40" l. 157 ele-ments (not including head.). Forgedreinforcing bar and pewter head.


NC Whisper Low Boy• Three-burner forge• Low profile/Open end ports• 3"H x 9"D x 12"W Firebox• 2" x 3" Bar stock ports• Weight = 60 lbs.

• Rapid recovery time for quick turn-around

• Ideal for knife makers and smithing procedures

•Uses 4 - 6 lbs of propane per hour

Gas-Fired Blacksmith Forges• Exclusive, high-efficiency burners • Uniform Heat... Self-regulating to 2350˚

• Quick recovery... heats and reheats metal very quickly

• Flexible...rear bar stock door allows heating sections of bar stock (optional on some models)

• Fuel of choice...comes fitted for propane but may be configured for natural gas

• Transportable...light weight and quick cooling • Push-button ignition

• Hose, gauge and regulator included • No blower required

• Quality assured...we stand behind our products

NC Whisper DaddyModel #2• Three-burner forge• 6"H x 9"D x 12"W Firebox• 2" x 3" Rear bar stock door• 3" x 4" opening in door• Also available with open

end port

• This unit works well for production of larger objects or when a large number of small parts need to be heated at one time.

NC Tool Company, Inc.6133 Hunt RoadPleasant Garden, NC 273131-800-446-6498Visit our web site at: www.nctoolco.comWrite or call for a free catalog


The Women Do Iron Show will be taken downwithin days as I sit and write this foreword.My coffee table is littered with magazine

and newspaper articles about the show. I open acurrent edition of the TALON, a small local paperin Aztec. On the inside page a local proprietorhas written a letter to the editor about the show.It simply reads: “Thank you to Ambrose, Kath-leen and Liz."

“Women Do Iron," the current art exhibit atthe Teasyatwho Gallery in downtown Aztec, isof the caliber to elicit the comment: "I'd beimpressed to encounter this work in a New Yorkor London gallery"....from Patricia Miller, Artsand Entertainment Editor of The Durango Her-ald, a Colorado newspaper.

W O M E N D O I R O N

Four artists left to right: Kathleen Holmes, Ekaterina Harrison, Maegan Crowley, Susan Frary

LUNETTE GRILL, Alison Finn,26" x 48" x 1", steel, waxfinish.

TEASYATWHO GALLERY, AZTEC, NEW MEXICO •JULY 8 - SEPTEMBER 2, 2005

ELIZABETH BRIM - PAULA CASTILLO

MARIA CRISTALLI - MAEGAN CROWLEY

ALISON FINN - SUSAN FRARY

LEAH GERRARD - ERICA GORDON

EKATERINA HARRISON

KATHLEEN HOLMES - LORELEI SIMS

CHRISTINA SPORRONG

By Kathleen Holmes, Curatorof The Women Do Iron Show

E X H I B I T I O N

DREAM DANCER, Susan Frary, repoussé steel,polyurethane finish, 24" x 19" x 12"

CANDLE STICK HOLDERS,Maria Cristalli, 36" x 4 1/2"x 4", steel, wax finish

BOUQUET OFFLOWERS,Elizabeth Brim,13" x 6" x 11/2", steel, waxfinish


“This is simply a thank-you note to AmbroseTeasyatwho, owner of the gallery; Liz Stannard, man-ager of the gallery; Kathleen Holmes who curatedthe Women Do Iron show; the artists, of course, andanyone else involved in bringing art of this qualityto our town. Thanks to all."

Signed, Nikki Rubow I open New Mexico magazine to page 29, July edi-

tion. Large bronze letters read: "Women Do Iron."The first paragraph reads: 'When Kathleen Holmeswas offered a show of her iron creations at the A.Teasyatwho Gallery in Aztec, she asked if it couldfeature other female metal artists. Initially, there was

a question if she could get nationally known artiststo come to Aztec, in the northwest corner of the state.But Holmes persisted, and accomplished her mission.

On the cover of the EXPLORE, Four Corners Artsand Entertainment, artist/blacksmith Maegan Crow-ley smiles beautifully behind her sculpture, "FullBloom." She had just unloaded three of her worksfrom the back of her RV when the photographer fromThe Daily Times came strolling down the sidewalk.It's a small town. We don't get in a hurry here, evenif she is originally from the nearby “boom town” ofFarmington, New Mexico, and on a shoot for TheDaily Times, which has already announced the show

as far back as April. Inside the cover is a pic-ture, "Cherry Blossom Stand," by Lorelei Sims,on display at the show. It reads: "Lorelei Simsof Illinois, a renowned iron artist who has beenblacksmithing for 13 years, said she is proudto be part of the inaugural show." (This is thefirst national art show in Aztec, NM). "I amhonored, very honored. The collection ofwomen artists they have brought together isamazing," Sims noted.

WOMEN DO IRON PARTICIPANTS

Elizabeth Brim,Penland, North Carolina

Elizabeth Brim is a blacksmith artist whosework looks more like fabric than metal. Mostof the items Brim creates are feminine--aprons with ruffles, a disco top with fringe,pillows with buttons and lace, high-heeledshoes and even a tiara. She is a black-smithing instructor at Penland School ofCrafts, North Carolina, and also conductsseminars around the country, focusing onthe more nontraditional aspects of black-smithing.

She has a Master of Fine Arts from theUniversity of Georgia in printmaking. Eliz-abeth went to Penland in 1980 to studyceramics at first, but the lure of wanting towork with metals overtook the ceramics.

Paula Castillo,Cordova, New Mexico

Paula was born in Belen, New Mexico,and currently lives and works in Cordova.Her education includes Yale University, aB.S. from the University of New Mexico,and an M.A. from the College of Santa Fe.

Awards: International Sculpture Award,2000; City of Belen, NM Public Art Commis-sion, 1999; NEA Fellowship, 1993; National Sci-ence Foundation Fellowship, 1992.For more information, see www.castillo-gallery.com.

Maria Cristalli,Seattle, Washington

As a blacksmith, Maria is dedicated to thedesign and execution of quality forged metalwork. Whether the project is architectural ele-ments, home furnishings, garden ironwork, orfine art, each piece she creates is forged indi-vidually, using traditional hand techniques. Sheworks with a variety of metals, including iron,stainless steel, bronze and copper. See web site:www.mariacristalli.com.

Maegan E. Crowley,Cortez, Colorado

Maegan is a studio artist in Colorado, whereshe creates sculpture, architectural and deco-rative ironwork. She received her MFA fromCranbrook Academy of Art. She is the formerhead of the blacksmithing department at PetersValley Craft Education Center and has taughtat other craft schools such as Penland, Ox-bowand New England School of Metalwork. Mae-gan has demonstrated at regional and nation-al blacksmithing conferences and is currentlyserving on the ABANA board of directors. Herwork is exhibited nationallly and Maegan is arecipient of the 2002 ACC Emerging ArtistGrant. See web site www.ironmaegan.com.

Alison A. Finn,Marble, Colorado

Alison received a BFA in painting and draw-ing from West Virginia University. She alsoreceived an MFA in sculpture from James Madi-son University. Alison’s involvement in black-smithing began in 1989 when she met Fred Cristand David Munn of Metalsmiths, Inc. in Way-nesboro, Virginia. She started working withthem as part of an internship for a graduateprogram. In 1993 she was offered a one-yearposition at the College of William and Mary inWilliamsburg, VA. Alison then worked forMyers & Co. for 4 1/2 years, becoming theirhead blacksmith.

She also worked with Francis Whitaker inCarbondale, Colorado. In 2000 she and her hus-band started their own company, Freedom Met-als, LLC, in Marble, Colorado. Most of the workshe and her husband produce is architectural.

Susan Frary,Las Cruces, New Mexico

Susan works with steel and copper, usingrepoussé because she loves the dimensionalityand draping effects. She accents her pieces withchisel engraving and forging. She is especial-ly indebted to LeRoy Simmons of Dragon AshForge in Mountainaire, New Mexico, for all hetaught her about metalwork.

Susan is planning to show and sell her workonline soon.

