of north america artist-blacksmith’s association quarterly ... · summer 2005 |anvil’s ring 1...

Quarterly Publication of the

Artist-Blacksm

ith’s Association of N

orth America

VVolume 33 | Number 3 | Spring 2005olume 33 | Number 3 | Spring 2005

Summer 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.

Sergey SakirkinSee Gallery, page 32

Daniel Miller, The Coupler's WillSee cover story, page 18

F E A T U R E S14 Conference 2006 News

18 Cover StoryThe Agamemnon TriptychBy Daniel Miller

22 Gate Restoration at Saint PaulCathedralBy Robert Walsh

26 Focus Steve Lopes

30 Selected WorksJames R. Johnson

32 GallerySergey Sakirkin

36 ShowcaseLee Proctor

40 ProfileBob Selvaggio

42 Art Nouveau StaircaseNick Moran

44 TributeIn Memory of Bryan Hughes

46 Historic RenovationThe Preservation of theHistoric Silliman House

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

4 Mail

8 Previews and Notes

10 ABANA Business

15 Around and AboutJohn C. Campbell Folk School

20 New Works- Holly Fisher- Harry Foster- Patrick McNamee

48 Regional ReportAffiliate NewsCentral Minnesota Blacksmithsº

50 Regional ReportDemonstration by Iron Masters, Inc.,at Carroll County Farm Museum

52 Book ReviewClassic French Wrought IronBy Raymond LeCoqReviewed by Jonathan Nedbor

55 Calendar

56 Educational Opportunities

58 Classified ads

60 International ReportPeru: First InternationalBlacksmithing SeminarBy Brent Bailey

64 Ad Index

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TABLE OF CONTENTS ❘ SUMMER 2005

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2 Summer 2005 | Anvil’s Ring Summer 2005 | Anvil’s Ring 3

P R E Z S E Z …

EditorRob Edwards

PublisherSebastian Publishing

Assistant to the PublisherMimi Clark

Designers/Art DirectorsSID Graphics

Denis MurphyLinda Frazer

Jennifer Schrader

Advertising ManagerRob Edwards

Next deadline: September 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.

Summertime — A hot afternoon in the forgebegs for a break, and time for philosoph-ical thoughts. I recently read Everyday

Things by French authors Suzanne Slesin et al.It speaks to a collection of iron much like thewell-publicized Sorber collection, recently onthe auction block.

The described “collection” was cut off in 1950,when tools became widely mass produced. Afterthat there were no more errors – OR IMPRINTSOF THE HUMAN HAND. That’s when I (the col-lector) lost interest. – It is the imprint of thehuman hand (and creative mind!) that keeps ourforges burning bright. Sharing this knowledgeis the foundation of ABANA’s existence.

ABANA has redoubled its efforts to accom-plish this:

A new Professional and Academic OutreachCommittee was added to the Educational Divi-sion at the 2004 ABANA board meeting. Chairedby Elizabeth Brim, with members Maegan Crow-ley and Chris Winterstein, efforts are well under-way. An educational poster about art in ironwith easy access to further information fromABANA is on its way to academic institutionswith programs in metal. If you work with aninstitution or have ideas to increase our partic-ipation, please give a committee member ashout.

The professional who shares his or her hard-earned knowledge is and always will be a cor-nerstone of ABANA. No better way to fulfillone’s obligation to our mentors than to pass onour knowledge to a new student in artistic met-alsmithing.

Recently I have had the honor of being con-tacted by the Assabt Valley Vocational HighSchool Blacksmith program. Neil Mansfielddescribed how the program has blossomed from3 to 17 students, with a waiting list eager toenter. The students participate in every publicdemonstration they can. New potential smithsin the making, more public awareness of the“imprint of the human hand” and its value –win/win all around!

It was stated that New England vocationalschools are on the increase, occurring becauseof the value which the motivated youths placeon the programs.

ABANA just awarded a small but enablinggrant for a forging experience at a national gath-ering of youths. But the big contributor was thegrant seeker – thanks, ABANA member DougLearn!

Have YOU thought of an additional way toshare your skills?

The imprint of the human hand, in the prod-ucts of our forges – and with future smiths of

every age – the synergy that makes ABANA“mission accomplished — will that imprint beart?

If you inhibit your work with emotion, thepower of expressing oneself will produce art.

-Author unknown-Its value as art gives rise to a whole field of

employment for art critics, but I am leaving thatfor another day.

The plans for the 2006 ABANA Conferencein Seattle are being finalized. Detailed infor-mation about the conference will start appear-ing in ABANA publications and the conferencewebsite at www.abanaseattle2006.com. Thisconference will celebrate artistic ironworkthroughout the Pacific Rim and will be THECONFERENCE not to miss! Smiths from Aus-tralia, Korea, Japan, Mexico, Chile, Canada andthe U.S. will present a new, fresh perspective onthe craft. The social activities will be a new fea-ture that will make this one of the most mem-orable conferences that you have ever attend-ed. Start making your family vacation plansnow for Seattle in 2006! And look for ABANAairline discounts to be announced soon. �

Good forging,

Summer 2005 | Anvil’s Ring 54 Summer 2005 | Anvil’s Ring

DEAR EDITOR,Thank you for the four-page spread on Iron

in the Wind (pp. 26-29) and the page on ourJohn Little Workshop (pp.12-13) in the

Spring 2005 issue of The Anvil's Ring. Goodthings are happening in the Saskatchewanblacksmithing community and we appreciatethe opportunity to share our achievements. Ihope more affiliates take on the challenge ofa public gallery exhibition. Showing our waresto fellow smiths is good, but it is only by edu-cating the general public that our craft willagain find mainstream acceptance and black-smithing will become a profitable enterprisefor many.

Will you please print a photo credit for theIron in the Wind article. The photographer wasGrant Kernan of AK Photos in Saskatoon,Saskatchewan. Thank you.

Sincerely,Craig Campbell, Saskatchewan, Canada

DEAR EDITOR, (see above right)I thought this artwork might be of interest

to ABANA members. It was created by DonaldQuales of Bristol, VA. It is a wooden anvil, castglass hammer, and lump of obsidian. It is on

exhibit at Virginia Intermont College, Bristol,VA.

Bill Gable, Damascus, Virginia

DEAR EDITOR,The article in your Winter 2005 issue of The

Anvil’s Ring about the Bethlehem, Pennsylva-nia blacksmith building restoration was of spe-cial interest to me. The Historic Silliman HouseMuseum in Three Rivers, Michigan, parallels

the architectural construction of your build-ing. The Silliman House is solid brick and localfield stone, a three-story structure, with theforge in the lower level. (For more details, seearticle on the Silliman House, page 46 in thisissue). It was built in 1875/76 by Arthur Sil-liman, master blacksmith. We believe therewere three forges in the original buildingbecause three of the six chimneys come to thelower level. The other three end at the floor/ceil-ing sill.

Our resident blacksmith, Brian Robertson,did extensive research before rebuilding theforge. He based the construction on forges inthe East in the mid-19th century. It is similarto the forge pictured in the Bethlehem articlewith a raised bellows. Brian calls it a “water-cooled side-draft forge.” He also speculatedon the house construction and said it was verysimilar to carriage factories in New England:forges in the basement, carpenter shop on theground level, and paint shop on the upper level.It has 12-foot ceilings, very tall doorways andno interior stairways between levels in the orig-inal house. However, it never was a factory.

The Silliman family occupied the house until1945 when the American Legion bought it. In

remodeling they gutted the building, remov-ing walls and all the forges. In 1980 the AbielFellows Daughters of the American Revolutiontook possession and saved it from demolition.Restoration has been ongoing with financialsupport from local businesses and individuals.We use it as a community museum and havean extensive local history and genealogylibrary. It is on both the State and NationalRegisters of Historic Sites and most recently asite on the Heritage Water Trails in St. JosephCounty, as we are on the St. Joseph River. In2002/03, the chapter received the NSDARnational award for historic restoration.

Sincerely,Katherine Langworthy, Museum DocentHistoric Silliman House, Three Rivers,

Michigan

DEAR EDITOR,I was really taken by surprise to find my

chandelier on the cover of The Anvil’s Ring(Spring 2005 issue). It really was an honor,and I will dry-mount the cover and hang it onthe wall in my shop next to several other suchphotos of mine.

You did a marvelous job of arranging thetext and the photos in the article, but just as

much a surprise as the cover was your select-ing and enlarging the two best paragraphs inthe body of the article - Bravo!

Thank you again for your wonderful pres-entation of my work.

Best regards,Daniel Kerem, Godfrey, ON, Canada

DEAR EDITOR,Let me start by congratulating you on a great

couple of publications–The Anvil’s Ring andthe Hammer’s Blow. I’ve been subscribing fora couple of years now and have been veryhappy with the service, but I am still waitingfor my Winter 2005 edition of The Anvil’s Ring.Most probably a delay with the Australian Postdeliveries.

Keep up the fantastic work. And please passon to Dona Z. Meilach, if possible, that she hasproduced two of the most amazing books I’veever picked up, and I can’t wait for her nextpublication. Thanks for your time.

Kind regards, Shane Lambert, Newman, Australia

DEAR EDITOR,I can’t tell you how pleased I was to see my

work in The Ring! (See article, pg.42, Spring

2005 issue.) I was particularly impressed withthe layout and the editing. Thank you for sup-porting this work and the work of all of us ply-ing the craft.

Again, many thanks for your support.Best regards,

Phil Abernethy, Nobel, ON, Canada

GOODBYEIt has been my privilege to help the art and

craft of blacksmithing by serving on the Boardof Directors for nine of the past ten years. Ihave enjoyed seeing our craft grow. When Ifirst arrived on the ABANA scene in 1984, thenumber of smiths able to make a full-time liv-ing with “pretty iron” could be counted on onehand. The big fight at the first conference Iattended was: “Should propane forges beallowed?” Now the number of people makinga major part of their living by “beating iron”is in the hundreds — some of them makingincomes that would make “Old Sam Yellin”green with envy. Propane forges are on theirtenth generation and power hammers are agiven.

I have enjoyed being the “troll under thebridge” in attempting to move ABANA forwardin the world. I hope that I’m leaving the Board

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with ABANA a better organizationthan when I arrived. I think so.

One of my concerns has alwaysbeen the management of ABANAas a business. ABANA is a busi-ness. By using good business prin-ciples, ABANA will continuereaching its goal of educating on“GOOD” iron work.

Towards the goal of good man-agement for “your company,” Iurge you to review the candidatesstanding for election to the Boardof Directors. Vote wisely, not justfor the most popular or notori-ous smith, because a good smithis not always a good businessmanager.

At this writing, several monthsbefore the election, it appears thatthis will be “an election.” Some-times in the past there has not beenenough people running to have acontest.

As for you young bucks anddoes, if blacksmithing is where youwant to be, then it is time for you

to get off your backsides and havean influence on the direction ofthe trade. If you are reading thisletter it is too late for the 2005election, but just in time for the2006 Board election. We “oldones” got it rolling and want tohand off and watch you move thebeauty of iron into the mainstreamof the world. Run for the Boardand do your part.

I’ll see you at some of the con-ferences. Other than that, I’mlooking forward to working on themany iron projects I’ve had in theplanning for years. I’m actuallygoing to have time to read aboutwhat you are doing in the manyfine publications that arrive on mydoorstep each month! See you inthe magazines. �

Later, Will Hightower, Retired Board

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drew over 3,000 people in theChurch of the Gruchet le ValasseAbbey (near Rouen and St.Maclou, France), the IFRAM(Training and Research Institutefor the Metal Crafts) decided thenext fair will be held October 28 -30, 2005 with the target of broad-ening the scope of the meetingdedicated to metal. Thus the aimis to have more participants, morediversity, and better quality for alarger attendance.

It will feature 50 professionalsin four expositions: the artists andmetal workers (ironwork, cutler,locksmith, brassware, bronzemaker, engraver, foundry, gold-smith, sculptors, tin). The train-ing organization will provide theknow how, the suppliers of theequipment, and the materials andinstitutional partners of the metalprofessionals.

At the same time, an attractiveexhibit will aim at showing thepossibilities offered by these jobs.

There will be a workshop to initi-ate the young visitors to thefoundry and casting, and finallythe European ironworkers presentat the fair will do a common workto test the latest prototype of nat-ural gas forge by Primagaz.

