Dr. Joe Higgins, Flintknapping Hall of Fame Flintknapper # 15

Biography of Dr. Joe Higgins – Founder of the Puget Sound Knappers Association Dr. Joe Higgins started flintknapping in 1991 with four other likeminded individuals, Ed Thomas, Dave Pehling, Gerry Swiney and Bill Grooms. Their first meeting was on the Tulalip Indian Reservation near Marysville, WA. For the next year and a half these five budding flintknappers bought and read every book or article they could get their hands on. They studied Crabtree, Waldorf, and other modern knappers. They bought and watched VHS video tapes from the likes of Craig Ratzat and did everything they could to improve their flintknapping skills. Around the middle of 1993, Joe came across an article in the Flintknappers digest that listed all of the ‘known’ flintknappers in the U.S. Many of these ‘flintknappers’ were like Joe and his buddies – just starting out. Joe took it upon himself to contact as many of this located in the PNW as possible. As this was before the time of ‘email’ Joe wrote and/or phoned every one of the list he could find, encouraging them to join him and his friends. The original five grew rapidly to twenty and then to more than fifty and they began organizing and attending Knap-ins. In December or 1993 Joe wrote and published the first issue of SPALLS, what was to become the ‘official’ newsletter of the Puget Sound Knappers Association. Joe was the publisher for the first five or six years with help from other members. To further their knowledge Joe and the few early members of the newly formed PSK engaged Craig Ratzat to conduct a pressure flaking workshop at the 1998 Enumclaw Knap-in hosted by Dave Rauschenberg. They also invited D.C Waldorf to attend a Knap-in at Richardson’s Rock Ranch near Madras, Oregon. Joe Higgins was a driving force behind these efforts to gain a greater knowledge of Flintknapping. Joe has not limited his quest for flintknapping knowledge to just books, video and local knappers but has visited knappers in many other states and attended knap-ins as far away as Texas. . Joe Higgins has hosted an Annual Knap-in at his shop – affectionately known as Ft Knapadonia for the better part of twenty years. This is the second largest knap-in in the Pacific Northwest, exceeded in attendance only by the Glass Buttes Knap-in. It is regularly attended by PSK members from each of the PNW states – WA, OR, ID, MT as well as British Columbia. He has also invited knappers from all over the U.S. to attend the Knap-ins at Ft Knapadonia and he always has several attend each year. It is indeed a rare year when he doesn’t have a number of knappers from number of others states attend – even from Texas! In addition to the large annual knap-in at Fort Knapadonia, Joe has hosted a weekly knap-in very Wednesday (except Christmas week) for the last six or eight years. Average attendance has grown from eight – ten knappers to fourteen to sixteen and sometimes reaches as high as twenty. But dozens if not hundreds have attended this weekly event over the years. Perhaps most significant is the number of new knappers who have started their flintknapping adventure at Ft Knapadonia – I’ve personally witnessed more than a dozen ‘noobies’ come to Joe’s weekly event and learn to knap from Joe in just the last year. Joe is also an early initiate into the Ooga Booga Ear of Corn Society and has been a Chief of the PSK clan of the tribe for years. He has conducted several initiation ceremonies at Ft. Knapadonia, the last one in 2011 saw 21 knappers initiated into the clan! While Joe is by our definition a ‘Master Knapper’ (see http://www.pugetsoundknappers.com/interesting_stuff/Flintknapping_Vocabulary.html) , he is equally a master instructor. Whether it is teaching abo tool techniques, the use of modern copper tools, percussion, pressure flaking or how to properly use an Ishi stick, Joe’s understanding of the various techniques and his ability to convey his knowledge to others is remarkable. Likewise the number of knappers Joe has taught and mentored over the years is nothing short incredible. However, Joe’s greatest contribution has been to the culture of the Puget Sound Knappers and the close-knit community of knappers in the Pacific Northwest. This includes promoting the art of flintknapping at every opportunity and at zero cost. Joe is one of the original (if not THE original) host who established the PSK cultural norm of FREE Flintknapping. From his example all PSK sponsored knapping events as well as all those events PSK members participate in are free. That means free admission to all, free lessons, free rock, free loaner tools and safety equipment and at least one free (potluck meal)! At Joe’s knap-in he even provides free accommodations – Two deluxe Native American style teepees! Another truly significant contribution of Joe’s to the PSK culture is that of community involvement. Joe has hosted many scouting groups at Ft Knapadonia and demonstrated flintknapping at public events too numerous to count. In 2012 alone Joe, along with other members of the PSK, demonstrated flintknapping at two Montessori Schools and two geographically dispersed rock club shows. The final significant contribution that was initiated by Dr. Joe was the notion of ‘ethical flintknapping’. There are two parts of this notion, the first is embodied in the PSK ‘Code of Ethics’, the second is the responsibility of modern knappers to ‘sign’ their art. To that end Joe initiated the Knapper Mark Registration program. This originally took the form of a signed document submitted by knappers that included their ‘Mark’ with which they signed their work. The PSK still keeps a 3-ring binder with the documents but we’ve added this information to the website. To date the PSK is the only organization that maintains a registry of Knapper Marks – a legacy to Joe’s leadership. Finally, Joe is an original and active Participant of the PSK ‘Council of Elders’. This group is comprised of the most respective members of the PSK and act as the advisory council for all content of the SPALLS newsletter and the PSK website. The Council also sets the tone for the all activities the PSK participates in and are responsible for the development of the PSK Knap-in Best Practices Guide. Joe has been a major contributor in all Council recommendations. Joe’s commitment and contribution to promoting the Ancient Art of Flintknapping and his twenty years of exemplary service to the community more that qualifies him for the Flintknappers Hall Of Fame. James C. Keffer aka ‘Reefer’ Proud Member of the Puget Sound Knappers Association Chief – PSK Clan of the Ooga Booga Tribe Webmaster – PugetSoundKnappers.com Publisher – SPALLS, Official Newsletter of the PSK Historian, Puget Sound Flintknappers The International Flintknappers ‘ Hall of Fame and Museum is encouraging individuals of all ages to “Be A Superior Example,” through a new education program as part of a new curriculum to promote healthy habits, while encouraging everyone to live free of drugs and other such substances or vices. It serves as the central point for the study of the history of flintknapping in the United States and beyond, displays flintknapping-related artifacts and exhibits, and honors those who have excelled in the craft, research/ writing, promoting events, and serving the knapping community in an ethical manner.