Leah Gerrard,Seattle, Washington

Leah graduated with an art major fromLinfield College in McMinnville, Oregon.She began doing metal work professionallyafter she met her husband, who already hadhis own shop. The two work together as ateam doing high-end custom metal fabrica-tion in residential construction. Their com-pany is called Intent, LLC.

She has been making wire baskets forabout ten years and has done pieces rang-ing in size from 3/8" to 4' tall. Leah usesmany different types of wire; she uses tinysilver wire for necklaces, often incorporat-ing small beads and crystal chips.

The boxes in the show are an example ofher love of combining hard and soft mate-rials. The common thread which runsthrough Leah’s work is her interest in tex-tiles and lines. She has a strong attractionto working with or incorporating string,

wire, rubber bands, rope and many other"string-type" materials into her work.

Erica Gordon,Seattle, Washington

Erica Gordon is the owner of Steel Toe Stu-dios in Seattle, Washington. She splits her timebetween a production line of hand-forged buck-les (www.steeltoestudios.com), sculptures, andsmall architectural commissions. Combiningher childlike understanding of the natural worldwith her love for metal working, Erica has pro-duced a series of animal and flower pieces whichinclude a copper duck, a giant ladybug, anadult-sized steel rocking donkey, and is cur-rently working on a caterpillar/butterfly com-mission. The pieces reflect the joy and humor



CALLA LILY CHANDELIER, Kathleen Holmes,53" x 24" x 24", stainless steel and steel, wax finish

RAM'S HEAD, AlisonFinn, 7 1/2" x 4" x 4",steel, wax finish.


STILL DREAMINGABOUT TOMORROW,Ekaterina Harrison,29" x 19" x 43", steel,wax finish.

WILD ELEPHANT,Susan Frary, 18" x19" x 12", repoussésteel, wax finish.

CALLA LILY CHANDELIER,Kathleen Holmes, 53" x

24" x 24", stainless steel andsteel, wax finish

FULL BLOSSOM,Maegan Crowley,

2 1/2' x 18" x 20",steel, wax finish.

STILL DREAMING ABOUT TOMORROW,Ekaterina Harrison

SUMMER PRAIRIE WALLRELIEF, Lorelei Sims, 7' x 36"x 6", steel, wax finish.


with which they are made and, ideally, Ericawould spend all of her time creating a twistedmenagerie to keep her company at the forge.

Ekaterina Harrison,La Sal, Utah

Ekaterina Harrison was born in St. Peters-burg, the Soviet Union. She and her familyimmigrated to the United States in 1979 andsettled in Salt Lake City, Utah. Ekaterina attend-ed the University of Utah, majoring in art.

She moved to New Jersey to be an appren-tice at the Johnson Atelier Sculpture School.Ekaterina also apprenticed with "The Black-smith of Trenton," Alex Parabchenko, in hishistoric 200-year old blacksmith shop. Thereshe had a chance to see and experiment withvarious blacksmithing techniques, and this expe-rience is greatly reflected in much of her work.

She lived and worked in Santa Fe fortwo years before moving to a little townin southeastern Utah called La Sal.There she has built her studio and iscurrently working on various commis-sions and a new body of work.

Kathleen Holmes,Aztec, New Mexico

In the early 70's, Kathleen’s art studiowas a hotel room where Butch Cassidyand the Sundance Kid often played pokerback during the mining town boom daysin Mogollon, New Mexico. Eleven artistslived in this ghost town in the Gila Wilder-ness and sold their work downstairs inthe Gila National Gallery of Art. Up onFanney Hill, named after the Little Fan-ney Mine, the blacksmith shop was stillintact. Today, the blower from that shoppowers her coal forge and the relics fromthe mining past of Mogollon decorate theoutside walls of her forge in Aztec.

Taking Frank Turley's class four yearsago was a hallmark event for Kathleen.She started her business, Rustwater Forge,

built the shop and fabricated the equipment inside. Kathleen and her husband Joe look forward

to many years of working in their shop togetherand are happy to be a part of the blacksmithingcommunities of Colorado and New Mexico. See web site, www.rustwater-forge.com.

Lorelei Sims,Charleston, Illinois

Lorelei Sims is a self-employed artist/black-smith residing in Charleston, Illinois. Aftergraduating from Eastern Illinois Universitywith degrees in sculpture and art education, sheopened Five Points Blacksmith Shop in 1993.

She specializes in creating functional iron-work which combines her sense of the aes-thetics found in nature with utilitarian func-tion. She also provides the traditional servicesof a blacksmith and welder for her rural com-munity.

Lorelei continues to pursue her study andinterest in the creation of botanical forms. Richtextures of leaves, petals, vines, and tendrilsare incorporated into works that have anordered yet asymmetrical composition, theembodiment of her connection to the outsideworld.

Sims is finishing a book project with Rock-port Publishing, to be available in the fall of2006. A portfolio of Lorelei’s work can beviewed on her web site, www.black-smithchic.com.

BROOKLYN FUSCHIA, EricaGordon 26" x 7" x 7"forged and fabricatedsteel black patina

TAZON, Paula Castillo 15" x 7" x 7"fabricated steel tacks black paint finish


SEED FORM,Maegan Crowley,12”x 9”x 9” steel,

wax finish


Christina Sporrong,El Prado, New Mexico

Christina runs Spitfire Forge in Taos, NM. Last year while in SanFrancisco teaching welding and forging at The Crucible, she pursued herlong-time interest in kinetic work, and started tinkering late nights inthe shop with linkages and throws. "Nine Beating Hearts" is her firstmotorized kinetic sculpture, incorporating both forging techniques andbasic kinetic mechanisms.

This combination has become the primary focus in her work. Whennot obsessing about moving parts, she finds time to teach other womenwelding through her Women's Welding Workshops, held at Spitfire Forge.See web site at www.spitfireforge.com. �

MORNING GLORY STAND,Lorelei Sims, 7' x 16" x 16",

steel, colored patina.

BASKETS, Leah Gerrard,10" X 2" X 2", copper andsteel wire.

NINE BEATING HEARTS. Christina Sporrong 20" x 28" x 33" steel kineticmachine parts, wax and machined finish


Public Works and Street Furniture in New York CityF O C U S

In the morning hours on September 12, 2001, I walkedthrough deserted Lower Manhattan to the Coenties SlipPark to check on the forged pieces which I had installed

two years earlier. Since it opened in August 1998, this hasbeen a most popular lunchtime spot for office workers. Iwas asked by the city of New York Parks Department todesign the layout of the park and also its furniture. TheDept. of Transportation brought in five-ton boulders toenclose and make a perimeter around the park. This tinypark is surrounded by three forty-story buildings and itwas my plan to attract persons looking down from thefloors high above. The benches were designed to appearas arrow heads and placed so that they pointed at eachother. The pathway appeared as an "X" in the center andpeople told me it was the "X" that caught their attention.They came down to see what it was and they continued tocome back.

In the midst of a busy city such as New York, hand-crafted works with their own character can be a refresh-ing surprise. For the pedestrian in midtown, a few momentson a gracefully crafted bench is not for casual comfort; itcan be meaningful for one's personal spirit. Since thematerials being used are solid, a blemish can be sanded

B Y J A M E S G A R V E Y , S P A R K I L L , N E W Y O R K

Pedestrian bollard, right. Armature: forged 3" dia. round bar, 42" h, foot-ing depth 36". For the benefit of the pedestrian, all of the surfaces of

the bollard are rounded and friendly. There are no corners or edges tosnag clothing or catch the strap of an accessory, the top of the fixture is

an inviting handhold to use when slippery conditions exist. The bollard isready to handle parking mishaps such as a limo driver who backs up intoa loading zone and hits the bollard before hitting the pedestrian. Whenthe car’s bumper comes in contact with the horizontal loop, it has a firm

resistance capable of deflecting five inches without damaging the fix-ture. The mechanical strengths of the materials in this fixture have beendesigned to act as an effective barrier which can absorb the impact of a

loaded van traveling at 30 mph.