Designed to become “The MustBe There” meeting of the metalprofessionals in 2005, the fair willcontribute towards improving theimage of the Fèvre profession withthe architects, designers, decora-tors, art gallery owners, landscapedesigners, and all others involvedin the heritage of metal work aswell as the public.

All interested professionals canrequest an application file fromIFRAM.

Contact: IFRAM, Route de l’Ab-baye 76210, Gruchet-le-Valasse

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METAL MUSEUM GETS DOUBLE WHAMMY

The Metal Museum, Memphis, Tennessee, wasawarded not one, but two Awards of Excellenceat the recent Tennessee Association of Muse-ums annual conference.

The first was for the exhibition catalogue “IUsed To Work Here,” produced in connectionwith the Museum's 25th anniversary. The cat-alogue documented works in the exhibition bycurrent and former interns and resident artistsand was sponsored by a Bravo Award from FirstTennessee Bank. More than just a book con-taining photographs of fine metalwork, the cat-alogue captured the spirit of the Museum, fromits humble beginnings to the present day. Quotesfrom the artists show a side of the Metal Muse-um seldom seen.

Jim Cooper, who began his 15-year Museumcareer in 1980 as an intern, said of his experi-ence, “This is the place where I learned to forge,weld, pour concrete, lay tile, fix roofs, use achain saw, fight erosion, do electrical wiring,make armor, repair pot metal, conserve price-less antiques, design exhibits, teach, use a Win-chester, and cast a fly line.”

The catalogue was designed by Michael

Guthrie, graphic artist at the award-winningMemphis firm of Oden Marketing and Design.

The second Award of Excellence was for thespecial event, “Grammy-the Grahamwood Ele-mentary School Dragon.” This 44' long copperbeast was designed by the Metal Museum stu-dio staff and built in the summer of 2004. The1,050 students of Grahamwood, under the guid-ance of art teacher Ann Kling, tooled sheets ofcopper which became the dragon scales. Anadditional 35 volunteers assisted in the projectduring the course of its fabrication. Grammywas installed in the front foyer of GrahamwoodElementary School where she greets studentsand teachers every day. (See Page 18, Summer2004 issue)

For more information, contact Jim Wallace,Museum Director, by email at: [email protected] or Jennifer Hughes, Registrar atthe National Ornamental Metal Museum, 374Metal Museum Drive, Memphis, TN 38106.901/774-6380.

CALL FOR PHOTOS FOR MEILACH’SUPCOMING IRONWORK BOOK

Author Dona Z. Meilach is requesting pho-tos of exciting ironwork details. These might

be joinery, textures, animals, heads, flowers,combinations of metals, wrapping, riveting,or...? Think about photographing, close up, anylittle detail of which you are especially proudfor its own sake or because it was a solution toa design or structural problem.

Often large projects are hard to photograph,but zero in on details and it could make it intoDona’s next book.

Send 35mm slides, prints, or digital imagessaved in .tiff format (or can send hi-res .jpgimages that may or may not work) no later thanthe October 1, 2005 deadline. Digital imagespreferred on disk (accompanied by a thumb-nail printout), because the server often rejectslarge images.

Submit to: Dona Z. Meilach, 2018 SalienteWay, Carlsbad, CA 92009. 760/436-4395.

E-mail: [email protected] Or: [email protected].

SECOND EUROPEAN FAIR OFMETAL ART WORK ANNOUNCEDWhen: October 28-30, 2005Where: France, in the Gruchet le ValasseAbbey, near Rouen and St. Maclou

After the large success of the 2003 fair which

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


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 #12, #2 Summer 84 #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, #2 Fall 91 #20, #2 Fall 92 #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 #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

HAMMER'S BLOW Vol. No. Issue#1, #1

#1, #2 Summer 93#1, #3#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#10, #4 Fall 02#11, #1 Winter 03

two articles be written regarding what waslearned from the experience; one article tobe sent to either The Anvil’s Ring or theHammer’s Blow, and the other to the spon-soring affiliate newsletter.

Congratulations to these ABANA affil-iates!

THE ABANA SCHOLARSHIP PROGRAM

Since its founding in 1973, ABANA hasbeen committed to the education of itsmembers. The purpose of the ABANAScholarship Fund is to provide financialassistance to ABANA members at all skilllevels to assist them the development oftheir blacksmithing skills and abilities.

1. Criteria for SelectionApplicants must show financial need,

proven talent and demonstrated ability inblacksmithing. In reviewing applications,the ABANA Scholarship Committee willconsider, but not be limited to, the fol-lowing factors:

- Documented evidence that the appli-

NOTICE • 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 B U S I N E S SCONFERENCE

The biennial ABANA Conference will be heldJuly 5 - 9, 2006 at the University of Washing-ton and Sand Park, Seattle, Washington. Seevarious ads in 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 contract extendsuntil 2006.

REPRINT POLICYABANA Affiliate newsletter editors are

authorized and welcome to reprint anythingpublished in either The Anvil's Ring or Ham-mer's Blow in their 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.

ELECTION INFORMATIONThe Artist-Blacksmith's Association of North

America, Inc. (ABANA) is run by a board of 15directors elected by the membership. These elect-ed volunteers serve as officers, committee chair-persons and members of committees. Five of the15 directors are elected each year for a three-year term.

To run for election, one is required to be anABANA member in good standing and providethe following:

A nominating petition signed by at least 10ABANA members submitted with photographand candidate statement to the central office byJune 15 of the election year.

NOTICE OF ELECTION FOR ABANA BOARD OF DIRECTORS2005 ELECTION TIMETABLE

May 1, 2005: Notice of election publishedin the Spring issue of The Anvil's Ring.

June 15, 2005: Nominations deadline date,submitted to the ABANA Central Office, P.O.Box 816, Farmington, GA 30638.

August 1, 2005: Ballot mailing in the Sum-mer issue of The Anvil's Ring.

September 15, 2005: Postmark deadline forcompleted ballots.

October 1, 2005: Notification to electedBoard members.

To view the complete bylaws, go to the ABANAweb site at www.abana.org/the_by_laws.html.

Business meetings of the ABANA Board areheld annually near the 15th of November. Onthe even year, an additional meeting is held atthe ABANA international conference in typi-cally June or July. Between meetings, businessis conducted by phone, mail, fax, and email,followed by a quarterly board mailing, distrib-uted by the Central Office.

GRANTS AWARDEDThe following grants have been awarded to

the following ABANA Affiliates:- $600 to the Illinois Valley Blacksmith Asso-

ciation for bringing Brent Bailey (California) toa tri-affiliate conference, namely the July 2005Upper Midwest Regional Blacksmithing Con-ference.

- $400 to the Blacksmith’s Guild of thePotomac for bringing Tom Latané (Wisconsin)to their Spring Fling in April, 2005.

ABANA requests that in return for the award,

Note: Sebastian publishing has a newemail address;

[email protected]

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CanIRON V Annapolis Royal, Nova Scotia, Canada.

August 30 - September 2, 2005.

-Fred Crist, United States - demonstrations/lecture-Christoph Friedrich, Switzerland - demonstrations/lecture-David James, United Kingdom - demonstrations/lecture-Adrian Legge, United Kingdom - teaching station/lecture-John & Becky Little, Canada - demonstrations/lecture-Doug Newell, Canada - design workshops-Henry Pomfret, United Kingdom - teaching station-Brad Silberberg, United States - demonstrations/lecture-Kellysmyth, United States - lecture-Paul & Heiner Zimmermann, Germany

- demonstrations/lecture-Clare Yellin, United States - lecture-Dark Ages Re-creation Company: Darrell Markewitz, David Cox,Kevin Jarbeau, Canada-Viking age smelt and interpretation

Demonstrations, lectures and workshopsthere will be a Viking-age smelt andforging competition, outdoor auction,oxen pull, vendor area, virtual gallery,CanIRON gallery exhibit , and a closingnight seafood dinner. All in the beautifulcoastal community of Annapolis Royal.

ArtsPlace Gallery, P.O. Box 543,Annapolis Royal, NS, B0S 1A0, Canada

For information about the conference see:

www.caniron.ca


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PATINASOLUTIONS

cant possesses a strong desire for continued andserious involvement in blacksmithing. If anovice blacksmith, the candidate must demon-strate a commitment and legitimate interest inblacksmithing.

- Quality of or potential for work as demon-strated by visual materials submitted in supportof the application.

- Record of professional activity and achieve-ment [if applicable].

- Benefit of the award to ABANA’s members,affiliates and the blacksmithing community.

- Demonstrated involvement with and com-mitment to ABANA by the applicant’s mem-bership of at least 6 months before the submis-sion date of the application.

Generally scholarship funds are not award-ed to attend conferences. Recipients of previ-ous scholarship awards are not eligible to sub-mit another application for two years after thecompletion of the previous course of study andfulfillment of the requirements listed in Sec-tion #3.

2. Types & Amounts of ScholarshipsThe ABANA Scholarship categories are: - Scholarship A: Affiliate Scholarship match-

ing funds, $200.00. Members using an ABANA

Affiliate’s scholarship funds can match thosefunds up to $200.00

- Scholarship B: Funds for individual study,maximum of $400.00.

- Scholarship C: Funds for extended study ofthree weeks or longer. Level of support to bedetermined by the circumstances of the pro-posed course of study, to a maximum of$1,500.00

Note: Any monies received by an individual may be subject to taxes as added income as

determined by applicable Federal and State law.

3. Responsibilities of RecipientsAs a condition of receiving an ABANA schol-

arship, all scholarship recipients are required toshare results of their learning with ABANAmembers and/or ABANA Affiliates. The recipi-ent will fulfill this responsibility through at leastone of the following forms of presentation:

a) a public demonstration or workshop, b) thesubmission of an article to either an Affiliatenewsletter or an ABANA publication, c) a pub-lic exhibit of works completed during or afterthe course, d) a lecture demonstrating the resultsof the course of study, e) an article published ina non-ABANA publication. This requirementmust be fulfilled within one year after the course

of study.Additionally, the recipient must submit a short

statement to the Scholarship Chair describingtheir study experience to the Scholarship Chairto be included in some form in The Anvil's Ring.This requirement is waived if an article is sub-mitted to The Anvil’s Ring.

4. DeadlinesTo be considered for a scholarship, applica-

tions must be postmarked by the following datesand sent to the ABANA Central Office:

- January 2 - April 1 - July 1 - October 1Exceptions to this rule will only be made for

applicants who need immediate considerationand in extraordinary circumstances, as outlinedby the applicant and approved by the Scholar-ship Committee and the President of ABANA.Alternatively, applications may be submittedafter the completion of the course. Electronicapplications are not accepted at this time.

Category A and B scholarship winners willbe notified of awards within one month of theabove application deadlines.

Review of Category C applications will beextensive and take up to two months.

Notification of awards will be made either byvoice, e-mail or surface mail. Funds will be sent

to the recipient within two weeksafter the notification.

5. Guidelines & InstructionsBe sure to read and understand

the rules for application. Partial orimproperly completed applicationswill be rejected without review.Revised applications will be con-sidered no sooner than the nextapplication deadline.

Along with the ScholarshipApplication Form, applicants mustinclude the following:

- Current resumé (updated with-in one month of application),including summary of relevantprior work or study.

- Three (3) letters of reference,two of which must be from ABANAmembers. Letters must be dated nomore than three months in advanceof the application date.

- Three (3) slides, photos or con-cept drawings of current work(within 6 months of application) inprotective plastic sleeves or othersuitable holders. A novice black-

smith may fulfill this requirementwith an essay detailing their inter-est in blacksmithing and futureplans for accomplishment in thecraft.

Support materials describing theprogram for which the grant willbe used: School brochure or cata-log, curriculum outline, instructorresumé, etc.

List of all current blacksmithgroup affiliations.

In addition to the above criteria,Category C applicants must submitdetailed documentation, includinga plan of study, anticipated results,application of these skills in fur-thering their career, and letters ofreference from all master smithswith whom the applicant wishes tostudy.

Application materials will not bereturned to the applicant unlessreturn postage is included with theapplication. �

Mack Beal receives2005 Bealer Award.Left to right: FredMikkelsen, Mack Beal,and Peter Happny

www.