Steve Allely, Flintknapping Hall Of Fame Flintknapper # 14

1. After Jim Riggs was unable to coordinate the Glass Buttes Knap-in due to health issues, Steve stepped up and took on the responsibility. In 2010, using his own money he arranged for 10 Porta-Potties and purchased several cases of Costco toilet paper – upfront outlay – around $1,200. If that were not enough, Steve spent time every day going around to the Porta-Potties and with a long stick he ‘leveled out the piles’. This is a no-sh*t true story, witnessed by myself and the rest of knappers at Glass Buttes. 2. After doing this for a couple of years, Steve turned over the responsibility to Rocky Male, a fellow PSK member and resident of Burns, OR (much closer than Steve). The first year that Rocky rented the Porta-Potties was 2011 which just happened to be the year of the worst weather at the ‘Buttes in decades. No more than 75 knappers made it to the knap-in that year. Due to the low turnout we were unable to raise enough donation money to cover Rocky’s out-of-pocket cost – to the tune of $300 short! Steve had made about that much over and above the cost the prior year and rather that keeping it for all the work he’d done, Steve had set up a Glass Buttes account. He gave this money to Rocky to make him whole! 3. Steve has taught hundreds of knappers without asking anything in return, including Emory Coons (one of the knappers whom nominated Steve). All PSK knap-in are free. All out-of-pocket cost incurred by our Hosts are paid for by direct donation, auctions of donated items and donations to compete in our flintknapping games. Any monies in excess are considered compensation for all the other work and cost they incur. Just as an aside - the 2011 Glass Buttes Knap-in has been the only knap-in in the PNW I know of that didn’t directly cover the cost! And while the Glass Buttes Knap-in is not a PSK event, the last five were coordinated by PSK members and the donations, games and auction are all organized by PSK members. About 90% of those attending are members. We’re working on the rest Sincerely, James C. Keffer aka ‘Reefer’ Proud Member of the Puget Sound Knappers Association Chief – PSK Clan of the Ooga Booga Tribe Webmaster – PugetSoundKnappers.com Publisher – SPALLS, Official Newsletter of the PSK 2010 WESTERN LITHICS. KING NOTCHER WORLD FLINTKNAPPING CHAMPION TROPHY.







2010, WESTERN LITHICS, WORLD FLINTKNAPPING CHAMPION, KING NOTCHER, STEVE ALLELY














Steve Allely is knapper who began breaking rocks in 1967 and hasn't slowed
down much in the last 40 plus odd years of working stone. He specializes
in beautiful high color points of the Western US although he can make many
styles of points and knives. He is also an accomplished flat work artist
in painting and illustration. Additionally, he is a bow maker specializing in the
subject of Native American archery for over 20 years and has illustrated a
number of books and written the periodic chapter on the subject in the well
known Bowyers Bible book series with Jim Hamm of Bois d' Arc Press.
He has taken a number of deer with his sinew backed bows obsidian tipped
arrows and dressed them out with obsidian knives. He also replicates various
Native American material culture items for museums and interpretive exhibits.
When he's not breaking rock, scraping on bows or wielding paint brushes he
periodically plays Celtic music and doodles with several kinds of bagpipes. Steve and
his wife make their home in central Oregon, a "rock rich" area for a western
knapper.

ISHI, FATHER OF NOTCHING

This years runners up: Second place: Ray Harwood, third place: Joe Dabill.

Nocthing Ishi points #6 [-]

