DEERFIELD, MASS. – Seventy-five authentic American powder horns created between 1747 and 1781 are joining the world-class collection of Americana at Historic Deerfield, a museum of New England history and art located in Deerfield. The finest assemblage of this indigenous and unique colonial American art form, the William H. Guthman Collection of Powder Horns will greatly expand Historic Deerfield’s holdings of artifacts relating to the French and Indian Wars and the American Revolution. The Guthman collection will go on display on April 1 at the Flynt Center of Early New England Life in Deerfield.

Given the rarity and market value of handcrafted powder horns, the encyclopedic scope of this collection would be nearly impossible for any one individual or institution to reconstitute today. Originally slated for sale by auction, the collection has now been offered to Historic Deerfield as a partial gift by William H. Guthman and his wife, Elizabeth Stillinger, to prevent its dispersal.

“The powder horns are inspirational both as great historical material and as an indigenous art form in colonial America,” says Philip Zea, Historic Deerfield’s president. “The horns substantially complement Historic Deerfield’s existing collection of artifacts related to the French and Indian Wars and the American Revolution.”

“I chose Historic Deerfield because it is one of the few museums in America that can feature on site the cultural history of the French and Indian Wars,” says Bill Guthman, noted collector and principal of Guthman Americana, a leading antiques dealer in military artifacts. “Deerfield also needs a seminal collection, like these powder horns, to better tell the story about everyday life in the formative years of this country.”

“Although acquisition of the collection represents a significant fundraising challenge for Historic Deerfield over several years, even with Bill Guthman’s generous gift,” says Philip Zea, “we feel that the unique illustrations that the powder horns provide to understanding the causes and concerns of rank and file soldiers when the country was founded is a totally worthwhile commitment for the museum and one that the American public will benefit from for some time to come.”

The majority of carved powder horns were produced from 1746 to 1780 along the frontier of northern New England, Upper New York State, the eastern Great Lakes and Canada. During this time colonists were enlisted by the European powers to fight in a series of conflicts, now known collectively as the French and Indian Wars. Most of the colonists could not afford to own a cartridge box like the English and French soldiers, so they relied on hollow cow horns to carry their gunpowder.

Each powder horn offers a wealth of documentary information. Most obvious to the casual observer is the name of the owner, usually the date and/or location of fabrication, and rarely the name or initials of the carver. The horn of John Mills inscribed “John Mills / his horn made at Crown Point / November the 4 1760 / J G” is a typical example. The initials “J G” are attributed to a carver named Jacob Gay who worked from 1758 to 1787 and is one of the few carvers who worked during both the French and Indian War and the Revolution.

A highlight of the Guthman collection is the horn of Israel Putnam. His horn, created almost 20 years before that famous fight, not only identifies him as a captain in the famous Roberts’ Rangers along with the location and date but also includes “a plan of the Stations / From Albony to / Lake George / The River, The Road.” The inclusion of a map and/or architectural drawings of forts and other detail are a rare feature that firmly places these horns in context.

Carved powder horns are an art form that is unmistakably identifiable. Research by Guthman shows that were created by highly talented craftsmen who can be identified through their distinct styles of intaglio calligraphy and design. Amazingly, these intricate designs and verses were all carved onto the round, curved surface of horns – no two of which are exactly alike.

One of the most beautifully decorated horns is that of William Williams, and one that also offers a personal connection to Deerfield. Williams served as surgeon’s mate during the 1755 Lake George campaign under his uncle, Dr Thomas Williams, who practiced medicine in Deerfield. Thomas Williams also had a powder horn carved at the same time, but it is known only through drawings.

Even more visually striking is the horn of Edward Sherburne carved by Jacob Gay in 1776. Pigment shading helps the bold block letters of the name and border stand out immediately. Upon closer examination viewers are treated to a veritable menagerie of animals rendered in stunning detail. The real gem, though, is a detailed replica of the coat-of-arms of England with lion and unicorn flanking the words “Success to.” But below, instead of the name of the King, the word “Liberty” completes the phrase – a clever and elaborate jab at the British whom Sherburne fought. He died at the Battle of Germantown, near Philadelphia, on October 4, 1777.

“This is the largest single acquisition of important artifacts by Historic Deerfield in over 50 years,” adds Philip Zea. “It renews our commitment to secure significant, documented objects of national importance and exhibit them for the American public.”

In conjunction with the exhibit of the William H. Guthman Collection of American Powder Horns at the Flynt Center of Early American Life, a symposium on the subject of American powder horns will be offered in Deerfield on November 10 and 11, 2006.

Historic Deerfield is a nationally recognized museum offering tours of 13 period houses and the Flynt Center of Early New England Life, which now features the exhibitions “Embroidered History – Stitched Lives: Samplers & Needlework from the Historic Deerfield Collection, 1670-1830” and “The Canton Connection: Art and Commerce of the China Trade, 1784-1860.” Historic Deerfield also offers dining and lodging at the Nineteenth Century Deerfield Inn, and shopping at the Museum Store. Visit online at .