As soon as he became aware of the fledgling organization thatwas ABANA, Mack became an active member. That was in 1974.He served on the ABANA Board for 10 years, from 1976 through1986. Since 1986 he has gone on to serve on the Alex Bealer AwardCommittee and also in the capacity of Financial Advisor to theABANA Board of Directors, applying his background and expertisein the banking industry to promote fiscal stability. Mack has alsomaintained an active involvement in the Achen exchange and studycommittee. He has always made himself available with sound “father-ly” advice and support of ABANA and its members. With 30+ yearsof service, he feels his most gratifying contribution manifests itselfin the establishment of the ABANA Educational Endowment Trustthat will perpetuate our ability to educate into the future.

2005 BEALER AWARD TO MACK BEAL


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


By Paul Garrett, Resident Artist

Imagine your dream blacksmithing shop, onewith five power hammers, and more than adozen anvils and forges. One with plenty of

saws, shears, belt grinders, welders, big iron lay-out tables, and hundreds of hand tools for forg-ing and forming metal. Then place the shop in apeaceful mountain setting with blossoms in thespring, golden leaves in the fall, and a small creekflowing right next to the building. Then add threehome-cooked meals a day and a comfortable placeto sleep and relax at the end of the day. That dreamis the Blacksmithing program at the John C. Camp-bell Folk School in Brasstown, North Carolina.

The Folk School was founded in 1925 by OliveDame Campbell and Marguerite Butler. Togetherthey persuaded the community to help them bringa Danish concept of education to the isolated andimpoverished region. And persuade they did, withthe local people donating land, time, materialsand whatever they could to help build the schooland to give the community a chance to learn newskills for a better life.

Now, on the school’s 80th birthday, it has grownto encompass hundreds of different weeklong andweekend classes and brings together thousandsof people annually to learn, to grow, and to sharethe best in themselves. Today more than ever,blacksmithing is the biggest program at the schoolwith nearly 500 students attending in 2004, andthe Francis Whitaker Blacksmith Shop remainsone of the best educational blacksmithing facili-ties in the country.

Over the decades, the school has hosted someof the most well-known and accomplished smithsof their time. Among the instructors are namessuch as Francis Whitaker, Nol Putnam, Peter Ross,Tom Latané, George Dixon, and many others ofnote. As always, instructors are chosen for theirthorough understanding and expertise of the craft,and their ability and willingness to share theirknowledge with those eager to learn it.

The school offers more than 50 different black-smithing classes each year – seven of which areweekend classes. There are beginning courses forthose who would like to try it out, and interme-diate and advanced courses for returning studentsand those who wish to add new techniques totheir skills. There are traditional joinery classestaught by Clay Spencer and other more contem-porary classes: tooling, copper smithing, sculp-ture, Damascus forging, and blade smithing toname just a few. Students can choose a class thatfits their skill level and area of interest, and shouldhave ample time to design and forge several spe-

cial projects, as well as to practice their newlyacquired skills.

In 1974, the Folk School which at one time wasa working farm – converted the historic milkingbarn on the campus into the new blacksmithingshop, and has been steadily upgrading the facil-ity ever since. Each year a select group of smiths– mostly instructors and long-time friends of theschool – gather for Work Week. This is a weekwhen no blacksmithing class is held and the stu-dio undergoes several days of repairs andimprovements to the buildings, equipment, andtooling. This is also when special ironwork proj-ects are created for the school grounds.

Over the years, numerous pieces of large andsmall ironwork have been made and installed inand around the historic buildings and grounds.Some of the projects too large to finish in a weekcan span three or more years. They are alwaysworth the wait, however, and a walking tour ofthe campus reveals a surprise around every cor-ner. Some of the larger works include the famed“Red Railing” that curves its way up the shadypath from the Craft Shop to the dining hall; theforged chandeliers in the dining hall; the belltower that gives the call to meals; and the fourlarge lampposts topped with beautiful copperlanterns that frame the bridge at the entrance to

John C. Campbell Folk School Celebrates its 80th BirthdayA R O U N D & A B O U T

John C. Campbell School’s Red Railing. It was created by blacksmiths during one of the school’s Work Weeks.

AFFILIATE’S GRILL PROJECTOne of the goals of the 2006 ABANA Conference is to strengthen the linkbetween ABANA and its members and affiliates. This link can be rein-forced by project participation. There will be an Affiliate Grill Project aswell as a Membership Grill Project. The project will use ten inch (OD)diameter rings made of 1/4 x 1 flat stock, bent on edge 1/4 x 1, hot rolledor cold rolled flat. The ring should be perfectly flat and 10 in diameter.The space in the center of the ring may be used to express your ideas iniron. In order to properly mount your work, please do not drill any holesor violate the space beyond 1/2 the width of the ring. Each affiliate maysubmit one ring of their choice for the Affiliate Grill Project and all workwill be done by traditional methods, i.e., forge welding, collars, rivets,etc.

For the Membership Grill Project, any ABANA member may submit aring. The same dimensions for the rings apply, but the skyís the limit withregard to type of joinery, i.e., mig, tig, bailing wire, etc. The rings maybe submitted directly to me or can be brought to or shipped to the con-ference site. Shipping address information will be available soon. Ringscompleted early may be shipped directly to Tom Clark for photo oppor-tunities and advertising prior to the conference. Details will also be avail-able on the ABANA website at www.ABANA.org and the conference web-site at www.ABANASeattle2006.com. Happy Forging!

Contact Information:Tom ClarkOzark School of Blacksmithing20183 West State Hwy. 8Potosi, MO 63664573-438-4725 School573-747-8648 Cell573-438-8483 [email protected]

Dave MudgeAffiliate Liaison MemberServices DivisionChairman, [email protected]

IRON IN THE HATTom Clark and Lenny Ledet will again conduct Iron in the Hat for the

2006 ABANA Conference. Once again, you look for big items, both intools and other objects donated by the membership, to be included inthis program which raises money for the ABANA Scholarship Fund.

Items will include the BAM box with a special selection of tools andan Ozark pattern anvil, complete with stand and tools. That's just thebeginning! Members are encouraged to donate items to this Iron in theHat program. We especially want handmade tools, but anything will beappreciated. All items can be turned in at registration or given to TomClark in advance. We will have hourly drawings.

Call Tom at: 573/[email protected]

CALLING ALLAFFILIATESThe 2006 ConferencePennant Project

The New York StateDesigner Blacksmiths areagain inviting allABANA Affiliates to par-ticipate in displaying aclub flag or banner at the2006 ABANA Conference in Seattle, Washington, July 5-8. This will bea great opportunity to show off some of your blacksmithing skills andlogo design in pennant form.

This will be our third participation with our banner, The New YorkState Designer Blacksmiths, as we are presenting the same one. Everyconference the participation gets greater and fine products emerge. Thereare no specific rules that apply, although the stand should bear someforging and all electric welding should be concealed with collars or ham-mered out. The last conference in Richmond, Kentucky, showcased aunique display of banners. We called for fabric pennants but some weremade of metal, which is fine. Use your own design, but the pennantshould hang down from a cross bar.

Look at the pictures on the ABANA website http://abana.org/down-loads/publications/ar-teaser_two.pdf or the 2005 winter issue of TheAnvil’s Ring for ideas. Conference Chairman Jerry Kagele is very excit-ed about the project and is planning a great area for display of the ban-ners. The display will also feature a flag stand to display the Americanand Canadian flags representing North America Blacksmiths which willbe designed and built by the New York State Designer Blacksmiths(NYSDB).

If you are planning on participating in our project please notify meso pre-conference plans can be made. Thank you and looking forwardto all the great projects!

Al Butlak, Editor & 2006 Pennant Project Chairman, NYSDB1351 Walden Ave., Buffalo, NY 14211

[email protected]

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the school. Works begun this year to be finishedlater include a new railing for Bidstrup Houseand a standing seam copper roof for the timber-framed garden gazebo.

Work Week is a time for old friends to gettogether and give back the gift the school hasgiven to them, and to help keep the blacksmithingstudio a safe and efficient place for students tolearn. It is a time for doing good work and proud-ly putting our touchmarks on ironwork that willinspire new smiths for generations to come. Thevolunteering of time, materials, and even money,is one of the biggest reasons that the old shopflourishes. This, coupled with the beliefs in theconcepts and ideals of the Folk School by its sup-porters, are what ensures the facility remains atthe forefront of blacksmithing education in thecountry with each passing year.

Each November, on the first Saturday of themonth, the Folk School hosts a joint meeting ofboth the North Carolina and the Appalachian Areaaffiliates of ABANA for a day of demonstrations,tailgate sales, fellowship, and the annual Black-smith’s Auction. People from all over gather forthe event and donate hand-forged iron work aswell as pieces from other mediums to the big auc-tion. Proceeds from the event go to benefit theblacksmithing program, as well as the school andits overall purpose.

To keep the program functioning smoothly, theschool employs the services of a Resident Artistto see to it that all the details are taken care ofand are in order. I have the privilege of being thecurrent Resident Artist, and have found it to bean exhilarating challenge to keep all of the ballsin the air as I juggle the responsibilities of theposition. I schedule instructors for future classes,order steel and supplies, maintain the studio andits equipment, and provide support for the vari-ety of classes, as well as for the instructors whopass through the school each week. I am also agoodwill ambassador for the school and main-tain a steady interaction with the blacksmithingcommunity nationwide. I attend conferences andensure that the school has the most up-to-dateinformation on trends and equipment. This black-smithing dream is as good as it gets. �

About the author:Paul Garrett maintains studio space on the cam-

pus of the John C. Campbell Folk School and doesa variety of public and private commissions inmany different types of metals, as well a produc-tion line of items for shops and festivals. He hasworked with metal since the late 1970’s andreceived a significant portion of his blacksmithingtraining at the Folk School during the past sev-eral years. Paul is a native of Montana, and hascalled North Carolina his home since 1998.

Picture of the school signthat resides outside theKeith House–the nucleusof the campus.

Paul Garrettworking in the

blacksmith shop.


C O V E R S T O R Y

Over the last twenty years of my workwith metal, I've noticed a phenomenonreoccurring every couple of years. I will

start on a piece with nothing but the function-al, or technical, or aesthetic assignment in mind.Then, at some point (usually around one thirdof the way into the project) I'll look at what I'mhammering, and be startled to find that it isbecoming a very specific iron representation ofwhatever happens to be the most pressing, ornoisy, or hidden occupant of my mind, at thatperiod in my life. What always pleases me mostabout this phenomenon (when I'm luckyenough to have it visit me) is the sense it givesme of sitting on the back of a headstrong horse,trying to hang on, as it takes me to where itwants to go. Well, sometimes it pleases me –other times it terrifies me. One thing I havelearned is that unless something of this expe-rience – of this being hijacked by my horse-occurs in a piece, the piece won't be worth much.

The most recent piece to take me on such aharrowing ride is a wrought iron oil lamp, whichis called “The Coupler's Will." It is the thirdpiece in a series that I've come to call “TheAgamemnon Triptych." This name refers to thefact that all three pieces relate to, and are, in away, iron versions of different aspects of anancient Greek myth, which tells the hard anddark story of Agamemnon and his Queen,Clytemnestra. The earlier two pieces' in theseries are both sets of andirons – the

first called “AgamemnonUndone" and the secondcalled "Clytemnestra Eyesthe King." All three havefound a home in the samestunning, ancient, south-ern ruin (the owner's term)of a house in my home-town. From one spot in theentry hall you can view allthree pieces, and almosthear them crackling ateach other.

Each of these piecescame about in the same awkward,unexpected way I described above.With each, I began by workingrather innocently on a functionalpiece of ironwork, only to find itdragging me (by taking on unmis-takably communicative and sug-gestive forms) into rather dark psy-chic territory.

The ten-year span that this seriestook me to complete, coincideswith a ten-year period that I'vebeen reading a trilogy of plays onthe Agamemnon story by Aeschy-lus, called "The Oresteia." Like myblind beagle, who nosed the chip-munk living in our woodpile, I keepcoming back to scratch and dig atthis ancient mound of words, con-

vinced that there's something I yearn for, liv-ing inside it.