Posts: 3
(05/04/10 9:34 AM)
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My Recent PostsMessage MeBlockingIgnore User's Posts A few helpful hints on narrow notching is that first you have to make the area of the point you're going to notch, very thin to begin with. That will solve a number of problems before you even start and is essential. You'll need that part of your point thin so you're not fighting any thickness which is highly helpful. I use a filed down very flat and thin welding rod tip with the end having not a point but a tiny flat area as if one flattened off the end of a wooden popsicle stick but at a slight angle instead of at a 90 degree. This flat and thin tip is tiny and miniature is size and looks something like a tiny screwdriver tip for eyeglasses screws only its at a slight angle if that makes sense. You can use a horse shoe nail, regular nail or any other piece of mild steel or iron like Ishi did. I used a 7 or even a 10 power jewelers hood when doing this (its really hard to see it!) and it took several attempts as its very hard to do. I made a very tiny micro notch to start with using the flat thin flaker that I gradually went into the edge of the point a ways. Then as I got the notch started an in a ways from the edge maybe a 11/16" or so, I inserted the flat tool into the notch from the side, gently set up a little platform, and carefully pressed off a little crescent shaped notch flake to expand the notch outward and into the point but not too big, because if that flake is too large it circles back and tears open your tiny narrow notch entry and wrecks it. One has to "micro narrow notch" a little ways into the point from the edge, and then start to take off larger flakes a bit more aggressively. After you get away from the edge it gets much safer and a bit less of a risk to break it. As you notch you have to set up your platforms to the next side you take your flakes off of. I pop off a flake, very gently crunch my way in a ways but build the platform to the opposite side and very gently scrape (grind) it with my flaking tool which is setting up the platform for the next flake on the other side. Then the process repeats if all goes well. What you don't want is to get your edge to thicken up too much in the mid line of the notch and then you can start to get "stuck" and spin your wheels in taking a flake off as your platform is too far from either side stuck in the middle and it starts to get too thick so your tool keeps slipping instead of taking off a flake. You can sometimes power through and pop off a large one but you can wreck it very easily at that point and will be heard quoting Homer Simpson with a loud "D'oh!"...or worse... In short, it takes lots of practice and I've seen a number of Ishi's old points at the Hearst Museum where he "messed up" and popped his notches out wider than he wanted or had planned. That's essentially it, its just meticulous mirco notching. Its not a deep dark secret nor rocket science, just very careful tiny flaking with lots of practice (and many failures) This is probably the tiniest notched point I've ever managed to make with the entries under 1 mm but I was pushing the envelope even for me and it took several tries as I messed up somebefore I was successful. When I notch this way I work on my knee on an old green chain leather apron and hold the tool straight down when I get to the 'insert it into the inner notch" stage if that makes sense. The tiniest mistake of twisting your tool wrong can mess you up if you aren't super careful. Practice on glass or obsidian flakes a lot, the more you do it the better you'll get at it. I'll try to post some pics I have if I can ever figure out how to attach them as this web site doesn't seem to allow to pull a saved jpeg off my computer to post.



Way too much here to write and elaborate on further in this short of a space. Good luck all!













Photos are as follows:

#004 Exact replicas of Ishi's soft iron flake tool lashed on wood handle and his smaller retouch or notch tool
#006 My fine flaking tools, welding rod and a horse shoe nail with end cut off and inserted in wood handle which is a favorite of Jim Hopper.
#008 Close up of how welding rod tips look. Upper one is for super thin entry notching
#015 Point made from white novaculite and Montana banded agate full of "pepper" spot swirls
#010 Close up of back lit Montana agate point. Entry notches are slightly less than 1mm. The blue glass Ishi point was less than that. The International Flintknappers ‘ Hall of Fame and Museum is encouraging individuals of all ages to “Be A Superior Example,” through a new education program as part of a new curriculum to promote healthy habits, while encouraging everyone to live free of drugs and other such substances or vices. It serves as the central point for the study of the history of flintknapping in the United States and beyond, displays flintknapping-related artifacts and exhibits, and honors those who have excelled in the craft, research/ writing, promoting events, and serving the knapping community in an ethical manner.

Halvor L. Skavlem, Flintknapping Hall of Fame Flintknapper # 12

Halvor L. Skavlem, was one of the first known white flintknappers in America, he belonged to a pioneer Norwegian family of Southern Wisconsin. At the turn of the last century Indians and artifacts were not uncommon in Halvor's neighborhood, in fact artifacts were numerous. Young Halvor had a very inquisitive mind. He began asking himself how the Indians made these stone tools and utensils.

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It was in the month of September, 1912, When Mr. Halvor L Skavlem was hunting stone arrow heads and artifacts in the cornfield behind his summer home at Lake Koshkonong. He had done this many times over the years, but on this particular occasion he began asking himself that old question: how were these flint implements made and resharpened. He located a chert cobble and struck it upon a piece of flint , hence discovering to himself the percussion method of flake removal. Halvor L. Skavlem's flint working experiments were published by the Logan Museum in Beloit, Wisconsin. The ideas were put into a text format by Halvor's pupil and portage, Alonzo W. Pond. Mr. Skavlem was still making arrowheads during this period and he was eighty-four years old. In June of 1923, an article called "The Arrow Maker" by Charles D. Stewart was published in the Atlantic Monthly. A flood of protest letters came in on the article. People who collected artifacts at the time did not want "the lost art" revived by Skavlem, for obvious reasons they did not want neofacts mixed in with the ancient collectibles. Mr. Skavlem visited some of the Chippewa Indians in Northern Wisconsin. The Chippewa had no flintknapping tradition left, so he got his gear together and gave a demo and showed them how it was done. At first Halvor picked up flint chips left over from Indian flint reduction sites and tried to chip them with bones. Later he found old cow bones and sharpened them down to a blunt point, he then got an old chopping -block from the wood pile and customized a lap top work bench. He put the bone on the edge of the flint and pressed down and the flint chipped off nicely. He turned the arrowhead over and did the same on the other side, giving it a toothed effect. Halvor made thousands of flint items in his lifetime; turtles, fish hooks, arrow heads, animals, ax heads, celts, and so on. He also was very much in deep thought while doing his flaking. Halvor understood the theories of the conchoidal fracture, Hertzian cone, lithic geology.-

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Halvor L. Skavlem, Flintknapping Hall of Fame Flintknapper The International Flintknappers ‘ Hall of Fame and Museum is encouraging individuals of all ages to “Be A Superior Example,” through a new education program as part of a new curriculum to promote healthy habits, while encouraging everyone to live free of drugs and other such substances or vices. It serves as the central point for the study of the history of flintknapping in the United States and beyond, displays flintknapping-related artifacts and exhibits, and honors those who have excelled in the craft, research/ writing, promoting events, and serving the knapping community in an ethical and wilderness loving manner.