Bronze Lariat seat loops at 33rdStreet subway station, NYC

James Garvey


Lariat bollards also usedto secure bicycles

Lariat bike stand model

Figure bike rail


F O C U Sdown and the surface can be renewed. Thereare no hinges to lubricate, and there is no needto replace moving parts, locks, or broken glass.Deliveries, carting and construction are routineon a city block, and anything on the sidewalkthat cannot move on its own will get bumped,leaned upon, or used as a chain post. First andforemost, the handcrafted pieces have to bepractically indestructible.

The pieces I designed for the Coenties Parkinclude the following: 4 wing surface benchesmade of ferro-cement and forged steel, 4 lari-at plank benches, 4 lariat litter stands, 2 pedes-trian bollards. The bollards create a barrier fromvehicles.

The Lariat DesignThe name "lariat" relates to the JG bend, a

knuckle-like form in which round bar is forgedback onto itself before it proceeds in the newdirection. These soft corners are much friend-lier to shin bones and fine clothing than thesharp corner of a concrete planter. This is a dis-tinct form that I consider original. It results

from a simple way to forge a corner thatoccurred at the forge.

Prior to installing, presentations are neededto obtain New York City regulatory compliancefrom the Departments of Transportation andSanitation, the Arts Commission, the CentralPark Conservancy, the Landmarks Conservan-cy, the Fire Department, and the local Com-munity Board. Often a presentation is actuallya bolstering experience because the commis-sioners are delighted to see something that ishand made.

Other InstallationsThere are four other sites where I have cre-

ated original designs for public fixtures in NewYork. The Lariat Handrail resides in CentralPark near West 97th Street. At the 33rd StreetSubway Station of the #6 subway there arefourteen bronze Lariat Seat Loops that areinstalled as a Percent for Art Project. At theDwight School on the Upper West Side theSchool of Spirit’s Entrance is a set of steel andglass double doors with 90 forged figures. My

two most recent installations are the Lariat Seat-ing, located in the lobby of the New York CityPolice Substation on Washington Street, andthe forged bronze Lariat Tree Guard and forgedbronze Spheres that act as skateboarding deter-rents at DeLury Plaza located at the corner ofFulton and Gold Streets.

James Garvey graduated from Colorado StateUniversity with a Fine Arts degree. After col-lege, he joined a crafts community in upstateNew York where he spent ten years. After leav-ing the community, James joined the New YorkCity Ironworkers Union and began working onreplicating the Statue of Liberty’s armature bars.For several months, he observed the effect thatwatching these artisans at Liberty Island hadon the visitors. This setting is what inspiredhim to search for and bring meaningful streetfurniture to the public – pieces that would befunctional works of art. He and his wife livein upstate New York; his shop is located in NewYork City. �

Lariat plank benches. Forged steel 2" dia. roundbar. Wood plank 4" x 12", length 20'. Plank bench-es adapt well to site conditions because of theirA-frame structure. They can be anchored to thepavement.

Lariat gate (upper-left in photo). Forged steel 2"dia. round bar. Wood plank 4" x 12", lengths mayvary from 6' up to 20'. Pivot base dome: forged5/8" thick steel plate 24" in diameter. Pivot ring 3"dia. round bar 30" dia. Gate is designed to provideaccess for emergency vehicles. A locked gate is dis-couraged by the Fire Department. The weight actsas a deterrent for persons who would open thegate for convenience. The pivot will continue towork under extreme weather conditions even if itwere buried by a snowplow. The “feudal technolo-gy” of the pivot brings an advantage of ruggeddurability. One end slides along pavement surfaceon a sleigh-shaped foot. If necessary, the entiregate can be toppled or lifted from the pivot.

Lariat litter stands and wing surfacebenches in Coenties Park


Wing surface bench. Forged steelwith ferro-cement fill. 7' wide x 24"

high. Lariat armature: base 4" diam-eter round bar, backrest 2" diameter

round bar. In New York City peopleare not big about sharing space with

strangers. The fan-like seatingarrangement of a wing surface

bench relieves the hesitation to takea seat due to the fact that visitors

can have a clear field of vision whena stranger is seated on the adjacent

edge. One can also step into thesemicircle and use the horizontal

round bar as a seat rest.

Lariat litter stand. Forged steel or bronze 1 1/2" dia. round bar with 2" dia.base. The top loop restricts large articles and prevents unloading due to wind.

There is a hinged retainer ring running along the inside of the hoop thatholds the plastic bag in a convenient fashion. It can be mounted to establish

a permanent location on the block. The 1 1/2-inch solid round bar providesstructural integrity in order to withstand inadvertent collision from utility

vehicles, hand trucks or moving dollies. There are no places that cannot becleaned with a scrub brush and a pail of soapy water.

Lariat gate pivot ring, 3”round bar, 30” Diameter

Plank bench detail


N i c k M o ra n , L o n d o n , E n g l a n d

The art nouveau staircase was made fora private client in West London. Theclient had already installed various art

nouveau features in the completely restoredhouse, such as cast iron fireplaces and radi-ators, and she wanted to continue the themeon the staircase.

I had already made a small section for astaircase a couple of years ago from a designwhich appeared in a book called Art Nou-veau Decorative Ironwork, and at the sametime made a small sample panel to show tofuture customers.

When we placed the sample panel on theempty staircase, it worked proportionallyvery well, so after a few drafts and re-drafts,the final design was agreed upon and theconstruction and installation was complet-ed.

I have been a blacksmith for ten years.Most of my work are commissions for stair-cases, gates, railings, fire grates, furniture,planters, sculpture and restoration. My workranges from contemporary, site-specificdesigns, to traditional work, designed to bein harmony with existing ironwork.

I began blacksmithing by attending a full-time blacksmithing course in Hereford, WestEngland, for one year. Instructors were Adri-an Legge and Dave Field. Their enthusiasticapproach to blacksmithing started my fasci-nation for the trade.

During the course we were encouraged tofind work placements. I did find a placementwith Paul Elliott, a blacksmith based in myhome county of Hertfordshire, just north ofLondon. I joined Paul just as he began work-ing on a 100-foot rose arbor, certainly anexciting project for my first endeavor.

Upon completion of my training at Here-ford, I began working for Paul full time forthe next eight years. During this time I attend-ed a two-year apprenticeship course at thecollege at Salisbury in southwest England. Itwas set up for one week of training everyeight weeks for two years. It was an intense,traditional hand-forging course tutored byPaul Allen. It showed us how to apply ourskills to every aspect of blacksmithing.

For the past four years, I have been accept-ing commissions from architects and privateindividuals, as well as supplying and restor-ing work for various architectural antiquedealers in and around London. �

A R T N O U V E A U S T A I R C A S EP R O F I L E


Nick Moran


S A R I R I N S E R G E Y

ONE CAN LITERALLY STEP OUT OF

THE BACK DOOR AND ONTO THE SKI

RUN, SKI DOWN THE MOUNTAIN,

THEN GET ON THE TRAM AND

RETURN TO THE TOP OF THE MOUN-

TAIN. WHEN YOU GET TIRED, YOUR

HOME IS RIGHT THERE.

S E L E C T E D W O R K SBy Richard Prazen, Pioneer Manufacturing, West Valley City, Utah

This is a large home that was built in an upscalecommunity in upper Park City, Utah. The homeshere have majestic views of the Park City Valley

and the area ski resorts. These homes are actuallydesigned specifically to be “ski in/ski out"communities, with all of the amenities. However,most of these luxury homes sit vacant all year long,except for a few weeks when the owners come to visitand ski, or enjoy leisure time in the solitude of thebeautiful mountains.

The design behind the ironwork was to be a combi-nation of an old-world look and an organic, contem-porary one. The scrollwork is not meant to be symmet-rical. The scrolls were placed in a rather organic-styleof design, suggesting that they grew in that position.They didn't want leaves or other adornments, onlyscrolls.

The light fixtures were made to match, but carriedmore of an old-world feel. They were rusted with realrust, and beeswax was added to create a satin finish thatwouldn't rub off; it lends itself well with the rock work.

The wood incorporated into the rail is knotty alder,which has a nice, welcoming feel to it. �

I R O N W O R K F O R AS P E C T A C U L A R S K I H O U S E

These carriage lights had to represent the same old-world flair, withlarge scrolls and rusted finish.

The wine room lights represent old-world dungeon-style candelabras.