The Oresteia is considered one of the storiesthat traces man's path from savagery to civi-lization – from a world of perpetually repeat-ed murders of vengeance to a community wherepersuasion and law finally breaks the bloodycycle. It also centers, as do most Greek myths,on the difficult and often torturous problem of

the relationship between men and women –shining a light on the sources of our fear of oneanother. Unfortunately, in order to convey any-thing of how this story has woven its way intomy ironwork, I must attempt a very briefaccount of the trilogy. Bear with me if you can,or else, just look at the photos.

In order to get the winds to blow, so as toconvey his sailing army to Troy, Agamemnonmust sacrifice his beloved virgin daughter, Iphi-genia. Artemis, the protectress of defenselessnewborns, is enraged at the certain and sense-less slaughter of innocents she foresees as theresult of this Trojan War which the vengeance-crazed men are salivating over. The sacrifice ofIphigenia is a kind of reality check. [Oh, for anArtemis today.] Clytemnestra is not pleased.After the ten-year Trojan War is won, Agamem-non signals his wife, by means of a Beacon

By Daniel Miller, Waynesville, North CarolinaLight – a series of giant bonfires on mountainpeaks that telegraph the message – that he iscoming home. Clytemnestra prepares for hisarrival by making sacrifices of thanksgiving,and by sharpening her ax. Agamemnon returns,and climbs happily – after a hard-fought warand a difficult journey home – into a waitingbathtub, prepared by his loving wife. Like ablack widow, she entangles him in a piece ofcloth, and then hacks him to pieces. She then

dispatches, using the same ax, the concubine,whom her clueless husband brought home ashis prize from the war.

In the second play their son, Orestes, returnsand avenges his father's death by killing hismother and her lover. Furies, (dark, femininecreatures from the underworld) pursue him,drive him mad, and insist on his death to avengethe matricide. Athena intercedes, and the firsttrial by jury is held at the Acropolis in Athens.Orestes is saved, and the furies are appeased byAthena's insistence that the Athenians embracethem as honored goddesses, to reside foreverin Athens.

The trilogy ends with a torchlight processionthrough the streets of Athens, representing thelong-awaited ascendancy of light and law overthe savage, vengeance-ridden darkness of ourpast. This transcendent, light-bearing, celebra-tory procession also directs the mind back tothe journey of the Beacon Light, which openedthe trilogy – the signal of fire which called twopain wracked opposites – the King and Queen– to confront one another at close range so as

to initiate the Zeus-appointedprocess by which man "suffersinto truth."

As you can see from thisabbreviated version, there ismuch in this tale to occupy andpreoccupy a sluggish but curi-ous mind. The andirons, whichstare at each other from themouths of their opposing fire-places, can't help but refer to thestory's central moment of vio-lence. Clytemnestra holds heraxes high, exulting over hernewly eviscerated husband. Asplit Agamemnon arches for-ward, still recoiling from theblow. There is no escaping theblatant sexuality of the joinery,Agamemnon's pitiful wedgedangles helplessly between apair of bowed legs. AndClytemnestra's central jointneeds surely needs no comment.Words would be redundant.

Until the oil lamp was completed andinstalled, an overly sensitive person might feel,upon stepping into this entry hall, that he hadstumbled upon the scene of a confusing crime."The Coupler's Will" seems to remedy this dif-ficulty. The sad King and Queen can easily bediscerned. Their emblematic joints are clearlypresent – even if confusedly – holding a four-some together as it dances around a vessel offuel. The four wicks pass through four formsthat resemble beaks. Throughout The Oresteia,the heartless war-infatuated male psyche is rep-resented by ravenous birds of prey. Each beakis supported, or embraced by a broad, flat form,bent into a curve, which resembles a piece ofcloth – perhaps one held up for a person aris-ing from his bath. If this curved form wereopened up, it would surely resemble a double-bit ax. The weapon of the masculine and theweapon of the feminine are locked in an

embrace. The lamp itself recalls the BeaconLight which drew the King and Queen, two pain-obsessed opposites, into the proximity and con-frontation that was required to propel our storyforward, that it might end in torch-lit renewalin the streets of Athens. �

“…as it takes me to

where it wants to go.

Well, sometimes it

pleases me-other times

it terrifies me.”

Editors note: For readers who might havefurther questions on these pieces, DanielMiller can be contacted [email protected] or phone: 828/456-4094

T H E A G A M E M N O N T R I P T Y C H

Waiting for highres photos toarrive by friday


N E W W O R K SPatrick McNamee, McNamee Studios,Midlothian, Virginia

Coffee table. 20" x 40" x 48" tall, forged andfabricated steel. Finished in clear powder coat.Photo by Barry Majeski, Richmond, VA.

Holly Fisher, Kalamazoo,Michigan. “Heart’s DesireHangs in the Balance.”Cast iron and forged steel.30” high.

Patrick McNamee, McNameeStudios, Midlothian, Virginia.Sculpture, "Wind in my Hair."Forged and fabricated steel. 16" x30" x 26". Photo by Barry Majeski,Richmond, VA.

Harry Foster, Pontiac, QC, Canada. Floor-standing, five-candle candelabra, one of a pair. 55" high. Center col-

umn is 3/4" stock. Detail of leaves on the vine thattwist around the center column of the candelabra.


These photographs illustrate a prestigiouscommission that we had the good for-tune to receive. The gates are basically

reproductions of similar gates found elsewherein the Saint Paul Cathedral, which is located inSt. Paul, Minnesota.

The marketing behind this commission wasa mixture of good planning and just plain dumbluck. Years ago, when I had a blacksmith shopin the city of Minneapolis, we arranged an OpenHouse for architectural firms. This Open House

featured demonstrations specifically tailored toarchitectural products. The invited firms werechosen because, after doing some research, theywere the firms who produced architecture, thenature of which we were interested in — detailed,high-end homes or large commercial/liturgicalprojects like this one. We scheduled it to takeplace just as we were finishing up four gatesfor the University of South Dakota.

I printed up a nice picture postcard whichwas also the invitation to the Open House and

then sent these postcards out. Here comes thedumb luck part. I printed the wrong date onall the invitations by mistake! What does a per-son do then? I did not want these firms to showup on the wrong date, so I put on my hats ofmental courage and humility and got on thephone. I then called every architect on the listand explained the situation.

Well, to make a long story short, what weended up with was only one firm showing upfor the Open House, but the beginnings of per-sonal relationships with six other firms. Theserelationships would not have happened were itnot for the phone calls.

Many years and many jobs later, through oneof the firms invited, we arrived at the projectpictured here.

The gates in these photographs were part ofa massive restoration project. The projectentailed the gates, side panels, overthrow, anda large amount of exterior railing work. Theproject also included a lot of stone work, sand-blasting of the building, grout work, and a newcopper dome, as well as many other variousaspects.

G A T E R E S T O R A T I O NBy Robert Walsh, Pepin, Wisconsin

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

The completed project.

This is the cathedral (left) duringrenovation. The sandblasting hasbeen completed and the copperdome is now wrapped in scaffold-ing. Often when I would look atthe scaffolding, I would thinkabout what this might have

looked like in 1900 whenthe church was first built.

I would also think aboutthe original construction

when I would see one of thecranes hoisting up a load of

materials to the dome. Howmany of the original materials

were carried up by hand?

Inside the chapel looking out. The shelveson the side panels will hold open regis-ters containing all the patrons’ namesthat supported the church renovation.


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

The exterior ironwork was simply beyond ourcapacity at the time because we were up to ournecks meeting commitments on a large homewe were detailing. So Bob Bergman of Blan-chardville, Wisconsin, and his men capably tookover the exterior portion of the project.

The metalwork in the photos was a collabo-rative venture. Nathan Robertson has the mosttime invested. Nathan forged all the scrolls, builtall the frames and assembled the whole struc-ture. Nathan is also a woodworker and when itcomes to being precise with measurements, heis the king.

Keith Johnson was responsible for the hinges,lock work and tapered ring pulls. Take a lookat the ring pulls and look at how efficientlythey were made.

Kirsten Skiles tapped out the eight repoussé.octagons in the overthrow with her amazingskills. To establish the artwork within theoctagons, artist/art teacher/metalsmith MarciaMcEachron worked with the church commit-tee, developing their concepts into workabledrawings. These women are such skilled pro-fessionals when it comes to any project thatrequires repoussé and design imagery.

When all the work was finished, RogerLoyson applied one of his signature finishes.For this, Roger built some custom rotating spitsto hold the work, which worked out very well.

Slipping the metalwork into place went quitesmoothly. It did so for two reasons:

- Nathan’s measurements/metalwork dimen-sions were micrometer perfect.

- We designed the project so it could beinstalled in increments to combat the weightissue. This project was very heavy.

All in all, this was a good project. Lots ofteamwork. Cumulatively, there was an incred-ible amount of skill, plus a realistic time framein which to produce the work.

Life is good.�

The tapered ring handles.

The completed Donor’s Chapel with the gates installed.


F O C U SSteve Lopes, Port Townsend, Washington

Exterior of the home. The railing wasmade to look like the Donner Pass

Bridge, farther up the road from thehouse. Vance Fox photo©

Kitchen light fixture is an upside down pyramid. 4' across. Steel, copper and mica. Vance Fox photo©.

Pool room light. 2' wide x 4' long x 16" tall. Copper and steel. Photo by CraigWester.

These light fixtures and railings were for a commissionI received for a private home in Truckee, California.We worked very closely with the client and builder

on this job. This was completed over two different trips. The27 feet of upstairs railing was installed in just 2 1/2 hours—the contractor was amazed!

Although my crew and I live in Washington state, mostof my work is by word of mouth—people see it and ask theclient more about it, then we’ll get a call. Most of the workwe do is out of state, for some reason—Colorado, Idaho, andCalifornia—I even have a commission coming up in Con-necticut shortly.

I began blacksmithing in 1978 and have loved it eversince. I couldn't do this work without my skilled staff pic-tured here. Says Steve, “I really appreciate these guys.” �


F O C U S

Great room light fixture. 5' wide x 30" tall. Steel and mica, with 16 lights.

Dining room swing arm light on left. Light is 2’ diameter, mica and steel. The two arms extend out 3’. Vance Fox photo©.

Great room light above one of the two railings made for the home. Railing is taperedflat bar with textured copper. Vance Fox photo©.

Upstairs railing. Part of a 3' x27' railing. Copper and steel.

Linseed oil and turpentine fin-ish. Photo by Craig Wester

Pendant light, bathroom fixture. 2' diameter. Mica, copper and steel.Photo by Craig Wester.

so far no bettr photoof his helpers???waiting is…


Largely self-taught, I had the opportunity to work witha traditional blacksmith for one year. After that expe-rience I worked for various large ornamental iron and

fabrication companies. While doing this I was collectingtools and developing my blacksmithing skills.

I now have a shop in Alvord, Texas, north of Fort Worth.Currently, I am focusing on furniture and interior acces-sories. �

S E L E C T E D W O R K SJames R. Johnson Alvord, Texas

VESSEL. Forged from 3/16"plate with copper stitches.Linseed oil and wax finish.

11"H.x7"W.x3.5"deep.

COPPER BOWL. Steel bowl with sunk copperbowl, linseed oil and wax finish, steel box 12"W.x123"L.x3.5"H., Copper bowl 6" dia., 2" deep.

Bowl forged from 3/16 platewith stand. Soft wine patina.

Sealed with linseed oil and wax.10"W.x16"L.x3"D.

CONTEMPORARYSCULPTURE. Forgedsteel holding carved

sphere. Linseed oil andwax finish.

7"W.x20.5"H. balldia.4". 22lbs.

Sergey Sakirkin has worked for Pioneer Blacksmiths for the last 2 1/2 years. We sponsored him to come from Russia on a workvisa. His work has been an amazing learning experience for every-

one at Pioneer Blacksmiths. Most of the blacksmith work is done pri-marily by Sergey now.

We use two coke forges, a Little Giant 50-lb. and a Kuhn 100-lb. air

hammer. We make our own tools and dies for forming scrolls and ham-mering. Shown here are photos from a job that we did for the ownerof a nearby development, Woodside Homes, for his own home. He want-ed something different and continuous, with a touch of leaf effect. Therail was to come all the way to the floor, and all the scrolls were to beattached to the floor with a small hammered loop attachment piece.