BRYAN REINHARDT, FLINTKNAPPING HALL OF FAME FLINTKNAPPER; # 11

BRYAN RIENHARDT

gray Edward's Plateau chert Grey Ghosts (Lithic Casting Lab Photo)

The Gray Ghosts of Gustine (Harwood) . It was a warm day in Gustine, Texas, a small town in Comanche County. It was 1949 but in Gustine it could have been 1849, a town know for rodeo and cowboys, a town of only 584 acres and less than a person per acre. It was a quit, sunny, summer day . A slight breeze had come up as Bryan Reinhardt, a large, burly German, clean shaven, World War Two Vet with tattoos on his forearms, was polished up for the day and heading to town. Taking the trash out of the back porch on the way out, he tells his wife he'll be back in an hour or so. He checks his receipt and his wallet as he pulls his keys out of his pocket and climes into his truck. He pulled up in front of the hardware store in a nearby town, excited at what he knew would change his life. As he passed through the front door a tiny bell on the upper frame alerted the proprietor of his entrance. "I know what yer here fer Bryan, It's out back" They two men made small town small talk as they shuffled into to the poorly light musty back room. The proprietor pulled on a tied together string with frayed ends, a hanging light bulb with no shade brightened up the room. Recently swept wooded floor, slatted wooden shelves on either side. There, half cover in the shadow of the shelving resting on an old oak pallet, was a large cardboard box with the image of a lapidary saw. Bryan suppressed the excitement, he was not the kind to express emotion. "Yup, that's the One," said Bryan. The Clerk asked Bryan what he plans on doing with the saw and Bryan replies, `cuttin' some stone". The two men load the saw in the back of the pick up and off he went into the history of modern flintknapping lore. Bryan Reinhardt had developed a method of mass producing large flint spear points, none under nine inches long, (known by collectors as Gray Ghosts, for the color of the flint he used) with the use of a rock saw and complex lever flaker (fulcrum and lever). Reinhardt quarried and processed 100s of tons of gray Edward's Plateau chert. Armed with a crowbar, shovel and wooden creates Bryan would quarry material, drive it back to his home in Gustine, slab it and trim it on his lapidary saw. In the yard of his nicely kept middle class ranch house Reinhardt had an old fashioned trailer, with a wooden addition. In this trailer was his lapidary shop, the place where gray ghost blanks were cut and trimmed. Out behind the house, on the back 1/4 acre were several huge flint piles, a chest high pile of rejected slab cutoffs, a couple truck loads worth, a supply of raw flint, and a giant debitage pile of waste flakes, this testified to by Callahan. Several years later Charlie Shewey flew over that part of Texas in a plane he was piloting and confirmed the flint piles, they were plenty large enough to see from the air. Once he had the slabs cut and trimmed he would heat treat the material to the point that the flakes would remove with less effort but not enough to make them too brittle for the next stage of reduction. For the actual "flintknapping" stages, Bryan removed the first stage of conchoidal flakes, this was done with an elaborate jig set up. The jig was an elaborate set of holes and pins that allowed Bryan to apply fulcrum and lever pressure at any angle and from any direction to any size or shape piece of flint. The edging was done with micro-lever and shearing techniques. This gave the early Gray Ghosts their characteristic steep margin double bevels. Eventually Bryan had several saws buzzing and once, and piles of waste flakes accumulated daily, hence the massive debitage dumps. . His production was so successful he sold his flint work by the gross. Bryan began making good money, in the 1960s he was getting paid 25 cents an inch. According to Dr. John Whittaker (1999) , archaeologist and flintknapping historian, " the lore among Texas knappers is that Reinhardt only sold in orders of 10,000 inches, (to dealers) at a dollar per inch, and demanded payment in gold coins." Ads could be seen in the classified sections of lapidary journals, and The Farmer's Almanac for "ceremonial spear points" and most gift shops along Route 66 were fat with them. It is estimated that Bryan Reinhardt produced nearly one hundred thousand Gray Ghosts from 1950 to 1982. There is a Gray Ghost in nearly every collection of lithic art in the World. Charlie Shewey, world renowned arrowhead collector, collected dozens of Gray Ghosts, and even befriended Bryan Reinhardt and purchased his best work. In the Shewey collection is one Gray Ghost point over 23 inches long. Bryan Reinhardt had been a loner up through the 1960s, until he met three other knappers that had sought him out. It was the late 1960s when Errett Callahan, (a young graduate student from Virginia at the time) J.B. Sollberger (the father of Texas flintknapping), and Norman Jefferson (then a student of Callahan) ventured into Gustine to meet Reinhardt. At first Reinhardt denied being a flintknapper, and told the three men that he was simple a rock collector. The three wise men went into Reinhardt's living room and he was quit pleasant. On the walls in his home Reinhardt had dozens of magazine photos, each with images of artifacts, the articles claimed the items were authentic, but Reinhardt's, after finely admitting he was a knapper, insisted he had made them all. Even though he admitted that he was a knapper he never divulged his methodologies. Reinhardt had moved, and his old house was down street and around the block, Callahan and Sollberger, went and explored Reinhardt's previous dwelling and found massive amounts of debitage there. Sollberger, having experimented with fulcrum and lever methods, new immediately upon inspecting the debitage how the Gray Ghosts had been made, fulcrum and lever. Slab cut-offs were a dead giveaway as to lap-knapping (Callahan 2000). Callahan and Sollberger were very interested in Reinhardt's knapping as they could relate it to possible applications into prehistoric knapping technologies. Also, Reinhardt took an interest in the knapping styles of Sollberger and Callahan and after there acquaintance Reinhardt's knapping products had a more traditional look. True Gray Ghost collectors can see 3 distinct phases of Reinhardt's work: 1. His early years are very angular. 