S E L E C T E D W O R K S

THE SCROLLWORK IS NOT

MEANT TO BE SYMMETRICAL.

THE SCROLLS WERE PLACED IN

A RATHER ORGANIC-STYLE OF

DESIGN, SUGGESTING THAT

THEY GREW IN THAT POSITION.

The combination bathroommirror and light matches theleather faux-painted wall.


The railing was made to have a heavy feel, because the wood was so heavy.We added the asymmetrical scroll features to add an old-world effect, butshowing a more eclectic style. The elegant stair railing is old-world with atouch of eclectic, and even organic feel.


S H O W C A S EThe Steeple Cross and Garden Gatesat St. Patrick’s Catholic Church,Sidney, Nebraska

The steeple cross is 33 1/2" wide and 72" tall, includ-ing the base. The cross is made of 4" square tubing,and slides over a 5-foot long piece of 3 1/2" squaretubing that was anchored inside the steeple.

JERRY SPIKER, SIDNEY, NEBRASKA

A L L N I N E O F T H E C R O S S E S O N T H E C H U R C HW E R E G R O U N D E D A S A P R E C A U T I O N

A G A I N S T T H E P O S S I B I L I T Y O F L I G H T N I N G .

The steeple cross base is 24" high and 18 1/2" square at thebase. It is made of 14-gauge and 11-gauge steel.

This was a recent project of mine. The Catholic Church parish and theArchdiocese decided to restore and add on to the historic stone struc-ture here in Sidney, Nebraska. I was fortunate enough to be involved

with the iron work surrounding the Prayer Garden as well as 11 crosses adorn-ing the church and steeple.

Completingthe steeple.


The 158-foot fence is 94" tall and consists of 2 1/2"square tubing, 2" x 1" channel and 1/2" x 1/2"

square bar. The crosses on the fence are made outof 3/4" square bar.

A L L O F T H E I R O N W O R KW A S G L A S S B E A D B L A S T E D ,

R E C E I V E D A P H O S P H A T EW A S H , A Z I N C P O W D E R -C O A T P R I M E R , A N O I L -

R U B B E D B R O N Z E A N D G O L DF I N I S H , A N D A G L O S S

C L E A R C O A T .

The "Prayer Garden" cross is 96" tall with 36 inchesextending into the base of the fountain. The crossis made of 5-inch square tubing.

The Prayer Garden gates are both 72" wide. One is64" tall and the other is 82" tall. They are made of1 1/4" square tubing, 3/8" x 1/4" bar, 1/2" x 1/2"square bar, 3/4" steel balls. 3/8" plate was used forthe hands.


C O V E R S T O R Y

Ann’s Candlesticks" are 26" high and 15"wide. They are forged from mild steel with awax finish. Photos by Robin Robin.

Joseph Koches commissioned Toby Hickman to create thesepieces for The Blacksmith Shop Gallery, located in Ferndale,California. The Blacksmith Shop Gallery displays and sells the

work of over 90 artist blacksmiths. For more information, see website at: www.ferndaleblacksmith.com.

Candlestick Base


T R I B U T EIn Memory of LEONARD MASTERS, CONCORD, NEW HAMPSHIRE

Submitted by Jonathan Nedbor, Northeast Blacksmiths Association

Leonard Masters of Concord, New Hampshire, died on July 26, 2005.He had been suffering from poor health since the 2004 ABANAConference in Richmond, Kentucky.

Leonard, who had been a chief engineer in the Merchant Marine, wasthe first official Northeast Blacksmiths Association President back in thelate 1980s. He remained president until 1993 when he left this area ofupper New York State to move to Concord, New Hampshire. Leonard’sconcern for the survival of our group was what led us to become moreorganized with an actual board and officers. We have come a long wayfrom that early push to become legit.

We also have Leonard to thank for the bit of arm twisting it took toget the late Bill Gichner to donate the Little Giant power hammer wehave in the Northeast Blacksmiths Association shop. My first trip toGichner’s antique shop in Delaware was with Leonard to pick up thehammer. It was quite an experience hanging out with the two of them.

Leonard and his wife Lilo are best known as the leaders of the ABANAEuropean Blacksmith Tours. They led nine of these tours and made somewonderful contacts with smiths and museums all over Europe. Addi-tionally, the two of them helped connect many European and Ameri-can smiths with job opportunities on both sides of the Atlantic. WhenI traveled to Europe, Leonard and Lilo gave me a long list of museumsand shops to visit, where I was often welcomed simply because I was afriend of theirs.

Because of their work on these tours, as well as other contributionsto ABANA, Leonard was the recipient of the coveted Alex Bealer Awardin 2003.

Leonard will be missed by many people in the international black-smithing community. We can be thankful for the contribution he madeto our group’s success.

If you wish to send your condolences to Lilo, her address is: 73 Cur-rier Road, Concord, NH 03301.

Submitted by Mary and Bob Fredell

We lost a good friend on Tuesday, July 26, 2005. AlthoughLeonard's quality of life had been severely compromised, hequietly died while living in a care facility near his home in

Concord, New Hampshire. He died of congestive heart failure, compli-cated by other ills. He is survived by his loving wife Lilo and a son Mark.Leonard was cremated and interred at the Concord Unitarian SocietyMemorial Garden. No immediate service is planned. A “Celebration ofLife" gathering will be held at a later date.

Lilo was Leonard's constant companion in his blacksmithing activi-ties, and they have been together for over 42 years.

Leonard was born in Germany and came to America at the age oftwo. He became an American citizen and went on to receive a Master'sDegree in International Relations from the University of Chicago. Hebriefly served as a foreign student advisor at a college in Lakeland, Flori-da. Most of his working years were spent in the Merchant Marine, even-tually retiring as a chief engineer.

We blacksmiths know Leonard as a dear friend, hobbyist blacksmith,and a tireless worker for ABANA. Leonard, along with Lilo, led nineABANA tours to Europe beginning in 1986. These tours were absolute-ly wonderful, owing to his understanding of what a blacksmith wouldlike to see and because of the many contacts he had in Europe. His nameis internationally recognized. He is a past president of the NortheastBlacksmiths Association. Leonard and Lilo have attended all ABANAconferences since 1980, but for one.

We will sorely miss Leonard. He enriched the lives of so many peo-ple. He brought us to the culture, ironwork, art and architecture ofEurope. His delightful way of guiding us will be long remembered bythose attending his tours. Further, he enabled people to make lastingrelationships by bringing them together on his ABANA tours. �

Leonard Masters receiving the Bealer Award

Photo by Mary and Bob Fredell


P O M P E I I , S T O R I E S F R O M A N E R U P T I O N

G A L L E R Y

P O M P E I I L I V E S

IN THE PERMANENTCOLLECTION OF THEFIELD MUSEUM

The Field Museum owes itsfine Pompeii holdings to one ofits founders and greatest benefac-tors, Edward Ayer. In the middle 1890sAyer visited Italy and became con-vinced that the new Field ColumbianMuseum had to have a representativeRoman collection. His first purchase toward thatend was made in Naples: almost two hundredreplicas of the bronzes that were then beingexcavated at Pompeii. Legend has it that theoriginal bronzes were taken directly to the work-shops of the noted bronze caster Sabatino De Angelis and Sonsas soon they came out of the ground. Only after De Angelis hadmade a mold and a lost-wax copy were the originals taken totheir final destination, the National Museum of Naples. The twohundred replicas first acquired by Ayer were soon joined by about ahundred and fifty more, giving The Field Museum what may be thelargest extant collection of De Angelis’s magnificent copies.

During this same time Ayer was acquiring nearly fifty original objects

from Pompeii itself, including some fine glass vases,bronze and iron objects with crusts

of volcanic debris, and a repre-sentative sample of ceramics.

These were outshone, however, byanother set of originals:

objects dug from the rich cluster of vil-las at Boscoreale, a mile north of Pom-peii and destroyed by the same volcanic

disaster. Ayer bought more than ten finefresco paintings that had just been excavated atBoscoreale, including the two large ones cur-rently exhibited at the Art Institute as a loanfrom The Field Museum. He also acquired not

one but two splendid bronze bath tubs, four gigan-tic wine jars from the storeroom of an aristocratic vintner, andan assortment of iron objects and fine bronzes. With the Pom-peii originals and replicas, the presence of the Boscoreale objects

makes The Field Museum the leading repository on this side of theAtlantic for Roman-era artifacts from the Vesuvius region.