Sergey forged all the scrollsahead of time and then we went tothe location to assemble them onsite. Some scrolls had to be biggerthan others because some of thesteps were wider, so it caused a fewaesthetic problems that we had towork through.

The fireplace piece (page 35) wascreated for the same customer. Hewanted a forged piece to go in frontof the gas fireplace screen whichwould keep the children from com-ing up and placing their hands onthe glass - more of a burn guardthan a fire screen. Sergey tied ele-ments from the railing into thescreen. The one scroll elementclose-up is a fishtail that he creat-ed and this is representative of hisEuropean style, truly Old Worldcharm. �

Richard PrazenPioneer BlacksmithsSalt Lake City, Utah


G A L L E R YSergey Sakirkin, Salt Lake City, Utah


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

SOME SCROLLS HAD TO BE

BIGGER THAN OTHERS

BECAUSE SOME OF THE STEPS

WERE WIDER, SO IT CAUSED A

FEW AESTHETIC PROBLEMS

THAT WE HAD TO WORK

THROUGH.

G A L L E R Y

Sergey working on the railing. Detail of railing scrollwork.


My first experience withforged metal began inBozeman, Montana, in

1976 at Montana State University athorseshoeing school. There I sawhorseshoes forged in various ways.It sparked an interest for me that isstill afire.

I finished my education in upstateNew York in Rochester, earning aBachelor of Arts degree with anindependent study in metals. I vis-ited Albert Paley’s studio here andsaw tremendous potential for archi-tectural ironwork. That summer Iwent to Haystack Mountain Schoolof Crafts for a course with Peter Ross,the very first session in the “new hotshop.” The next summer I went backto Haystack as an assistant to DarylMeyer in Damascus Making.

I returned to Montana in 1980, setup shop, and have been working oncommission ever since. Most of theworks shown here were done for acommission I received for a newhome in Bigfork, a project I workedon for three years. �

S H O W C A S ELee Proctor, Bigfork, Montana

Stairway. Stainless steel and copper. 120"h x 40"w. Stringers are hollow formed with 1/4" plate, leavesforged from copper 3/4" round stock.

Detail, left.

Fireplace. Stainless and steel. 36"h x 30"w

Detail, left.

Lee Proctor at the forging hammer


S H O W C A S E

Bench. Stainless and argilite. 48"h x 108". Hollow form with temper color finish. Detail above.

“Circles.” Mica, steel and stainless. 26"h x 42"w

Standing leaf railings. Steel, mica, cherry wood. Total railing length is 30"

Detail ofstanding leaf

railing.


P R O F I L E

by Chris Holt

What led Bob Selvaggiointo blacksmithing mayhave been a horse. In hislate teens Bob enjoyedriding and caring for hishorse named Jake. Atthat time in his life,

shoeing horses seemed like a reasonable field to pur-sue. After graduating from Midwest Farrier School(Xenia, Ohio) in 1973, he worked part time in thetrade. Enjoying the work, but not so much the“expertise” of many of his clients’ owners, he turnedto ornamental iron, studying with Anders Anderson.He was employed by the Allegheny County Mainte-nance Department in 1975 and his metalworkingskills earned him the title of “Mr. Metal.” From toolsharpening to welding, ornamental work to play-ground equipment, Bob did it all, gradually creatingan extensive array of tools, supplies, and equipmentat his North Park workshop. As he continued toexpand his skills, he regularly participated in work-shops and classes and discovered ABANA in 1977.Working in his home shop, he turned out reproduc-tions and interpretations of 18th- and 19th-centu-ry hardware, railings, lighting pieces, and kitchenutensils. His affinity for traditional methods and hisappreciation of the simple elegance of functionalpieces led Bob to admire the work of smiths like PeterRoss, Tom Latané, and Jerry Darnell.

When the county refurbished Soldiers and SailorsHall in the Oakland section of Pittsburgh, Bob wascalled upon to design and forge grilles for the largewindows. The historic designation of the massivestone building presented a series of challenges and,to top it all off, the grilles could not be anchoreddirectly to the stone. He devised a series of clampsand brackets that fit into the windows so there waslittle interference with the building itself, but enoughstrength to provide needed security. In 1996 Bobbegan to work through the Boilermakers, Black-smiths, and Iron Shipwrights Union, expanding hiswelding capabilities. Several years ago he pur-chased property which included an old two-story,three-bay bus garage. That building offered greatpotential for the fully equipped shop he had alwayswanted. Along with making that dream a reality,he gutted and resurrected the dilapidated housebeside his new shop. Always dedicated to the craft,Bob was one of the five founding members of the

Bob Selvaggio, Sarver, Pennsylvania

Pho

tos

by

Pau

l Sel

vag

gio

Soldiers & sailors detail - window grates, 60" x 24"

Trivet, fleur de lis design. 7.25" x 3"

AdjustableCandleholder, 2' tall,

base 8.5"

Bird spit, 24" x 8"

Pittsburgh Area ArtistBlacksmiths Associa-tion, (PAABA) in the1980s. He has held the

offices of president and vicepresident, and had the demanding job of newsletter editor forfive years.

Outside of blacksmithing, Bob has a variety of interests.Growing out of his fondness for bluegrass music, he is learn-ing to play the banjo, something which fascinates his grand-daughters. Outdoors he spends time gardening and, withouthis horse Jake these days, he spends time riding his bicycle ontrails all across the Pittsburgh area.

Sometimes trail riding does lead an individual to his destiny.In retrospect, maybe that horse knew which career path to leadhis rider down after all. �

Note: Bob Selvaggio continues to smith in his new, well-designed shop which is located north of Pittsburgh, PA. Bookswhich Bob has found to be influential in his work are: Deco-rative Ironwork by Marion Campbell, Professional Smithing byDonald Streeter, and Antique Iron by Herbert Peter and NancySchiffer.


P R O F I L E

Flower, 9" x 5"

Pipe tongs, 18: x 3"

Trammel for hearthcooking. Hook is 9",forge-welded chain

Bob Selvaggio in the shop Sewickly door - 1 of 2 identical, 84" x 54"

4-wick oil lamp withadjustable sawtooth

trammel, adjusts from18" x 32"

Adjustable candle-holder, 8.5" x 8.25"


T R I B U T E

THE BLACKSMITH OF WESTPORT By Rory MacKay, Gananoque, ON, Canada

Bryan Hughes, owner and teacher atOntario’s “Highland Forge School ofBlacksmithing,” passed away sudden-

ly and peacefully as a result of a heart attackat home in Westport, Ontario, on November13, 2004 at the age of 59.

A graduate of Western’s School of Horse-shoeing (Arizona) in 1970, Bryan first workedas a farrier, but gradually turned to full-timeproduction of restoration hardware at hisforge in the basement of the old Woolen Millin Kingston, and after 1991 at his forge inWestport, in the Rideau Lakes Districtbetween Kingston and Ottawa. As early as1986, Bryan was teaching weekend coursesin blacksmithing. Gradually over the yearsBryan developed and added courses of oneweek and eight weeks’ duration, with a focuson making hand tools for the one-man shop.Students traveled from as far as the Yukon,Oregon, Winnipeg, Quebec, Iceland, and Ger-many to learn from him.

A walk through Kingston’s historic down-town, and its houses, would reveal Bryan’sfire implements, hinges, railings and signbrackets that some might consider to be art.His work also can be found in historic sitesin Canada and the Cayman Islands. Bryandid not consider his work to be artistic; it washis assertion that “Function is the essence ofbeauty in ironwork.” However, he was notabove more whimsical projects, such as the12-foot long articulated Rock Bass that hangsoutside a bait shop near Westport.

Bryan Hughes was himself a student ofproper fire-making technique, and each stu-dent who left his shop knew the “proper” wayto make and care for a coke-making and con-tained fire in the forge. Once, when she wasoperating Bryan’s forge at a workshop inKingston, Dorothy Stiegler found it neces-sary to “open up” Bryan’s carefully made fire,and all of Bryan’s students could be identi-fied by the horrified gasp they let out.

Bryan preferred his own company, or thatof his late canine companion Molly, yet madehis knowledge and witty comments availableto all who showed an interest in black-smithing or the classical music which he usedas auditory “wallpaper” in his shop. It became

evident at his memorial that his support andfriendship had been valued by many. Despitehis loner image, he impacted so many peo-ple, always being there when you needed him.

Bryan was the lifelong friend and formerhusband of Lynn Hughes Shaw (Art) andbrother of Tim (Jan) of Stayner and Ian (Patti)of Kingston. Born June 8, 1945 and raised inNew Toronto and Mississauga, Bryan was theson of the late Jock (John) and Edith (Burn-side) Hughes. Bryan will be especially missedby forge buddies, his students, blacksmithingand horseshoeing colleagues, his music palsat Westport’s “Upstage” and the musiciansbrought to that venue by Bryan. He leavesbehind friends from his Mississauga andKingston years, as well as the Westport com-munity, which had adopted him as “theirblacksmith.” His blacksmith shop contentshave been dispersed to former students, whowill keep Bryan's spirit alive by keeping histools in use.

Bryan contributed his knowledge to thelayout of tools and equipment of the Algo-nquin Logging Museum Blacksmith Shopexhibit in Algonquin Park. Contributions inhis memory can be made to The Friends ofAlgonquin Park, Box 248, Whitney, ON, K0J2M0.

BRYAN HUGHESJune 8, 1945 November 13, 2oo4Submitted by Daniel Kerem

Bryan Hughes, the blacksmith of West-port, Ontario, passed away suddenlyon November 13, 2004 at his home.

One of his more unusual pieces was anarticulated 12-foot long, 4-foot wide, bigmouth bass fish, its multi-colored scales madeof recycled pop cans.

Bryan will be missed by his students whocame from as far as Iceland to his HighlandForge School of Blacksmithing and by manypeople in the community who shared his loveof music and his special brand of wit, alwaysopportune to the moment.�

BRYAN HUGHES W E S T P O R T, O N T A R I O

Bryan Hughes enjoying time with his faithful companion, Molly.

In Memory of TRIBUTE TO BRYAN HUGHES

By Daniel KeremThere was once a blacksmith named Bryan Hughes,Who was always full of the news.And although he had such a poisonous humorWhich could have given horses a tumor,It never kept the people away.

The rising cost of gasolineDented Bryan’s coffee canteen, So he sold his motor scooter,And got on the computer,And to many young men he did say:If you forge at the anvil,You can make a nice handle,But it takes years of practice and work.

He can teach you the rules,And provide you with tools, But the iron will have the last say.I can give you some clues,Though never my shoes, For each man must find his own way. So make your tongs with long handles, And never wear silly sandals,For you must protect your hands and feet,As they will earn you your meat,And keep that damn slag away.

So there came out one student,Who proved very prudent,The young Guillaume from Montreal. When he arrived in the shop,Bryan came to a stop,And confidentially to him he did say:Don’t ever get here undressed,As I will have no rest,And apply yourself to making scissors,Or you will give Westport the jitters, For they’ve never seen here so many tattoos. Bryan Hughes was always full of the news,So, if you come to Westport and continue all

the way down,You will eventually arrive in Kingston town,And there you may meet on many a street,Some mementoes of Bryan Hughes.

For on the limestone sills,There are some nice window grilles,And here and there is a bracket,Or a black leather jacket,And door hinges, latches and screws,Or some old horse with worn-out shoes,

- All these things which will remind us ofBryan Hughes


H I S T O R I C R E N O V A T I O N

By Katherine Langworthy

HISTORIC SIGNIFICANCE

The site is of the Historic Silliman House is atthe confluence of the three rivers for whichthe town was named, also the site where

Indians crossed the St. Joseph River on their waynorth. It was built by Arthur Silliman, a blacksmith,to house both his family and his business, whichwas an unusual setup in 1876.

The Sillimans were an important pioneer fami-ly in the Three Rivers, Michigan, area. Arthur’sfather, Alexander Silliman, and his wife weredescendants of Revolutionary War patriots and sol-diers, migrating from the East Coast in 1845.Arthur’s daughter, Sue Imogene Silliman, was auniversity graduate, a preservationist, historian,author and the city librarian from 1902 to 1945.She was an active member of the Daughters of theAmerican Revolution organization (DAR), servingthe chapter at both the state and national levels.