2. After meeting Sollberger and Callahan, a more traditional look. 3. After meeting two later knappers, Nelson and Warren, a more patterned and eccentric phase. Callahan and Sollberger met with Reinhardt off and on for several years and kept in touch by mail. Then Reinhardt, perhaps in fear of being arrested, became reclusive to the point of chasing Sollberger and Callahan off with a shot gun. The two men waited around and on Sunday morning Reinhardt went off to church, while he was gone the two men got a good look around the Reinhardt place, this when the first site of the "new home" debitage and cut off plies. Callahan was even able to secure some photos of this (Callahan 2000). On an earlier visit Callahan was out in the front yard with Reinhardt and the sheriff pulled up in his jeep, Callahan was sure that this was the end for the Gray Ghost, when the officer opened the tail gate and dumped a load of flint in Reinhardt's front yard. "Those German's stuck together" said Callahan of the occurrence. Callahan and Sollberger had traveled 142.7 miles from Dallas to Gustine several times, but this was the last trip. A few years later Callahan received a Christmas card from Reinhardt stating he had been reborn, and he was sorry for his behavior, Callahan phoned Reinhardt and told him he never understood why he did that, Callahan had been Reinhardt's only advocate. In the mid to late 1970s Bryan befriended two other "lapidary- flintknappers", Larry Nelson of Ironton, Missouri and Richard Warren of Llano, Texas. Warren, was inspired by Reinhardt, and later would produce a great many Gray Ghost type points himself. Warren's Ghosts were of black novaculite. According to Charlie Shewey, Warren's father-in-law was a wet stone miner and was able to provide him with perfect slabs for knapping. Warren learned the basics of knapping years earlier by Larry Nelson, a world class traditional knapper whom had a graduate degree in engineering from the University of Denver. 0rginally Warren would make the blanks and Nelson would finish them, much like a micro-factory or cottage industry, similar to what is speculated to have transpired by prehistoric Danish Dagger knappers. Warren was latter known as the founder of "teliolithics" or art knapping. Art knapping involves not only slabbing the flint and heating, as Reinhardt did, but taking the next step of power diamond grinding the shape and contour of the point. The only thing left to do is a final series of pattern flakes. Warren, an ex -Navy man, was going to be a doctor like his brother but dropped out in his final year to pursue knapping (Shewey 1999). According to Dr. John Whittaker (1999) Jim Hopper, who was largely responsible for spreading "lap-knapping" (short for lapidary knapping) among the early Fort Osage knappers, Hopper was inspired by Richard Warren. Warren also inspired two traditional Virginian knappers; Errett Callahan (considered the father of modern stone knife making) and Scott Silsby whom were responsible for the popularity of early pattern flaked knifes, they were the first to perfect the Warren style on hafted blades. Jack Cresson a traditional knapper from Moorestown, New Jersey credits Silsby for spreading art- knapping through the eastern United States, and notes that Silsby refereed to lap-knapping as "cheat and chip". But Callahan's Piltdown Productions catalog gave pattern flaked knives a world wide exposure. Callahan went on to show that pattern flaked knives could be accomplished without modern tools and later began a traditional knapping movement. While Silsby and Callahan turned Warren style points into knives, a southern knapper was fluting the Warren style points. Steve Behrnes, an acquaintance of J.B. Sollberger, from Baton Rouge, Louisiana had created a steel jig that could flute the wafer thin Warrens without breaking them. Steve eaked out a fair living knapping at his old style Cajun home. Jim Hopper, Steve Behrnes and Richard Warren met at Warren's place in 1992, within two weeks of the meeting Warren reportedly shot himself to death, however there were rumors that he moved to a ranch his wife inherited in Calgary, Canada. A few rumors of Warren and his wife sightings in Winnipeg have also been noted (Did they see Elvis there too?). According to John Whittaker, he met a man named Charles McGee, McGee had an "arrowhead making jig", McGee told John that before W.W.II McGee had been friends with another lever jig knapper, it turned out to be Bryan Rhinehardt. The Jig is quite elaborate and has a hinged lever and movable holding pins. It is obvious a lot of thinking went into these machines. Robert Blue of Studio City, California was inspired by a collection of Reinhardt's points , Reinhardt had been long dead but Blue did find fellow Gray Ghost collector, Charlie Shewey in Missouri. Robert offered to buy all of Shewey's Gray Ghosts and Richard Warren points and that money was no object. Charlie refused Blue's offer, but directed Robert to Richard Warren. After Robert bought a fair number of points, Warren shared some of his secrets with Robert Blue and introduced him to Jim Hopper, whom Warren had taught. Jim Hopper and Robert Blue became good friends and Robert became very good at art knapping. Barney DeSimone, couched Robert through his early years of knapping. Later Robert inspired Barney to return somewhat to lapidary knapping. It was Robert Blue that taught Ray Harwood to knap in the lever style of Reinhardt, Ray produced dozens of "Raynish Daggers" with the lever flaker. The Raynish Daggers were simply slab points in the form of 10 inch Danish Daggers ("2-D daggers" -not 3 dimensional). These were what Callahan called the ugliest Danish Daggers he had ever seen. After Robert's death and some prompting from DeSimone and Callahan, Harwood returned to traditional flintknapping. One interesting bit of knapping lore I overheard at a knap in goes like this:" Steve Behenes had invented this steel fluting jig that could flute supper this preforms. Steve was close to Robert Blue at the time and he sent Robert a thin Folsom and the detatched flutes, Robery returned the detached flute -and he had fluted them ! Knapper, Billy Joe Sheldon a slab knapper from Folsom, New Mexico has produced a video on the lapidary method of flintknapping and he is really good. Many California knappers that I know have adapted his methods. Sheldon's methods intail using the Ishi stick as a lever on one's leg and slab knapping on a bench. Back in the 1970s Reinhardt, Warren and Nelson shared ideas and Bryan's work showed some change, some fancy pieces and a bit more of a traditional looking work product. But even then when a man commented to Bryan that his work did not look like "Indian points" , Bryan Replied; " I'm note trying to make Indian points, I make Reinhardt points!" It was true, Bryan, in inventing and producing the Edward's Plateau Gray Ghosts had not only invented a new point type and a new craft style, he would change the face of flintknapping forever. Bryan Reinhardt passed away in 1982 from either emphysema or cancer, but the legendary flintworker of Gustine and his Gray Ghosts will live on forever. The International Flintknappers ‘ Hall of Fame and Museum is encouraging individuals of all ages to “Be A Superior Example,” through a new education program as part of a new curriculum to promote healthy habits, while encouraging everyone to live free of drugs and other such substances or vices. It serves as the central point for the study of the history of flintknapping in the United States and beyond, displays flintknapping-related artifacts and exhibits, and honors those who have excelled in the craft, research/ writing, promoting events, and serving the knapping community in an ethical and wilderness loving manner.