Editor’s Note:For more information, call the museum at 312/922-9410. Visit

www.fieldmuseum.org. To purchase tickets call 866/343-5303.

POMPEII EXHIBITION at The Field Museum, 1400 S. Lake Shore Drive, Chicago, IllinoisExhibition dates: October 22, 2005 through March 26, 2006

Silver and gold statuetteof mercury, the god of commerceand communication.

Silver goblet decoratedwith leaves in low relief.

Gladiator’s bronze helmet


Bronze statue of Apollo excavated between1966 and 1978. Corneas are made of stone,the iris and pupils forged from glass paste.


R E G I O N A L R E P O R TB Y D A V I D W . W I L S O NP H O T O S B Y G E R A L D P O L L A R D

An excellent combination of artisticand functional demonstrations wereon display at IronFest 2005. The event

was held June 3-5, 2005 in Grapevine, Texas.The blacksmiths at IronFest helped to estab-lish the word "artist" in "artist blacksmith."

Jim Wallace, David Ponsler, Peter Sevin,and even vendors and glass artists partici-pated.

Jim worked in a full range of chasing, handhammering and power hammer work to cre-ate wonderful ironwork. A harpoon, letteropener and a large kinetic sculpture resem-bling a feather were a few of Jim’s accom-plishments. He entertained the audience withcolorful descriptions of the National Orna-mental Metal Museum’s large projects. Jim'sknowledge of metalworking is truly amazing.

David Ponsler's topic,"Beyond Fold-Form-ing," produced numerous beautiful examples.Several copper pieces had extraordinary pati-nas. David created some very difficult fluidforms, effortlessly. His large fold-formed ironsculpture was mounted on a plow disc base.Its fine lines and textures invited touching it

IronFest 2005: Artisticand Functional Ironwork

“ H E E N T E R T A I N E D T H EA U D I E N C E W I T H C O L O R -

F U L D E S C R I P T I O N S O FT H E N A T I O N A L

O R N A M E N T A L M E T A LM U S E U M ’ S L A R G E P R O J -

E C T S . J I M ' S K N O W L E D G EO F M E T A L W O R K I N G I S

T R U L Y A M A Z I N G . ”

Jim Wallace workingon iron bracelet

Forming the feather area ofkinetic sculpture and moving around the seemingly massive sculpture.

A Southwestern style was reflected in Peter Sevin'stwo excellent table lamps. Sevin assembled the numer-ous textural pieces into functional lighting items withSpanish and Art Deco influences. Peter also forged afine double caliper and later a nice rose from one cir-cular plate. He displayed an excellent finial sample forrailing use.

In the public area, vendor James R.Johnson showedthe many uses of the Anyang power hammer. His exam-ples had detailed and varied textures resembling woodgrain. See article on of James R. Johnson, Spring 2005Anvil’s Ring.

As a fascinating sidelight, Bill Davis of SaltforkCraftsmen worked with the Vetro Glass Studio artistDavid Gappa to create an iron and glass sculpture. Anunusual method was used by blowing the glass intothe iron stand. The glass was then removed, annealedand re-inserted for a perfect fit, creating an outstand-ing work of art.

David Ponsler describing fold-forming methods

Iron and glass sculpture byBill Davis and David Gappa.



The blacksmith shop crew worked longhours, including Tom Clark's nail-makingcontest. Tom also furnished the use ofpower hammers for the demonstrators.David "String Bean" Lowry's auctioneer-ing skills entertained the audience at theexcellent auction Saturday night. On dis-play were an extraordinary range of itemsthat were products of a very rewarding con-ference.

Thanks to all of these fine artists. We'renow looking forward to IronFest, June 1-3, 2007! �

Peter Sevin creating a part for table lamp

David Ponsler's coppersample of fold-forming

Peter's lamp base

R E G I O N A L R E P O R T I r o n F e s t 2 0 0 5


ANDY WALLACESTEVE REGNIER


B O O K R E V I E W

www.

TRADITION AND INNOVATIONIN THE HISTORY OF IRONMAKINGReviewed by Daniel Kerem

This book published in 2002is an unusual collaborationbetween Indian and Swedish

scholars of varied backgrounds:metallurgists, economic historiansand anthropologists, addressingthe development of iron making inSweden and India.

The book includes drawings ofearly smelting processes, earlyphotographs of iron making, andessays dealing with socio-eco-nomic, cultural and geo-politicalfactors which shaped the variousstages in India’s and Sweden’sindigenous iron industry.Attempts to introduce “modernindustrial” methods and worksduring the colonial period and,what might be of most interest toNorth American and Europeanreaders, is the third section of thebook which is concerned with thesurvival of traditional “small-scale” iron making in India up tothe present.

Never having been in Sweden, Ihave left those parts of the bookfor future reading; however, thesections on India – the majority -were fascinating.

Having lived in various parts ofIndia (at different periods over thelast three decades) and havingcome into contact with the GadliaLohar – a nomadic blacksmiths’caste in Rajasthan and Gujarat, Iwas familiar with many of theplaces mentioned and some of the

practices described. What makesthis study so impressive is its com-prehensive coverage of a vast sub-ject in a vast country, amongnumerous and varied ethnicgroups.

Iron smelting practiced bytribal artisans dates back to1200 BC in many parts of India,and by 600 BC it was export-ing excellent steel as far awayas the Mediterranean. Men-tion of this is made in theBible, Ezekiel 27:16.

This technology seems tohave developed early andindependently, and amplearcheological sites allover the country – whereslag heaps and iron arti-facts have been found –attest to the high stateof cultural and techni-cal development of thediverse culturesinhabiting the IndusValley and the Indi-an Plains, – onemore reason, and avery substantialone – for discard-ing the long-heldtheory that migrating Aryans car-ried iron technology to India.

Indeed, India was known notonly for its production, but also forits fine metallurgical craftsman-ship. From massive pieces such asthe Iron Column of Delhi, believedto have been made in the 4th cen-tury AD (24 feet in height and withan estimated weight of 6 tons) andthe 24-foot gun at Amber – theworld’s largest cannon – to forg-

ings of miniature proportions,showing great imagination andskill.

The high quality of Indian ironwas further proven in more recenttimes when it was exported to Eng-

land and usedin the construction of London’sfamous bridge. Indeed, the pro-duction of steel flourished until the19th century when the British gov-ernment banned it.

Today India is again a leader insteel production – this after notbeing able to adapt to more mech-anized practices – and exploitationduring the Raj.

Although the book answersmany questions concerning themaking of iron and steel fromancient to modern times, it alsomakes it blatantly clear how muchof this technology has been lost,and to what scant proportions ourforging practices have been

reduced to today.The essays on India

make fascinatingreading not only fortheir metallurgicalcontent but for their his-torical and anthropolog-ical perspectives, and forsome very animated (andcontroversial) descrip-tions of life during theBritish Raj.

This book comes highlyrecommended for anyonewith an interest in iron, inIndia and its ancient cultureand art, or an interest in Swe-den.

This hardbound book meas-uring 15 cm x 24cm is priced at1000 rupees {in India} or US$60{outside India}, includingpostage, and can be paid for withan international money order.

ISBN # 81-86246-19-3Address: PAHAR,Parikrama, Talla Danda, Nainital-263 002,Uttaranchal, INDIAEmail-parikramavaasi@hot-

mail.com. �


C A L E N D A R

Note: Sebastian publishing

has a new e-mail address:

[email protected]

NOVEMBER 5Blacksmith Auction. John C. Campbell Folk School,Brasstown, NC. This annual event presents some ofthe finest artist-blacksmith and other fine craft itemsfor sale. 800/365-5724. See web site:www.folkschool.org.

NOVEMBER 5 - 6All-Blacksmith Christmas Show and Sale.Agricultural Farm Park, Derwood, MD. Call BobMorris 301/253-2084.