THE ARCHITECTUREThe simple architecture of the building parallels

the early colonial structures of the Georgian style.It is built of native stone and red-orange brick. Thehouse is rectangular in shape with solid brick walls,a gable roof, and six chimneys. It is three stories

high and has three open porches, two of which arebuilt over fieldstone basement rooms.

In the interior, the brick walls are plastered. Thebasement houses the blacksmith shop which orig-inally housed three forges. Only one has beenrestored, a side draft in the water-cooled brick forge,typical of the style used in the East in the 1870s.The main floor was the family home. This levelwas partitioned into a kitchen, dining room, liv-ing room, parlor, two bedrooms and an entry hall.The top floor is one large room which the familyused for storage. There were no stairways in theoriginal house between floors. The storage areawas accessed by an outside iron stairway on theback of the house. The basement, built into theriverbank hill, is accessed from the outside.

The construction of the Silliman house is verysolid and strong. Floors between stories are threelayers: a sandwich of wood, plaster and wood, mak-ing it very safe in case of fire. All floor joists are12" on center instead of the standard 16", and everyjoist is bridged, not common in home construc-tion.

ABIEL FELLOWS CHAPTER, NSDAR’SINVOLVEMENT IN THE RESTORATION

In 1976/77, this historic house was scheduledfor demolition. The American Legion had owned

it since Sue Silliman’s death in1945. They sold it in 1974 tothe General Telephone Com-pany, who planned to raze thestructure. Helen Wickham,DAR member and local histo-rian, brought this to the atten-tion of the local DAR chapter.Meanwhile, her research led tothe Silliman House beingaccepted on the MichiganRegister of Historic Sites in1976. In 1979 it was accept-ed on the National Register,and the event was marked withan impressive local ceremony.

Negotiations began withthe phone company to savethe building. After numerousmeetings, they proposed thatif we could raise the moneyfor restoration, they wouldgive us the house. Many inour chapter were daunted bythis prospect but, with gentlepersuasion, Helen won over

the skeptics. A building committee of townspeo-ple was formed, a fund drive was launched, andbids for restoration sought. Our goal of $30,000was reached by 1980 and restoration was begun.

The restoration was extensive because the Amer-ican Legion had made many changes during theirtenure. Public bathrooms were removed, partitionsreplaced, floors were cleaned of tile, and walled-up windows were exposed. The dance hall addi-tion was removed by the phone company, expos-ing the original wall. The exterior brick was cleanedand tuck pointed, and chimneys were repaired,though it was impossible to restore the one thathad been removed. The roof was replaced and theporches rebuilt with rubber seals on the basementportions.

Some concessions to modernization were made.An interior stairwell, built by the Legion, wasopened up and turned so it now ascends from theformer dining room. It seemed the better part ofwisdom to retain inside stairs. However, the stairsto the basement were removed. All wiring andplumbing was replaced and a half bath added.Complete duct work was done, but the old furnacewas retained (replaced in 1998). The forge wasrebuilt by Brian Robertson, a blacksmith fromOwosso, Michigan, after doing much research intocolonial forges.

The house is furnished and decoratedeclectically. It reflects the 60-plus years thefamily lived here. Some original Sillimanfurniture has been returned. Many periodpieces have been donated or placed on loanto furnish the house.

THE SILLIMAN HOUSE TODAYWhile restoration seemed never-ending,

as funds became available more work wascompleted. We were ready to open to thepublic in 1984. GTE turned over the prop-erty to the DAR Chapter at an Open Housegathering. The house has become known asThe Three Rivers History Museum, housinglocal and area memorabilia and a center forgenealogical research. The Abiel FellowsLibrary has over 300 books including mili-tary records and books and other informa-tion on Michigan history. There are files onfamilies, cemetery records, county commu-nities.

The Silliman House also contains theWickman Collection of Helen Wickman’sresearch into the area. Helen was also instru-mental in getting 35 buildings in downtownThree Rivers on the State and National Reg-isters of Historic Sites in 1979, the first so

designated in Michigan. Today the SillimanHouse continues to be supported by theFriends of the Museum in an annual funddrive and by the Three Rivers Area Foun-dation. They also obtain a grant once inawhile. Total climate control with a newfurnace and air conditioning were recentlycompleted; restoration and maintenancecontinue.

The Historic Silliman House is open tothe public from June to September on Fri-days only, 12 noon to 4 pm, and by appoint-ment. It is also open for special communi-ty celebrations, during which Brian Robert-son, our blacksmith, tries to be available forforging demonstrations – by far our biggestdraw. Researchers are also welcome, as wellas small groups who reserve the house formeetings. �

Editor’s Note:Katherine Langworthy is a long-time ThreeRivers resident. A member of the SillimanHouse Building Committee, she also servesas Museum Board Chairman as well as adocent. She is a 40-year member of AbielFellows, National Society of the DAR.

The Preservation of the Historic Silliman HouseThree Rivers, Michigan

Brian Robertson at the forge, master blacksmith andforge restorer.

Historic Silliman House Museum - Front (west) entry. 116 S. Main Street, Three Rivers, Michigan.

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Master Blacksmith Ken Zitur listens to student whilethe iron heats

Students assisting each other.

Smiling students recognized for their efforts with Certificates of Completion.

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

By Rome Hutchings, Affiliate Liaison

The Central Minnesota Blacksmiths, a rel-atively new affiliate, completed the sec-ond running of Basic Blacksmithing

Workshop. CMB's program is borrowed fromthe Guild of Metalsmiths’ “Blacksmiths StudyGuide” and the “Instructors’ Workshop Guide.”

The Guild of Metalsmiths developed thesetwo programs to provide consistent, qualityeducational opportunities for their members.The documentation for these two programs isavailable for the asking, and that made it easyfor CMB to adopt and set up.

The Central Minnesota Blacksmiths grate-fully acknowledges the Guild of Metalsmithsfor their support and assistance. This is anoth-er success story of ABANA affiliates network-ing and working together to educate and pro-mote the craft. �

Students assisting each other.

The Guild of

Metalsmiths developed

these two programs to

provide consistent,

quality educational

opportunities for their

members.

A F F I L I A T E N E W S

Central Minnesota Blacksmiths Affiliate Completes Two Programs

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

By Ted McNettHanover, Pennsylvania

Iron Masters, Inc., of Gaithers-burg, Maryland, demonstrat-ed at Blacksmith Guild of Cen-

tral Maryland's 17th annualBlacksmith Days at the CarrollCounty Farm Museum in West-minster, Maryland, on May 21and 22, 2005. The Iron Masterteam of eight Ukrainian and Russ-ian smiths is led by NikolaiPakhomov. Nikolai trained at theStroganov Academy of Art andwhile in Russia he worked in thehomes of Presidents Gorbachev,Yeltsin, and other governmentofficials.

In 1990 he moved to the Unit-ed States. “Immigration is a hardpart of the life, believe me. WhenI came I could say only ‘hi’ and‘bye,’ that's it,” Pakhomovrecalled. “Forty years old, I beginfrom zero.”

Iron Masters, Inc. was startedin 1998 when Nikolai partneredwith David Chick, an architectalso from Russia. They specializein high-end hand forged artistry.Nikolai led the Blacksmith Daysdemonstration to create an eight-8 foot tall tree forged from solidiron. The life-size tree contains abird’s nest, singing bird, climb-ing vines and several rosesentwined around the trunk. Theteam worked like a synchronizedmachine, striking, holding, weld-ing, grinding, and finishing theproject with very little verbalcommunication. “Every job issomething unusual,” Pakhomovsaid. “I am an artist.”�

Editor’s Note: Biographicalinformation and quotes gatheredby Stephen Snyder, Carroll Coun-ty Times Westminster, Maryland.Used with permission.

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with life-size bird and nest,above. The branches spread

38 inches.

Russian smiths demonstrating.

Nikolai Pakhomov.



CLASSIC FRENCH WROUGHTIRONBy Raymond LecoqReviewed by Jonathan NedborForeword: Richard WattenmakerTranslation from the French:Gregory P. BruhnPublished by W. W. Norton & Com-pany128 pages; Hardcover. $29.95

This book is a survey of thearchitectural ironwork ofFrance, covering the period

from the 12th through the 19thcenturies. It is filled with line draw-ings by Mr. Lecoq of hinges, locksand keys, decorative nail heads,leaf work, rail and grille details,and much more. Intended as a ref-erence for understanding the workof the smith, the book first showsthe tools of the forge and explainstheir use, and then follows withexamples of work from the MiddleAges to the 1800s.

Richard Wattenmaker, Directorof the Archives of American Art atthe Smithsonian, writes in his fore-

word that Lecoq had a passion forstudying and collecting historicironwork. He was well known atflea markets, antique shops, andmuseums, and took great pleasurein the search for historic pieces. Inaddition to his collecting,he also photographedand documented iron-work in his travelsthroughout France.

The text of the bookbegins with a quickoverview of the productionof iron in France. Archaeo-logical evidence indicatesthat there was iron producedin Gaul (today’s France) asearly as the last century B.C.Water- powered rolling millsand tilt hammers were in use bythe end of the 16th century. Thisdevelopment allowed for the dis-tribution of “ready-to-use” bars toforging shops. Lecoq felt that thework from this period onward suf-fered, having lost its charm andvitality due to the regularity ofthese preformed bars produced by

the mills. Missing was the“worked” quality and connectionto the hand of the smith, evidentin earlier work, as technology pow-ered industry. This sec-tion

ofthe book finishes with

a review of the various rolled cross-sections in steel that were commonin the late 1960s, when Lecoq wrotethis book.

The next section describes theforging process, with line drawingsof the tools and various approach-es used to move hot iron, and anexplanation of each of these tech-niques. This is a good representa-tion for uninitiated readers, help-ing them to better understand theplasticity of this material and thework involved in producing theironwork described in the rest ofthe book.

Following the forgework sectionis an overview of the evolution ofstyles in French ironwork. The dis-tinctive elements of each period,which often represented techno-logical advances, are arranged inchronological order so that one canapproximately date a piece of iron-work by these characteristics.

The rest of the book continues

on in this manner, covering manymore aspects of the craft of theironsmith, with text and line draw-ings representing different periods

and styles. Especially attractiveare several pages with draw-ings of forged leafwork fromthe Baroque-Rococo period,including details from JeanLamour’s work at PlaceStanislaus in Nancy. A quickreading of the table of con-tents reveals the breadth ofinformation covered inthis book: the iron indus-try, assembly, forge tech-niques, aesthetics, evo-lution of style, leafwork,hinges, grille work,rails, locks, keys, latch-es, and bolts.

One shouldremember that thisbook is a new trans-

lation from the Frenchoriginal, and some of the terms andconcepts do not translate exactlyas we might write them in English.Though the terminology may seemawkward at times, it is not hard tomake sense of it all with the linedrawings and the textual refer-ences. This is a large format book—9 x 12 inches—and with the numer-ous drawings and informative text,it serves as a good reference on thesubject of classic French wroughtironwork for the smith and theinterested reader.

Editor’s Note: Jonathan Nedborhas been a professional blacksmithfor over 30 years, specializing incontemporary ironwork and thereproduction and restoration ofhistoric hardware. �

B O O K R E V I E W


C A L E N D A RAUGUST 30 - SEPTEMBER 2CanIRON V will be held at Annapolis Royal, NovaScotia. Main guest demonstrators: Fred Crist, ChristophFriedrich, David James, John & Becky Little, BradSilberberg and Paul & Heiner Zimmermann. Historicalexhibitions of ironwork, open competition and otherevents. 902/423-3837. E-mail: [email protected] web site: www.caniron.ca.

SEPTEMBER 4 - 10Women’s Welding Workshop & Retreat. Spitfire Forge, inbeautiful Taos, NM. De-mystify metal! Learn basic met-allurgy, forging, welding and oxy-ace cutting. ContactChristina Sporrong 505/770-1006. E-mail:[email protected]. See web site:www.spitfireforge.com for more information.

SEPTEMBER 102005 Carbondale Conference hosted by the SouthernIllinois Metalsmiths Society. Held at So. IllinoisUniversity campus, Carbondale. Doug Wilson is demon-strator. Dan Randall 618/453-3774. E-mail: [email protected].