Craig Ratzat, Flintknapping Hall Of Fame Filintknapper # 10

"Neolithics is a company that deals with top of the line customers from all over the world. We have participated in the research of obsidian for surgical scalpels to being featured in prestigious museums and galleries. Along with numberous awards for excellence, artisan Craig Ratzat has established a place in the flintknappers's "Hall of Fame". His fascination with this art form has spanned a period of approximately forty years.

 

It all began at the age of six when finding an arrowhead in his parent's garden. It was the start of a long journey that took him from terrorizing his sisters with makeshift bow and arrow to working with some of the best teachers of flint knapping available. Craig is now one of those teachers himself. He has produced two very successful DVD's and teaches workshops throughout the year."

The International Flintknappers ‘ Hall of Fame and Museum is encouraging individuals of all ages to “Be A Superior Example,” through a new education program as part of a new curriculum to promote healthy habits, while encouraging everyone to live free of drugs and other such substances or vices. It serves as the central point for the study of the history of flintknapping in the United States and beyond, displays flintknapping-related artifacts and exhibits, and honors those who have excelled in the craft, research/ writing, promoting events, and serving the knapping community in an ethical and wilderness loving manner.

Dr. Luis Leaky, Flintknapping Hall Of Fame Flintknapper # 9

LEAKY- AFRICA: For many of my generation, it was the fabulous National Geographic specials that forged out interest in archaeology and flintknapping. It was a large gray haired man with a South African acfcent and a Britsh Leland Land Rover. It was Dr. Luis Leaky. Dr Leaky was born near Nairobi, Kenya. His parents were missionaries there in Kenya and young Louis grew up along side children of the Kkuyu tribe. He learned early the knowledge of primative skills, including flint working. Dr. Leakey went to cambridge University, majoring in Anthropology. Leaky landed a job on an international archaeological mission to Tanzia as soon as he graduated. Luis Married Mary in 1936. During WWII Leaky was a spy. It was 1949 when Leaky discovered the first Proconsul skull, a missing link. Dr. Leaky did many television specials for National Geographic and often incruded flintknapping and use of the stine tools. Dr. Luis Leaky died at age 69 of a heart attack. Ray Harwood (Flintknapping Digest 1984)