DECEMBER 2 - 427th Annual Christmas Showcase featuring over 100booths of all handmade crafts and fine art. Juriedshow. Statehouse Convention Center, Little Rock, AR.Sponsored by the Arkansas Craft Guild. 870/269-3897. E-mail: [email protected].

DECEMBER 2 - 4Holiday tours at Carroll County Farm Museum,Westminster, MD. Visit the blacksmith shop, seeantique farm machinery, exhibition buildings, naturetrail, antique farm machinery and much more.800/654-4645 or 410/848-7775.

DECEMBER 4Fireside Sale at John C. Campbell Folk School,Brasstown, NC. Shop for handmade gifts at the beau-tifully decorated Keith House where craftspeopleexhibit their wares. Live holiday music and a crack-ling fire. 800/365-5724. See web site:www.folkschool.org.

DECEMBER 9 - 11Holiday tours at Carroll County Farm Museum,Westminster, MD. Visit the blacksmith shop, seeantique farm machinery, exhibition buildings, naturetrail, and much more. 800/654-4645 or 410/848-7775.

2006JANUARY 7 - 82nd Annual Bill Gichner Memorial Hammer-In.Cordova, MD. 302/539-6274.

MARCH 11 - 12Banging on the Bayou, 11th Annual. Beaver Park,Lafayette, LA. Tom Clark is demonstrator. Tailgatearea, evening auction and raffle drawing. Jerry Baker,337/232-7958, e-mail: [email protected] orDavid Bernard, 337/837-8810, e-mail: [email protected]. Hosted by Louisiana Metalsmiths Assn. Seeweb site for LAMA at: www.lametalsmiths.org.

JUNE 17 - 18Berkshire Blacksmith’s 13th Annual Age of Iron atHancock Shaker Village, Pittsfield, MA.Approximately two dozen smiths will set up forgesaround the village and demonstrate a variety of tech-niques and products. Anybody wishing to demon-strate blacksmithing or another craft that would fitthe venue, contact Jim Stapleford, 845/657-8212. E-mail: [email protected]. �

E D U C A T I O N A L O P P O R T U N I T I E S


NOVEMBER 14 - 18Forged Animal Heads with Darryl Nelson. Sierra Forge& Fire School of Blacksmithing, Exeter, CA. 559/592-2080. E-mail: [email protected]. Web site: www.sierraforgeandfire.com.

NOVEMBER 18 - 20Beginning Blacksmithing with Lyle Wheeler. John C.Campbell Folk School, Brasstown, NC. 1-800/365-5724. See web site: www.folkschool.org.

NOVEMBER 19 - 22Power Hammer Basic Skills & Tooling with TobyHickman. Sierra Forge & Fire School ofBlacksmithing, Exeter, CA. 559/592-2080. E-mail: [email protected]. Web site: www.sierraforgeandfire.com.

NOVEMBER 27 - DECEMBER 3Blacksmithing Basics and More with Paul Garrett.John C. Campbell Folk School, Brasstown, NC. 1-800/365-5724. See web site: www.folkschool.org.

NOVEMBER 28 - DECEMBER 2 Armor-Making Fundamentals with Tony Swatton.Sierra Forge & Fire School of Blacksmithing, Exeter,CA. 559/592-2080. E-mail: [email protected] site: www.sierraforgeandfire.com.

NOVEMBER 28 - DECEMBER 2Knifemaking Fundamentals III with Mike Vagnino.Sierra Forge & Fire - School of Bladesmithing, Exeter,CA. 559/592-2080. E-mail: [email protected] site: www.sierraforgeandfire.com.

DECEMBER 3 - 6Tips & Throat Sheaths with Harvey Dean. Sierra Forge& Fire - School of Bladesmithing, Exeter, CA.

559/592-2080. E-mail: [email protected]. Web site: www.sierraforgeandfire.com.

DECEMBER 4 - 10A Handful of Skills with Chris Winterstein. John C.Campbell Folk School, Brasstown, NC. 1-800/365-5724. See web site: www.folkschool.org.

2006JANUARY 8 - 14High-end Architectural Ironwork: Rails and Lightswith George Dixon. John C. Campbell Folk School,Brasstown, NC. 1-800/365-5724. See web site: www.folkschool.org.

JANUARY 15 - 21The American Hand-Forged Knife with Jim Batson.John C. Campbell Folk School, Brasstown, NC. 1-800/365-5724. See web site: www.folkschool.org.

JANUARY 22 - 29Chasing Steel, Creating Art with Mindy & MarkGardner. John C. Campbell Folk School, Brasstown,NC. 1-800/365-5724. See web site: www.folkschool.org.

JANUARY 29 - FEBRUARY 4Blacksmithing for Home and Hearth with Jeff Mohr.John C. Campbell Folk School, Brasstown, NC. 1-800/365-5724. See web site: www.folkschool.org.

FEBRUARY 5 - 11Blacksmithing – Function and Design with SusanHutchinson. John C. Campbell Folk School,Brasstown, NC. 1-800/365-5724. See web site: www.folkschool.org.

FEBRUARY 12 - 17Let There be Light – Candleholders with Matt Jenkins.John C. Campbell Folk School, Brasstown, NC.1-800/365-5724. See web site: www.folkschool.org.

FEBRUARY 17 - 19Blacksmithing – Starting with Fire with KennethThomas. John C. Campbell Folk School,Brasstown, NC. 1-800/365-5724. See web site: www.folkschool.org.

FEBRUARY 19 - 25Critters with Joe Miller. John C. Campbell FolkSchool, Brasstown, NC. 1-800/365-5724. Web site: www.folkschool.org.

FEBRUARY 26 - MARCH 4Blacksmithing for Beginners with Chuck Patrick. JohnC. Campbell Folk School, Brasstown, NC. 1-800/365-5724. Web site: www.folkschool.org.

MARCH 5 - 10Blacksmithing 101 - Build a Fire, Go from There withVance Baker. John C. Campbell Folk School,Brasstown, NC. 1-800/365-5724. Web site: www.folkschool.org.

MARCH 10 - 12Blacksmithing Sampler with Doug Merkel. John C.Campbell Folk School, Brasstown, NC. 1-800/365-5724. Web site: www.folkschool.org.

MARCH 12 - 18Get it Hot, Hit it Hard with Doug Merkel. John C.Campbell Folk School, Brasstown, NC. 1-800/365-5724. See web site: www.folkschool.org.


MARCH 19 - 25Viking-style Iron Work with Elmer Roush. John C.Campbell Folk School, Brasstown, NC. 1-800/365-5724.See web site: www.folkschool.org.

APRIL 2 - 7Light it Up! With Greg Price. John C. Campbell FolkSchool, Brasstown, NC. 1-800/365-5724. See web site: www.folkschool.org.

APRIL 7 - 9Forge Welding with Charley Orlando. John C. CampbellFolk School, Brasstown, NC. 1-800/365-5724. See web site: www.folkschool.org.

APRIL 9 - 15Flowers in Metal with Bob Alexander. John C. CampbellFolk School, Brasstown, NC. 1-800/365-5724. See web site: www.folkschool.org.

APRIL 9 - 15Scrimshaw: The Original American Art Form with RonNewton. John C. Campbell Folk School, Brasstown, NC.1-800/365-5724. See web site: www.folkschool.org.

APRIL 16 - 22Traditional Joinery Projects with Clay Spencer. John C.Campbell Folk School, Brasstown, NC. 1-800/365-5724.See web site: www.folkschool.org.

APRIL 23 - 29Traditional Joinery Projects with Clay Spencer. John C.Campbell Folk School, Brasstown, NC. 1-800/365-5724.See web site: www.folkschool.org. �

5186 Longs Peak Rd #F, Berthoud, CO 80513

• Ready Made •Green, Blue, Black

Burgandy, Brass & Copper

✦Achieve Beautiful Patinas

On Bronze, Brass,Copper, Iron & Steel

✦Patina Finishes

May Also Be Achieved On Most Other Surfaces

By First Applying

✦LIQUID

COPPER COATINGBRASS & BRONZE

1.800.822.7004

PATINASOLUTIONS


FOR SALE300# Chambersburg w/tongs andtools: $13,000. 5' x 9' platenblock table: $3,500. City forcingmy move, must downsize. BillCallaway, Phoenix Forge. Shop:602/253-3116. Home: 602/667-3893.