SEPTEMBER 16 - 18 Metalsmiths' Madness, Fall Conference of the Guild ofMetalsmiths with demonstrators Bob Becker and RalphSproul. At “Log House” south of Hasting, MN. On-sitecamping and local hotels and motels. Herb Fick507/663-0569, cell 612/868-9032. E-mail: [email protected].

SEPTEMBER 30 - OCTOBER 2Northeast Blacksmiths Association bi-annual meet.Ashokan Field Campus, Olivebridge, NY. Hands-onworkshop and a main demonstrator will be featured.Contact Tim Neu 914/657-8333. For more informationsee NBA’s web site: http://nba.abana-chapter.com/

OCTOBER 1 - 2Fall Festival at John C. Campbell Folk School,Brasstown, NC, featuring over 100 juried and non-juriedcraftspeople. Crafts, food, continuous live music anddance, craft demos and more. 1-800/365-5724. See website: www.folkschool.org.

OCTOBER 7 - 9Houston Area Blacksmiths Association’s Fall ForgingFest. Will feature a demonstrator from each of theHouston, Austin, Dallas/Ft. Worth, East Texas andLouisiana areas. Vendors, tailgaters and other craftsinvited. Free camping available. Les Cook 281/481-2457or e-mail: [email protected]. See web sitewww.habairon.com or www.habairon.org.

OCTOBER 8Forge-In and Autumn Arts Ablaze Festival. Hosted bythe city of Fitchburg, MA and Achla Designs. Open to allblacksmith artisans to display and demonstrate.Workingforges and anvils will be supplied. Entries due by Sept.15th. Contact Jeremy Thompson 978/345-9603.

OCTOBER 8The second annual Fitchburg Forge-In with severalEuropean Master Blacksmiths demonstrating. The newRiverfront Park, Fitchburg, MA. Space available forblacksmiths who wish to demonstrate, display and selltheir work. Entries due by Sept. 15th. For more informa-tion contact Lisa Wong 978/345-9602 or e-mail:[email protected].

OCTOBER 14 - 16Northwest Blacksmiths Association Fall Conference withdemonstrators John Adolph and Steve Lopes. Mt.Vernon, WA. Jorgen Harle 360/376-5506 or David Lisch206/919-5431. E-mail: [email protected].

OCTOBER 15 - 16Appalachian Blacksmiths Assn. Annual Fall Conferencewith demonstrator Bob Elliott. Theme is TraditionalBlacksmithing and Joinery. Cedar Lakes Park, Ripley,WV. Contact Dave Allen, 304/624-7248. See web site:www.appaltree.net/aba.

OCTOBER 28 - 30Second European Fair of Metal Art Work. Gruchet leValasse Abbey, near Rouen & St. Maclou, France.Featuring professional demonstrations, exhibits andworkshops for visitors. Contact IFRAM, Route del’Abbaye 76210, Gruchet-le-Valasse. Tel: 02 35 39 38 87.E-mail: [email protected].

NOVEMBER 5Blacksmith Auction. John C. Campbell Folk School,Brasstown, NC. This annual event presents some of thefinest artist-blacksmith and other fine craft items forsale. 1-800/365-5724. See web site: www.folkschool.org.

DECEMBER 4Fireside Sale at John C. Campbell Folk School,Brasstown, NC. Shop for handmade gifts at the beauti-fully decorated Keith House where craftspeople exhibittheir wares. Live holiday music and a crackling fire. 1-800/365-5724. See web site: www.folkschool.org. �

Note: Sebastian publishing

has a new e-mail address:

[email protected]


AUGUST 22 - 27Just Tooling Around with Bob Rupert. Touchstone Centerfor Crafts, Farmington, PA. 800/721-0177 or 724/329-1370. E-mail: [email protected]. See web site: www.touch-stonecrafts.com.

AUGUST 26 - 28Precious Metal Clay Course, The Bill Pieh Resource forMetalwork, Pieh Tool Co., Inc., with instructor BonnieMcKenna Harvey. Camp Verde, AZ. 928/554-0700 or888/743-4866. See web site: www.piehtoolco.com.

AUGUST 29 - SEPTEMBER 3The Damascus Package with Ray Rybar. TouchstoneCenter for Crafts, Farmington, PA. 800/721-0177 or724/329-1370. E-mail: [email protected]. See web site:www.touchstonecrafts.com.

SEPTEMBER 2 - 4Fantasy Forging: Animal Heads & Flowers with RandyMcDaniel. Peters Valley Craft Education Center, Layton,NJ. 973/948-5200. E-mail: [email protected]. See website: www.pvcrafts.org.

SEPTEMBER 9 - 11Teaching Your Mind, Hand & Hammer to Work as Onewith Bob Elliot. Touchstone Center for Crafts,Farmington, PA. 800/721-0177 or 724/329-1370. E-mail:[email protected]. See web site: www.touchstonecrafts.com.

SEPTEMBER 9 - 12Tools for the Toolbox with Andy Dohner. New EnglandSchool of Metalwork, Auburn, ME. 1-888/753-7502.E-mail: [email protected] web site: www.newenglandschoolofmetalwork.com

SEPTEMBER 10 - 11Blacksmithing I class at Tillers International, Scotts, MI.800/498-2700. E-mail: [email protected]. See web site:www.wmich.edu/tillers/.

SEPTEMBER 15 - 16Blacksmithing I class at Tillers International, Scotts, MI.800/498-2700. E-mail: [email protected]. See web site:www.wmich.edu/tillers/.

SEPTEMBER 16 - 18Blacksmith Class, The Bill Pieh Resource for Metalwork,Pieh Tool Co., Inc., Camp Verde, AZ. Class size limited.928/554-0700 or 888/743-4866. See web site:www.piehtoolco.com.

SEPTEMBER 16 - 18Forge Welding with David Tucciarone. John C. CampbellFolk School, Brasstown, NC. 1-800/365-5724. See website: www.folkschool.org.

SEPTEMBER 16 - 18The Joy of Forging with Nigel Tudor. Touchstone Centerfor Crafts, Farmington, PA. 800/721-0177 or 724/329-1370. E-mail: [email protected]. See web site: www.touch-stonecrafts.com.

SEPTEMBER 17 - 18Blacksmithing II class at Tillers International, Scotts, MI.800/498-2700. E-mail: [email protected]. See web site:www.wmich.edu/tillers/.

SEPTEMBER 18 - 24Blacksmithing Fundamentals for the Beginner with DavidTucciarone. John C. Campbell Folk School, Brasstown,NC. 1-800/365-5724. See web site: www.folkschool.org.

SEPTEMBER 19 - 23Forge Welding with Bob Patrick. Ozark School ofBlacksmithing, Potosi, MO. 573/438-4725. E-mail:[email protected]. See web site:www.ozarkschool.com.

SEPTEMBER 23 - 26Copper Fountain Making with York Butler. New EnglandSchool of Metalwork, Auburn, ME. 1-888/753-7502. E-mail: [email protected]. Seeweb site: www.newenglandschoolofmetalwork.com

SEPTEMBER 24 - 25Knife Forging with Dean Piesner & Robb Martin. Hostedby Thak the Blacksmith & Armorer, Floradale, ONCanada. 519/669-0721. E-mail: [email protected]. See website: www.thak.ca..

SEPTEMBER 23 - 25Blacksmith Class, The Bill Pieh Resource for Metalwork,Pieh Tool Co., Inc., Camp Verde, AZ. Class size limited.928/554-0700 or 888/743-4866. See web site:www.piehtoolco.com.

SEPTEMBER 30 - OCTOBER 2The Personal Side of Iron with Marc Maiorana.Touchstone Center for Crafts, Farmington, PA. 800/721-0177 or 724/329-1370. E-mail: [email protected]. See website: www.touchstonecrafts.com

SEPTEMBER 30 - OCTOBER 2Raising Course, The Bill Pieh Resource for Metalwork,Pieh Tool Co., Inc., with instructor Bonnie McKennaHarvey. Camp Verde, AZ. 928/554-0700 or 888/743-4866. See web site: www.piehtoolco.com.

OCTOBER 3 - 7Basic Blacksmithing with Tsur Sadan.Ozark School ofBlacksmithing, Potosi, MO. 573/438-4725. E-mail:[email protected]. See web site:www.ozarkschool.com.

OCTOBER 7 - 9Blacksmith Class, The Bill Pieh Resource for Metalwork,Pieh Tool Co., Inc., Camp Verde, AZ. Class size limited.928/554-0700 or 888/743-4866. See web site:www.piehtoolco.com.

OCTOBER 7 - 9Chasing and Repousse Course, The Bill Pieh Resource forMetalwork, Pieh Tool Co., Inc., with instructor BonnieMcKenna Harvey. Camp Verde, AZ. 928/554-0700 or888/743-4866. See web site: www.piehtoolco.com.

OCTOBER 8 - 9Artistic Smithing with Bruce Woodward. TillersInternational, Scotts, MI. 800/498-2700. E-mail:[email protected]. See web site: www.wmich.edu/tillers/.

OCTOBER 9 - 15Getting Started in Blacksmithing with Tony Holliday.John C. Campbell Folk School, Brasstown, NC. 1-800/365-5724. See web site: www.folkschool.org.

OCTOBER 10 - 14Grill Project Class with Tsur Sadan. Ozark School ofBlacksmithing, Potosi, MO. 573/438-4725. E-mail:[email protected]. See web site:www.ozarkschool.com

OCTOBER 14 - 15Introduction to Armoring with Robb Martin. Hosted byThak the Blacksmith & Armorer, Floradale, ON Canada.

519/669-0721. E-mail: [email protected]. See web site:www.thak.ca..

OCTOBER 14 - 17Tools: From the Fire, for the Fire with Dereck Glaser. NewEngland School of Metalwork, Auburn, ME. 1-888/753-7502. E-mail:[email protected]. See website: www.newenglandschoolofmetalwork.com

OCTOBER 16 - 21Damascus Steel Knife Making with Herb Derr. CedarLakes Craft Center, Ripley, WV. 304/372-7860. E-mail:info@ cedarlakes.com. See web site:www.cedarlakes.com.

OCTOBER 17 - NOVEMBER 4Three-week Blacksmithing Class at Turley ForgeBlacksmithing School. Santa Fe, NM. 505/471-8608. E-mail: [email protected].

OCTOBER 21 - 23Hand-forged Cutlery with Herb Derr. Cedar Lakes CraftCenter, Ripley, WV. 304/372-7860. E-mail: info@ cedar-lakes.com. See web site: www.cedarlakes.com.

OCTOBER 21 - 24Laminated Blade Smithing with Muh-Tsyr Yee. NewEngland School of Metalwork, Auburn, ME. 1-888/753-7502. E-mail:[email protected]. See website: www.newenglandschoolofmetalwork.com

OCTOBER 22 - 23Intermediate Toolmaking with Robb Martin. Hosted byThak the Blacksmith & Armorer, Floradale, ON Canada.519/669-0721. E-mail: [email protected]. See web site:www.thak.ca.

OCTOBER 23 - 28Blacksmithing: Starting with Steel with Susan Madacsi.John C. Campbell Folk School, Brasstown, NC. 1-800/365-5724. See web site: www.folkschool.org.

OCTOBER 28 - 29Blacksmithing I class at Tillers International, Scotts, MI.800/498-2700. E-mail: [email protected]. See web site:www.wmich.edu/tillers/.

OCTOBER 28 - 30Blacksmith Class, The Bill Pieh Resource for Metalwork,Pieh Tool Co., Inc., Camp Verde, AZ. Class size limited.928/554-0700 or 888/743-4866. See web site:www.piehtoolco.com.

NOVEMBER 4 - 6Basic Forge Work Course with Robb Martin. Hosted byThak the Blacksmith & Armorer, Floradale, ON Canada.519/669-0721. E-mail: [email protected]. See web site:www.thak.ca..

NOVEMBER 4 - 6Blacksmith Class, The Bill Pieh Resource for Metalwork,Pieh Tool Co., Inc., Camp Verde, AZ. Class size limited.928/554-0700 or 888/743-4866. See web site:www.piehtoolco.com.

NOVEMBER 6 - 12Traditional Joinery Projects with Clay Spencer. John C.Campbell Folk School, Brasstown, NC. 1-800/365-5724.See web site: www.folkschool.org.