Antiquity Vol 82 Issue 318 December 2008 Louis Leakey: man and myth Julie Lawrence Louis Leakey in the early 1950s. Photograph courtesy of Meave Leakey.Louis Leakey's pioneering life is wrapped in folklore. His astonishing success in finding major fossils demonstrating human evolution was attributed to 'Leakey's Luck'. His wife, Mary Leakey, is often regarded as the talented excavator of the partnership, a view mentioned in many of my interviews with archaeologists. However, attributing Louis�s achievements to good fortune and implying that Mary was the only talented excavator undermines the true intelligence and real determination that drove Louis Leakey�s own career. Unpublished field reports, personal correspondence and official records held at St John�s College Archives and at the Museum of Archaeology and Anthropology in Cambridge tell us that, as a young man, Leakey was greatly valued for his hard-won, pragmatic, field expertise and skill. The fact that, in his later collaborative work with Mary, he took the role of fund-raiser and public figure has overshadowed his own earlier proven ability as an archaeologist. As an undergraduate, in 1924, Louis Leakey took a year away from his studies for health reasons. Because of his intimate knowledge of the environment, people and language of East Africa, he was chosen to participate in an expedition with the British Museum of Natural History. Reports by Jack Driberg and Wynfrid Duckworth, held at St John�s College, acknowledge the advantages that Leakey�s previous knowledge and childhood association with East Africa gave to his anthropological work. The leader of the expedition, William Cutler, left the responsibility of practical arrangements, such as securing the water supply and camp equipment, to Leakey. Cutler noted in his diary, 'Leakey very low with malaria, temperature 104; Leakey still has malarial symptoms . . . but he superintended ditches 4, 5 and 6 all day' (Cutler as quoted in Morell 1995: 31). While Leakey benefited from the experience of running an expedition, Cutler was fortunate to have his practical awareness of the provisions needed in Africa as well as Leakey�s ability to endure arduous conditions while working productively. In 1926, at the age of 22, Leakey embarked as leader of his own East African Archaeological Expedition. Field reports and correspondence sent to the Museum of Archaeology and Anthropology reveal that Leakey was a capable excavator, field worker, organiser and fund-raiser. This was in part due to the initiative he took to teach himself, acting upon his interests and investigating allied subjects such as geology. From the very beginning, he also demonstrated an impressive knowledge of lithic typology and technology. For example, in his November 1928 field report, Leakey analysed the assemblages from six different sites to address the then topical idea of migration of races and their associated industries. And, in three months of 1929 alone, he sent a total of 148 cases of specimens home to England. In the St John�s College Referees' report on Leakey�s Fellowship dissertation in 1928, Haddon wrote a glowing report describing Leakey as 'an efficient field geologist, a well-trained archaeologist, well able to tackle a problem in technology, and, unexpectedly, he has shown that he is a competent craniologist'. On the basis of his first two East African Archaeological Expeditions, Leakey was one of the first in Britain to be awarded the newly instituted PhD degree. Before 1935, he successfully led another two expeditions. On the fourth expedition, Leakey invited the established geologist Percy Boswell to inspect sites at Kanam and Kanjera where he had found fossils that were exciting scientific interest in Europe. Unfortunately, due to circumstances that were largely out of Leakey�s control, Boswell returned with a negative report. He published a damning article in Nature regarding the accuracy of Leakey�s archaeological methods (Boswell 1935). Boswell�s influence tainted Leakey�s reputation as an archaeologist for years afterwards. This may be the origin of the myth that Leakey was a careless excavator. However, Boswell did not work in the vast, uncharted landscape of East Africa where it was extremely difficult to distinguish and to mark securely a specific spot. Further consideration of the conditions surrounding this incident suggest that Leakey may have been judged unfairly. It would seem that previous biographical work and commonly-held views do not reflect the complexity and quality of Leakey�s character and abilities. Leakey�s skill as a young archaeologist has not been fully recognised. The usual perception of a man who was not patient or meticulous enough to be a dedicated, detailed excavator is undeserved. Leakey took on immense research projects early in his career and saw them to fruition. The folklore surrounding Leakey's life fails to portray the more enlightening reality. References BOSWELL, P.G.H. 1935. Human remains from Kanam and Kanjera, Kenya Colony. Nature 135: 371. LAWRENCE, J. 2008. Louis Leakey at Cambridge and beyond: 1925–1935. Unpublished MPhil thesis, LCHES, University of Cambridge. MORELL, V. 1995. Ancestral passions: the Leakey family and the quest for humankind�s beginnings. New York: Simon & Schuster. Authors Julie Lawrence History of Archaeology Research Network, University of Cambridge, Downing Street, Cambridge The International Flintknappers ‘ Hall of Fame and Museum is encouraging individuals of all ages to “Be A Superior Example,” through a new education program as part of a new curriculum to promote healthy habits, while encouraging everyone to live free of drugs and other such substances or vices. It serves as the central point for the study of the history of flintknapping in the United States and beyond, displays flintknapping-related artifacts and exhibits, and honors those who have excelled in the craft, research/ writing, promoting events, and serving the knapping community in an ethical and wilderness loving manner.

EMORY COONS, FLINTKNAPPING HALL OF FAME FLINTKNAPPER # 8

div> Emory Coons; Big Blade Maker : By Ray Harwood

Emory trade mark eagle.



Emory, the young prodigy.
"I told that kid to leave my rocks alone, he would cut himself, he was 5 years old - DARN KID IS STILL BRAKING MY ROCKS!" - DAD



"As of late many knappers are creating ever larger
pieces of lithic art in the form of huge bifaces.
Emery Coons reportedly percussion bifaced a 50 inch
preform and managed a 40 inch finished neofact. I
wrote the Coon's family and requested information and
a photo by received no response.
At the California knap in this year, large the key
word.
Many from other states, such as Coons in Oregon, are
also thinking large and obsidian suppliers are selling
more mega slabs than ever.
Named the Orcutt syndrome after an old time knapper
named Ted Orcutt, whom was known for his massive
biface work. More later..." Ray Harwood Aug. 30. 2000







Emory's work. 2


Emory's work. 3


Emory 4


Two of my first flintknapping buddies were Jim Winn and Barney DeSimone. During the old days they starting going up to Glass Buttes and they would tell me stories of the great biface knappers they had up there. One such knapper was really good at the giant blades and he was just a kid.

His name is Emory Coons and he is one of the few big blade makers in the world. His biggest to date is 41 inches finished (mud sedimentary) and he has a 47 inch (world record) pumpkin blade in the shop waiting to be finished. Emory keeps his blades thicker than Cole’s because he transports them to a lot of shows. He sometimes makes them thinner or even pressure flaked. He has been chipping large blades since the 1990's and most have been 20 to 36 inches. If you are interested in purchasing a large blade he is only limited to what pops out of the ground for color and length. Most large blades are out of silver sheen obsidian, pumpkin or red are harder to find and several out of dacite it's a steel grey color. But you never know what color the next large chunk will be.



Above photo is a 42 inch flake. The 18 lbs billet (The billet he got from Dan Stuber) is sitting above the pit, he used this to strike the rock and remove the monster spall.



One of my favorite stories is when Emory traded a 21 and a 31 inch blade for a Winchester riffle with Leopold scope. To make these giant blades Emory Coons digs a ditch and makes sure there are no rocks left in there that can cause vibration. The 30 lbs billet to the rock then as it gets smaller the 18 lbs billet then the 9 lbs, then, use a 1 inch solid or copper cap to build a lot of platforms to take massive flakes. The first stages involves alternate flaking, driving massive spalls off with a 9 pound copper Billet. For finer work he uses a 2 and a half inch copper bopper to reduce end shock. Barney DeSimone introduced Emory to copper billet technology when Emory was 16 years old and Steve Allely taught his copper platform preparation and use. Brian James was a big influence on horn platforms. Emory was introduced to flintknapping by his father, another great knapper, at the age of five years. Emory met Jim Winn a few years back and Jim began making large blades as well.