4B Nazel Air Hammer in excel-lent condition. Can be seen underpower. $15,000 OBO. Ray Larsen,Hanover, MA. 781/826-8931. E-mail:[email protected].

Trip Air 35# ram forging ham-mer-$3000.00. Sahinler SM-60-130# ram, on base-$7000.00.Chambersburg 300# utility ham-mer,excellent condition-$8000.00.National #2 reducing roll- 7"rolls, 4.5" diameter shafts-$6500.00. Vertical mill with 3 hpvari drive and DRO-$4500.00. 8"x102" vertical wet belt sander-$1000.00. 6"x18" surface grinder,single phase, power feed, magnet-ic chuck- $750.00. Bantam iron-worker, 1 hp single phase, cuts upto 3/4 square, 1/4 x 4" flat,$1000.00. Postville BlacksmithShop 608-527-2494.

Old World Anvils offers new flypresses, new high-carbon anvilsfrom the Czech Republic at 6 to552 lbs., single or double horn,Peddinghaus anvils, new all-steelpost vises, gas forges from NCTool and Forgemaster, and a widevariety of hand tools, chisels and

sledges. Bob Bergman, 888/737-5714. Web site: www.oldworl-danvils.com.

Pieh Tool Company is now a dis-tributor for the Anyang 33, 88and 165-lb. power hammers aswell as any other blacksmithingtools...anvils, tongs, forges, handtools, etc. Need a little instruc-tion in the art of the blacksmith?Attend one of our classes. CampVerde, AZ. 888/743-4866 or928/554-0700.www.piehtoolco.com.

L’il Abner air hammer plan setnow available. Complete draw-ings, lists, notes and instructions$225 pp. Also available: Basic kit(plan set with cylinder andvalves) $525 + shipping, orDeluxe kit (basic kit plus brassfittings and hoses) $695 + ship.Bert Romans, 503/632-1947. POBox 899, Mulino, OR 97042.

RENAISSANCE MicrocrystallineWAX POLISH. Amazing!Developed for the British Museumto protect armor, guns, knives,silver, gold, copper, fine wood,gold leaf and much more. Free ofdamaging acids. Buffs easily to ahard, transparent finish. 65 mltin @ $11.95; 200 ml tin @$20.95; 2.5 litre @ $149.95.Prepaid: Blue MoonForge/Huntingdon, PA 16652.Checks/MC/VISA. E-mail: [email protected].

BOOKS AND VIDEOSNOW AVAILABLE: "Hammeringinto the Future – OneBlacksmith Legacy," by Erin A.Simmons. 405 pages, over 470pictures and i l lustrat ions. $125plus $10 S/H. P.O. Box 1655,Shingle Springs, CA 95682.530/622-7803.

Blacksmith videos and DVDsavai lable on a wide variety ofsubjects including: ForgedAnimal Heads, Leaves &Flowers , Bugs & Birds , Tongs,Fly Presses , Knifemaking. Nowavailable: The BlacksmithPrimer by Randy McDaniel . 1-877/866-3688. Web si te:www.teachingtapes.net .

Now available from BlueMoon Press:

“A BLACKSMITH’S CRAFT: TheLegacy of Francis Whitaker," byGeorge Dixon. A Compendium ofProcesses , Tools , Patterns andTips . Hardback, 8" x 10," 157pgs. , 800 drawings/photos.Prepaid $42.50 + $3 S&H.

“CHARLESTON IRONWORK, APhotographic Study," byCharles N. Bayless . Photographsl isted by streets . Reprint , hard-back, 9" x 11", 208 pgs. , 295photographs, ISBN 0-9707664-8-3. Prepaid $36.95 plus $4S&H.

“MOVING METAL, The Art ofChasing and Repoussé," by

Adolph Steines . Translat ion,Hardback, 131 pgs. , 218 pho-tos/drawings. ISBN 0-9707664-9-1. Blue Moon Press ,Huntingdon, PA 16652.866/627-6922. Prepaid $32.95plus $3 S&H. E-mail :books@bluemoonpress .org.Check, VISA/MC.

How to rebuild a Nazel powerhammer, a 1 1/2- hour tape andinformation. $75 postpaid. BobBergman, 608/527-2494 or tol l-free: 888/737-5714. See website: www.oldworldanvils .com..

SERVICESRemote foot pedals , self- lockingwedges, quick-change die con-versions and more. Lander Tooland Die is your source forimproved power hammer pro-ductivity and eff ic iency.Hammer-specif ic and customapplicat ions. 209/296-6471. �

C L A S S I F I E D S

CLASSIFIED POLICYAds are $20 each and are limited to 35words (six lines). Longer ads are $5 perline. Please submit your classified ad, inwriting, either by e-mail: [email protected] by regular mail:Sebastian PublishingP.O. Box 1849Georgetown, CA ,95634 or by fax : 530/333-2689.


TFSU.S. Distributors:

Pieh Tool Co., Inc. (888)743-4866Centaur Forge LLC (800)666-9175

For more information call (800)931-7181or visit www.deltahorseshoe.com

anvils

TFS has been in the anvil manufacturing business for several decades,providing quality anvils for the professional farrier, blacksmith, knifemaker and hobbyist, ranging in weight from 30 to 500 pounds. All aremade in the USA, heat-treated to exact specifications and hand-finished inour shop.

Featuring:Francis WhitakerDorothy StieglerTom Latane’Dan NaumanNol Putnam Clay SpencerRob Gunter Peter Rossand MANY MORE…

The Rocky Mountain Smiths are pleased to announce the

Carbondale, CO conferences.DVDs are for sale to non-members also.

Conference years 1990-presentList of Demonstrators are on:www.rockymountainsmiths.org

Pay by: Check, Money Order or PayPalAllow 3-4 weeks delivery

By Oleh Bonkovskyy, Professor, Lviv Academyof Arts, Lviv, Ukraine

The Lviv Academy of Arts is one of theoldest artistic higher educational institu-tions in Ukraine. Specialists in artistic

ceramics, fabrics, glass, clothes modeling, inte-rior design, monumental and decorative sculp-ture and painting, history and theory of arts,restoration and conservation of works of arthave been trained here for over 50 years.

The Chair of Artistic Metal is one of the

youngest at the Academy. The curriculum atthe Chair is scheduled in a way that a futurespecialist is able to be oriented in the process-es, taking place in contemporary applied anddecorative arts, and he knows the history ofartistic metal.

The curriculum’s concept is based on twoprincipal directions: one is monumental metal,used in architectural environment and to dec-orate houses, streets and parts, and the otheris chamber metal: creating different adorn-ments, small plastics, and souvenirs. Students

learn to make designs of both the unique artis-tic works and articles of serial production. Thesix-year program also stipulates design ofsacred works, where design of a cross in sacredart is a separate but required course.

The first Christian temples, built in Byzan-tium, were dominated by a cross. The cross wascreated by the intersection of vertical and hor-izontal bars (pivots) at right angles, the verti-cal one being longer than the horizontal one.

In the ancient Ruthenian tradition, this pre-cise compositional plan was enriched in themajority of cases by gilded circles. The biggercircle was placed in the center of the bar’s inter-section and the lesser circle on the ends. Thiscontrast of straight lines and round spots con-siderably intensified the cross silhouette. Thus,the types of crosses, preserved up until today,were formed on the basis of Byzantian andancient Ruthenian traditions.

As time passed, under the influence of theEuropean Renaissance, a simple plan of crossconstruction was becoming more complicated.The vertical bar elongates up, one or two addi-tional transverse bars (pivots) appear, which areembellished by geometric or vegetable orna-ments. Thus, the precise symbolic shape of across starts to be lost, and it becomes more likea "tree of life." This motif has gained popu-larity at churches in located in rural areas.