NOVEMBER 7 - 11Power Hammer class with Bob Patrick. Ozark School ofBlacksmithing, Potosi, MO. 573/438-4725. E-mail:[email protected]. See web site:www.ozarkschool.com. �

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FOR SALE300# Chambersburg power hammer2-piece with 5 x 8 flat dies, 15hp/3phmotor. Excellent running condition.$15,000 or best offer. Contact KyleConnolly 734/761-1235.

250# Erie steam hammer, 2 pc., goodworking condition. 125# CFM Gardner-Denver gas air compressor, good workingcondition. 500-gal. surge tank. Asking$6500 for the complete package. GaryAmeling, Elmore, Ohio 419/862-2090. E-mail: [email protected].

35-lb. fabricated trip hammer and 25-lb. Little Giant trip hammers;Champion 400 blower; #2 Beverly shear;Trenton farrier’s anvil; fuller-improvedcalking vise; 2 heading vises; leg visesand tongs. Call 406/683-4077.

Trip Air 35# ram forging hammer-$3000.00. Sahinler SM-60-130# ram,on base-$7000.00. Chambersburg 300#utility hammer, excellent condition-$8000.00. National #2 reducing roll- 7"rolls, 4.5" diameter shafts- $6500.00.Vertical mill with 3 hp vari drive andDRO-$4500.00. 8"x 102" vertical wetbelt sander-$1000.00. 6"x18" surfacegrinder, single phase, power feed, mag-netic chuck- $750.00. Bantam ironwork-er, 1 hp single phase, cuts up to 3/4square, 1/4 x 4" flat, $1000.00. PostvilleBlacksmith Shop 608-527-2494.

Old World Anvils offers new fly presses, new high-carbon anvils fromthe Czech Republic at 6 to 552 lbs., sin-gle or double horn, Peddinghaus anvils,new all-steel post vises, gas forges from

NC Tool and Forgemaster, and a widevariety of hand tools, chisels andsledges. Bob Bergman, 888/737-5714.Web site: www.oldworldanvils.com.

Pieh Tool Company is now a distributorfor the Anyang 33, 88 and 165-lb.power hammers as well as any otherblacksmithing tools...anvils, tongs,forges, hand tools, etc. Need a littleinstruction in the art of the blacksmith?Attend one of our classes. Camp Verde,AZ. 888/743-4866 or 928/554-0700.www.piehtoolco.com. See ad on page 11

RENAISSANCE Microcrystalline WAXPOLISH. Amazing! Developed for theBritish Museum to protect armor, guns,knives, silver, gold, copper, fine wood,gold leaf and much more. Free of dam-aging acids. Buffs easily to a hard, trans-parent finish. 65 ml tin @ $11.95; 200ml tin @ $20.95; 2.5 litre @ $149.95.Prepaid: Blue Moon Forge/Huntingdon,PA 16652. Checks/MC/VISA. E-mail: [email protected].

L’il Abner air hammer plan set nowavailable. Complete drawings, lists, notesand instructions $225 pp. Also available:Basic kit (plan set with cylinder andvalves) $525 + shipping, or Deluxe kit(basic kit plus brass fittings and hoses)$695 + ship. Bert Romans, 503/632-1947.PO Box 899, Mulino, OR 97042.

BOOKS AND VIDEOSBlacksmith videos and DVDs availableon a wide variety of subjects including:Forged Animal Heads, Leaves &Flowers, Bugs & Birds, Tongs, FlyPresses, Knifemaking. Now available:

The Blacksmith Primer by RandyMcDaniel. 1-877/866-3688. Web site:www.teachingtapes.net.

Now available from Blue Moon Press:“A BLACKSMITH’S CRAFT: The Legacyof Francis Whitaker," by George Dixon.A Compendium of Processes, Tools,Patterns and Tips. Hardback, 8" x 10,"157 pgs., 800 drawings/photos. Prepaid$42.50 + $3 S&H.

“CHARLESTON IRONWORK, APhotographic Study," by Charles N.Bayless. Photographs listed by streets.Reprint, hardback, 9" x 11", 208 pgs.,295 photographs, ISBN 0-9707664-8-3.Prepaid $36.95 plus $4 S&H.

“MOVING METAL, The Art of Chasingand Repoussé," by Adolph Steines.Translation, Hardback, 131 pgs., 218 pho-tos/drawings. ISBN 0-9707664-9-1. BlueMoon Press, Huntingdon, PA 16652.866/627-6922. Prepaid $32.95 plus $3S&H. E-mail: [email protected], VISA/MC.

How to rebuild a Nazel power hammer,a 1 1/2- hour tape and information.$75 postpaid. Bob Bergman, 608/527-2494 or toll-free: 888/737-5714. See website: www.oldworldanvils.com..

SERVICESRemote foot pedals, self-lockingwedges, quick-change die conversionsand more. Lander Tool and Die is yoursource for improved power hammerproductivity and efficiency. Hammer-specific and custom applications.209/296-6471. �

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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.

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C L A S S I F I E D SAPPRENTICE WANTED

Ivan Bailey is looking for an appren-tice. In conjunction with a move tothe country outside of Atlanta he willoffer one -year apprenticeships basedupon the program at theWerkkunstschule Aachen which heattended in 1971 through 1972. Theprogram would start mid-summer. Itwould be an independent studies pro-gram which would not entail work-ing on his commissions. The studentwould share a generous-sized studioand work on his/her own projectsand commissions. Tuition wouldinclude separate living quarters in acottage next to the forge.

Requirements would primarily bea degree in art. Direct inquiries toIvan Bailey (404) 874-7674 or viaemail [email protected] Visithis website www.artmetal-ivanbai-ley.com for a resumé and otherinformation about Ivan's back-ground, approach, and experience.

CLASSIFIED POLICYAds are $20 each and are limited to35 words (six lines). Longer ads are$5 per line. Please submit your classi-fied ad, in writing, either by e-mail:[email protected], by regu-lar mail: Sebastian Publishing, P.O. Box1849, Georgetown, CA 95634 or by fax:530/333-2689.

all artworkand jewelry availablefor sale.visit theweb sitefor more information

Ancient techniques of Repoussé taught only by Master Artist Garri Dadyan. Work on copper, Aluminum, brass,

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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.

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

By Brent Bailey, Orland, California

In November, 2004, I traveled toPeru as the demonstrator for thefirst Seminario Internacional de

Herreria. The seminar was sponsoredand organized by Aceros Arequipa,a steel manufacturing corporation inPeru. Aceros Arequipa (Steel of Are-quipa) is a Peruvian-born company.The company produces the steel, pro-files it into different bar shapes, anddistributes it worldwide. There are23 regional offices and the head-quarters are located in Lima, the capi-tol of Peru (population 12 million).

Working together via email andtelephone, Fernando Bustamanteand I created a syllabus and 60-pagetraining manual for the seminar. Fer-nando works in the marketing divi-sion for Aceros Arequipa and wasthe director of the seminar. Fernan-do's grandfather started the compa-ny. The seminar was scheduled tobe a total of six days, Mondaythrough Saturday, for three hourseach evening. The demonstrationtopics included joinery, toolmaking,ornamental techniques (traditionaland contemporary), and a hands-onworkshop for the participants. Therewere approximately 100 participantswho attended the seminar.

ARRIVAL IN LIMAI arrived in Lima on Saturday,

November 27th. Aceros Arequipaarranged my accommodations,located in the city center. Sundaymorning I met with Fernando andtoured the headquarters of Aceros.We worked out the details for the seminar andthe layout for the site, where would the forge be,the anvil, etc. The timetable for the week wouldbe the same every day--I would arrive at Acerosat 9:00 a.m. to prepare for the demonstration tobe held that evening.

THE DEMONSTRATIONThe seminar started Monday evening, after a

brief introduction by Fernando. At the end ofeach evening time was set aside for participantsto ask questions. A few participants broughtsome of their forged samples to share. The sem-inar was very well organized and Fernando and

the Aceros staff were a fantastic group to workwith. Wednesday evening was the hands-onworkshop and the participants split up intogroups. Using the techniques learned on Mon-day and Tuesday, each group had to design andproduce a small table within three hours. At theend of each session the tables were judged, andeach member in the group who placed first wasawarded a prize.

Fernando and I visited the workshop of HenryMeza, a participant of the seminar. Henryemploys eight craftsmen and exports a large per-centage of his work, which consists of windowgrilles, door and cabinet hardware, wine racks,

and smaller items. They produce very fine exam-ples of forged ironwork. Henry also demon-strated the electrolytic plating process, a rela-tively simple but remarkable finish for ironwork.All of Henry's work is guaranteed to be rust freefor up to five years and it is offered in three dif-ferent patinas: copper, bronze, and black.

THE COMPANYAceros Arequipa is doing an exceptional job

of promoting blacksmithing and their product inPeru. The steel made by the company is of high

Peru: First International Blacksmithing Seminar

Seminar participants (Brent Bailey is bottom center, Fernando to his left).

Pieces by Henry Meza, Peru.

continued on page 62


I N T E R N A T I O N A L R E P O R T - C O N T . ’ D .

quality and forges beautifully. In addition tothe seminar, Aceros has also sponsored twoblacksmithing contests, accepting entries fromthroughout the country. At the first contest(2003), the contestants designed and built a win-dow grille. At the second contest in 2004 theparticipants created a lamp. Each contest hadover 75 entries. The pieces are judged and thetop four are awarded a generous cash prize byAceros. Aceros also arranges blacksmith train-ing workshops throughout Peru. These work-shops are taught by Carlos, an employee ofAceros and a very talented blacksmith.

Aceros Arequipa is an important componentto the expansion of blacksmithing in Peru. Thereare many talented artisans making a living andproducing fine examples of decorative metal-work. I will return to Peru to attend the Sec-ond International Blacksmithing Seminar. It isalso a possibility that if the seminars maintaina consistent number of participants, Aceros willconsider arranging a seminar in Bolivia. AcerosArequipa Corporation is leading the way in anexceptional effort to promote the craft. �

Sample piece by Henry Meza, Peru. Stage or forge area for the seminar.

ABANA ............................................6, 64, Inside Back CoverA Cut Above Distributing Company..................................54anvilmag.com ......................................................................13Architectural Iron Designs,Inc ............................................ 9Art Metal ..............................................................................52Artisan North America ........................................................47Atlas Metal Sales ................................................................57Big Blu Hammer Mfg Co ....................................................61Blacksmith Supply ..............................................................62The Blacksmith’s Journal ....................................................11The BookSmith ....................................................................58British Artist-Blacksmiths Association (BABA)................63Colorado Water Jet Company ............................................56Crescent City Iron Supply ..................................................16Glaser USA............................................................................53Graham Manufacturing ..................................................4, 63Industrial Coverage Corp ....................................Inside FrontJohn C Campbell Folk School ............................................53Kayne & Son Custom Hardware ........................................61King Architectural Metals ..................................................53Lander Tool & Die................................................................56Laser Precision Cutting ......................................................58Lawler Foundry Corporation ..............................................55Little Giant ............................................................................11Master Artist Garri Dadyan ................................................59Metal Museum, Memphis ....................................................51NC Tool Company................................................................17

New England School of Metalwork ..................................47Nimba Anvils........................................................................49NOMMA ................................................................................ 6W.W. Norton & Company....................................................51Old World Anvils ................................................................57Ozark Folk Center ................................................................56Ozark School of Blacksmithing, Inc. ................................12Patina Solutions ..................................................................13Penland School of Crafts ....................................................51Persimmon Forge Pedal Hammer ......................................59Peters Valley Craft Education Center.................................. 8Pieh Tool Company, Inc ........................................................9 Rat Hole Forge......................................................................10Rik-Fer USA..........................................................................59The Rocky Mountain Smiths ................................................7Sculptural Pursuit................................................................63Skipjack Press, Inc ................................................................2Sparky Abrasives Company ................................................51Striker Tool Company ...................................................... 3, 8TeachingTapes.net ................................................................10TFS Anvils ............................................................................ 7Tillers International ............................................................13 Touchstone Center for Crafts ................................................6Triple S Chemical Products, Inc ........................................61Van’s Gun Blue .................................................................... 5West Dean College ................................................................ 5


A D V E R T I S I N G I N D E X

of north america artist-blacksmith’s association quarterly ... · summer 2005 |anvil’s ring 1...

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