Emory makes three to four giant blades a year, this since he was 18 he is now 38. which is about 54 mega-blades to date. Emory is so good at spalling that people nearly kidnap him to reduce giant boulders. He is getting a 43 pound billet and the late Rick Woodram left him a 6 foot drag saw, so who knows what monsters may emerge.

Emory 10, blades




Emory 11. dacite blade



Emory 8. knapping






Emory 9. Face off





Emory 12. dacite blade





Emory 13. blade




Emory with Jim Winn 14



Emory 15



Emory 7 A News Paper

Emory 7 B News Paper

Emory 6, NewsPaper.



Emory 5, in News Paper.


BIO:
Emory Coons was born in Burns Oregon in 1971 and started flintknapping at the age of five, 33 years ago. He has resided in Burns most of his life and attended Burns Union High School winning awards in the crafts department for jewlery two different years. He has been perfecting his skills as a artist ever since, flintknapping, silversmith, lapidary and teaching his craft to others. He has been on OPB on The Caveman at Glass Buttes and Channel 2 News Boise Idaho about the Nyssa rock and gem show multiple times. Several news paper articles have been written on his art from gem and mineral shows he has attended in Nyssa Oregon, Burns Oregon, Madras Oregon, The Dalles Oregon, Pendleton Oregon, Mission Oregon, Salem Oregon and the Oregonian in Portland Oregon and Golden Dale Washington. The Pendleton Mission papers had a mention for round-up as well as the blades he chipped were built into the Umatilla Veterans’ Memorial. He has taught classes in flintknapping at Indian Lake for the Umatilla tribe four years also the wild horse atl-atl demonstration as well as Pipestone Creek Alberta Canada and in Medicine Hat British Colombia Canada for the Jr. Forest Wardens, at Northern Lights out of Slocan Canada twice, also demonstrated flintknapping along the Oregon Wagon Train in 1993, Baker interruptive center, and Windows to the Past for the BLM and Forest Service. Then there's knapp-ins (arrowhead makers conventions) at Glass Buttes Oregon, Ed Thomas Golden Dale Washington knap-in, Richardson’s rock ranch knap-in and the Brad Boughman- Jim Hopper Knapp-in on the upper North Umqua some of the worlds best knappers come to these events to show there skills and teach. Emory attends gem and mineral shows like the Confederated show in Onterio, Nyssa Thunder Egg Days, Prineville Oregon, Hines Oregon Obsidian Days show his father started and the Madras, Oregon gem and mineral show. At these shows he can find most of the exotic materials from other countries, like fire opal from Australia, Brazilian agate, Condor agate from Central America, or crystals, Idaho star garnets and other gems to make arrowheads or jewlery out of. The Fire Obsidian is one of his favorites to find and work. His work can be seen at Boise University (display), Omsi (display), Great Basin Art in Prairie City, Oards 'War Hawk'(tomahawk heads assembled by Great Basin Art), The Edge Company magazine (War Hawks), or some of the local Burns stores. Most of his work has been sought after by private collectors and as gifts. His friend in The Dalles, Jason Hinkle, has oregonthundreggs.com and has put a web page up for Coons Lapidary with pictures and contact information for the selling of his art.

Notes:
Progression of age pictures are numbers 1,13,10,8,4,9,14,15,11,12,oldest to now, the eagle was made 3 days ago, the first picture, at the top of the article, knapped inbetween snow storms.

11 is silver scheen obsidian, the one pictured with Jim Winn is dacite and
picture 15 is the mud sedamentry.





Emory Coon's axes and Danish Daggers(above).'War Hawk'(tomahawk heads assembled by Great Basin Art)

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BALLAD OF EMORY COONS

By Hank Ray

I once new a man named Emory Coons
He lived out in the woods just like- Daniel Boone.
He knew how to live out off the land
Just like Ted Orcutt and Ishi the Indian man.

Emory made giant blades out of obsidian and flint
He stayed out at Glass Buttes in a canvas tent.
He learned how to knap when he was very young
even Errett Callahan couldn't believe what he done.


I once new a man named Emory Coons
He lived out in the woods just like- Daniel Boone.
He knew how to live out off the land
Just like Ted Orcutt and Ishi the Indian man.

Kenny hull a friend of his is a producer and asked him if he knew any big blade makers being he is Emory's x brother-in-law and he taught him how to chip it was nice so Kenny sent him the idea and he chipped the one they wanted and guess Vin Diesel said nope it wouldn't do that one was going on his own personal wall so Emory had to make 2, he only could muster $400.00 each out of Kenny. A 24 incher in movie a 26 incher for Vin's wall. Vin Diesel (born Mark Sinclair Vincent; July 18, 1967) is an American actor, writer, director, and producer. He came to prominence in the late 1990s and became best known for appearing in several successful Hollywood films such as Saving Private Ryan (1999), Pitch Black (2000), The Fast and the Furious (2001), xXx (2002), The Chronicles of Riddick (2004), Fast & Furious (2009), and Fast Five (2011). He is also the founder of the production companies One Race Films, Tigon Studios, and Racetrack Records.


http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=54296085 I had some problems playing this video. If you pree the YOUTUBE emblem the video does play.

The International Flintknappers ‘ Hall of Fame and Museum is encouraging individuals of all ages to “Be A Superior Example,” through a new education program as part of a new curriculum to promote healthy habits, while encouraging everyone to live free of drugs and other such substances or vices. It serves as the central point for the study of the history of flintknapping in the United States and beyond, displays flintknapping-related artifacts and exhibits, and honors those who have excelled in the craft, research/ writing, promoting events, and serving the knapping community in an ethical and wilderness loving manner.