I N T E R N A T I O N A L R E P O R TCross Making at Lviv Academy


A variety of crossescrafted by the arti-sans at the Chair ofArtistic Metal, LvivAcademy, Ukraine


Crosses made by studentsat Lviv Academy, Ukraine


Another direction of the devel-opment of cross design appearedunder the influence of theBaroque style with its whimsical,restless shapes. Two parallel ver-tical and horizontal bars withstrained bent forms at the ends,in the shape of a lyre or a heartappear instead of two single bars.Angular space between thecrossed bars is filled by wavy rays,symbolizing heavenly radiance.

Despite the difference of design,the shapes of cross developmentare united by one thing: all thedetails are located flat on one sidefacing out from the church facade,and are meant to appear as a clear,graphic silhouette against the skyas one looks up at it.

Besides crosses crowning thechurches, folk tradition of placing crosses on hillsides near theroads in honor of great historical or religious events was wide-ly accepted in Europe and Ukraine. They also place crosses assymbols of the Christian soul in all Christian cemeteries andon graves. These ground crosses bear different symbols andtake their own special place with their own meaning amongindividuals in the populace.

As we can see from a brief analysis of cross design in his-torical development, there are many opportunities to reveal thecraftsman’s creative personality and professional skills. �

I N T E R N A T I O N A L R E P O R T

Cross made in thedesign of

Byzantian andancient

Ruthenian tradi-tions

Influence ofBaroque-stylevillage cross

Villagecross

designs

Cross resemblingand symbolizing atree of life. This

motif gained wide-spread popularityat churches in the

countryside

Influence ofEuropean

Renaissance,17th century

Influence ofEuropean

Baroque design,18th century


A variety of crosses crafted bythe artisans at the Chair ofArtistic Metal, Lviv Academy,Ukraine


A HERITAGE IN IRONRoutson, 11 3/4" x 9 1/2", 215 pgs, over 200 color photos. This

beautifully done hardcover book features several gorgeous moun-tain homes and the ironwork in them. Also featured are the black-smiths who did the work, including: Howard McCall, Glenn Gilmore,Bob Bergman, Mike “Smyth" Boone, Rod Pickett, Marty Moews,Warren Gibbs, and Linda Rosi. Great book with inspiring examplesof ironwork.

B446 ................................................................................$47.95

LIVES SHAPED BY STEELZastrow, 11" X 8 1/2", 235 Pgs. Over 400 photos. This softcover

book has the subtitle, “Celebrating East Coast Outdoor Metal Artists."Nancy Zastrow has done a great job of bringing together the worksof over 40 well-known modern artists on the East Coast. Bound tobe used as an idea and creative process for a long time.

B447 ................................................................................$42.50

Note: Postage is $3.00 for the first book and $.75 for each additional.


The right TOOLSto get the JOB…

education • networking • information

Join NOMMA Today!Now is the time for you to join the organization which has beenrepresenting the ornamental metalworking industry since 1958.

National Ornamental& Miscellaneous Metals Association(404) 363-4009 • Fax (404) 366-1852

www.nomma.org • [email protected]

M A E G A NC R O W L E Y

PO Box 1076Dolores, CO 81323H: (970) 882-2422Cell: (973) [email protected]

C H R I SW I N T E R S T E I N

PO Box 37Penland, NC 28765w: (828)765-2359 x52FAX: (828)[email protected]

D O NK E M P E R

President20100 NW 61st AvenueRidgefield, WA 98642H: (360) [email protected]

D A V EM U D G E

2nd Vice-President15227 Mansfield RoadBogalusa, LA 70427-0187H: (985) 735-0049FAX: (985) [email protected]

E R I CR Y S E R

4131 Glendale Rd.House Springs, MO. 63051H:(248)[email protected]

A B A N A B O A R D 2005 Elections2005 Winning Board Members

BUSINESS MEETINGS OF THE ABANA BOARD ARE HELD ANNUALLY NEAR THE 15TH OF NOVEMBER. ON THE EVEN YEAR, ANADDITIONAL MEETING IS HELD AT THE ABANA INTERNATIONAL CONFERENCE IN TYPICALLY JUNE OR JULY. BETWEENMEETINGS, BUSINESS IS CONDUCTED BY PHONE, MAIL, FAX, AND EMAIL, FOLLOWED BY A QUARTERLY BOARD MAILING,DISTRIBUTED BY THE CENTRAL OFFICE.


T O U C H S T O N ECenter for Crafts

Farmington, PA

2005 BLACKSMITH INSTRUCTORS

Located in the beautiful Laurel Highlands ofSouthwestern Pennsylvania

Week-long & weekend courses offeredFood & lodging available

For more information call:1-800-721-0177 or 724-329-1370

www.touchstonecrafts.com

Bob Becker

Jody Best

Bob Elliott

Jerry Hoffmann

Jymm Hoffman

Glenn Horr

John Medwedeff

Bob Rupert

Ray Rybar

Michael Saari

Kim Thomas

Nigel Tudor

Home of the Hart Moore Blacksmith Museum



Off-Center ProductsThe Lightweight Resilient Tongs

Everyone Loves

Proudly Made in the U.S.A

FLYPRESS

Kayne and Son Custom Hardware, Inc.

100 Daniel Ridge Road Candler NC 28715

(828) 667-8868 or 665-1988 fax (828) 665-8303

Gas Forges

Highest Quality Hammers, Tongs and all your

Blacksmith Equipment Needs

www.blacksmithsdepot.comwww.blacksmithsdepot.comwww.kayneandson.comwww.kayneandson.com

NO DEPOSIT REQUIRED EASY MONTHLY PAYMENTS

INDUSTRIALCOVERAGE CORP.

has hammered out a NEW & IMPROVED commercial insurance program that will deliver

• Broader Coverage• Phone Quotes• Specially Priced Coverage for

www.industrialcoverage.com

CALL 800-242-9872 EXT. 115Ask for Michael J. Romeo

HobbyistsPart-time blacksmithsFull-time blacksmiths

HobbyistsPart-time blacksmithsFull-time blacksmiths


ADVERTISING INDEXABANA ..........................................11, 12, Inside Back CoverA Cut Above Distributing Company..................................14anvilmag.com ......................................................................48Architectural Iron Designs,Inc .......................... Inside FrontArt Metal ................................................................................5Artisan North America ..........................................................8Atlas Metal Sales ................................................................60Bayshore Metals ..................................................................47Big Blu Hammer Mfg Co ....................................................64Blacksmith Supply ..............................................................62The Blacksmith’s Journal......................................................6The BookSmith ....................................................................58British Artist-Blacksmiths Association (BABA)................62Colorado Water Jet Company ............................................51Crescent City Iron Supply ..................................................47Glaser USA............................................................................58Graham Manufacturing ........................................................3Industrial Coverage Corp ....................................................63John C Campbell Folk School ..............................................8Kayne & Son Custom Hardware ........................................62King Architectural Metals ..................................................58Lander Tool & Die ..................................................................7Laser Precision Cutting..........................................................5Lawler Foundry Corporation ..............................................60Little Giant..............................................................................7Metal Museum, Memphis....................................................13NC Tool Company ................................................................21New England School of Metalwork....................................11Nimba Anvils........................................................................49NOMMA..........................................................................59, 61Old World Anvils ................................................................13Ozark Folk Center ..................................................................7Patina Solutions ..................................................................51Penland School of Crafts ......................................................6Persimmon Forge Pedal Hammer ......................................13Peters Valley Craft Education Center ................................52Pieh Tool Company, Inc ......................................................50Rat Hole Forge ....................................................................52Rik-Fer USA..........................................................................10The Rocky Mountain Smiths ..............................................53Sculptural Pursuit..................................................................4Sierra Forge & Fire Blacksmithing School ........................51Skipjack Press, Inc ................................................................4Sparky Abrasives Company..................................................5Striker Tool Company ....................................................2, 47TeachingTapes.net................................................................59TFS Anvils ............................................................................53Tillers International..............................................................51Touchstone Center for Crafts ..............................................60Triple S Chemical Products, Inc ..........................................4Van’s Gun Blue ....................................................................50

Date post:	11-Mar-2018
Category:	Documents
Upload:	phungkhue
View:	215 times
Download:	0 times

of North America Quarterly Publication of the - · PDF file · 2011-03-09Quarterly...

Documents