The William Williams horn was carved at Lake George, N.Y., circa September 1755. Inscribed “William Williams.” Dimensions: Overall length 16 inches; width of plug, 31/4 inches. Attribution: John Bush (worked 1755-1756).

The William Williams horn was carved at Lake George, N.Y.,circa September 1755. Inscribed “William Williams.” Dimensions:Overall length 16 inches; width of plug, 31/4 inches. Attribution:John Bush (worked 1755-1756).

The horn of William Williams, Jr (died 1760) is one of the most elaborately decorated in the collection, and one that offers a personal connection to Deerfield. Williams served as surgeon’s mate during the 1755 Lake George campaign under his uncle, Dr Thomas Williams, who practiced medicine in Deerfield. Thomas Williams also had a powder horn carved at the same time, but it is known only through drawings.

William Williams’ horn belongs to the Lake George School, agrouping of horns that range in date from 1755 to the mid-1760s.The talented John Bush carved the horn at the beginning of hiscareer.

According to Guthman, John Bush was an obscure African American farmer from Shrewsbury, Mass., who is regarded as one of the founders of this entire tradition in American folk art. Trained as a clerk, Bush’s calligraphic styles, formats and decoration are the basis for the Lake George School of the 1750s. After two campaigns, he was captured in 1757 and never heard from again.

The calligraphy and format of the William Williams horn are of very high quality. Like all Bush horns, it has highly stylized capital letters. Each of the letters on this horn has two C-scrolls, except for the “M” in Williams and the “s.” The latter was squeezed in at the end. The decoration and borders include featherlike shells and flowers, as well as zigzag and other geometrical devices. These are used to surround and separate the words of the inscription.

Other decorative images on the William Williams horn include a death’s-head angel, an Indian head facing the British flag and a fish inside a cartouche. The death’s-head angel is a symbol often found on gravestones of the period.

The horn’s rounded pine plug still retains its original red paint. Three wooden pegs and the prongs of an iron staple hold it on.

The John Mills horn is inscribed John Mills/his horn made at Crown Point / November the 4 1760 / J.G. Dimensions: Overall length 14 inches, width of plug 3 ¼ inches. Attribution: Signed by John Gay (worked 1758-1787).

The John Mills horn is inscribed: John Mills / his horn made at Crown Point / November the 4 1760 / J G. Dimensions: Overall length 14 inches, width of plug: 31/4 inches. Attribution: Signed by John Gay (worked 1758-1787).

One of Bill Guthman’s favorites, the John Mills horn is a visually stunning example of this art form created by one of its most prolific carvers, John Gay. Every detail is of the highest quality.

John Mills’ horn belongs to the Lake George School, a grouping of horns that range in date from 1755 to the mid-1760s. It was carved by John Gay (sometimes spelled Gauy or Guay), one of the most prolific carvers, at the beginning of his career, which spanned almost 30 years. Gay is one of the few documented horn carvers who worked during both the French and Indian Wars and the American Revolution. He is known for his beautifully carved animals with curled snouts, the facial expressions of his animals and soldiers and the jaunty posture of his figures.

The calligraphy of the name on this horn incorporates all of Gay’s decorative techniques. From the guidelines for the lettering to the lowercase script of the location and date – every element has some form of embellishment applied to it. Highlights include the strong contrast of the shaded letters and the amusing faces placed in the center of the “O” and above the crossbar of the “M.”

The other major visual element on the John Mills horn is the hunting scene. It depicts a hunter and two engraved deer, with what appears to be a dog running toward the deer. Just below the two deer are the initials of the carver “J G.” On the inside of the “G” is a man’s profile.

Four wooden pegs hold on the horn’s pine plug. Evidence suggests that a carrying strap was secured through two holes at the butt end.

This horn was carved at Fort William Henry, New York, November 10, 1756. It is inscribed: When bows and weighty Spears were us’d in Fight / Twere nervous Limbs Declr’d a man of might / But now Gun powder Scorns Such Strength to own / and heros not by Limbs but Souls are shown W A R / Capt Israel putnam’s Horn made at / Fort Wm Henry Nov, the 10th, AD: 1756 / A plan of the Stations / From albony to / Lake George / The River, The Road. Dimensions: Overall length 19 ¼ inches, width of plug: 3 ¼ inches. Attributions: John Bush (worked 1755-1756)

A highlight of the Guthman Collection is the horn of IsraelPutnam (1718-1790), a legendary hero of Colonial American history.He commanded the Connecticut troops at the battle of Bunker Hilland was memorialized, at the far left, in the famous painting ofthe battle by John Trumbull.

The horn, created some 19 years before Bunker Hill, speaks of Putnam’s earlier claim to fame for heroism and leadership during the French and Indian War. He fought with Rogers Rangers as a captain and was captured and taken to Canada where he was imprisoned for three months before being exchanged.

His horn is attributed to John Bush, who according to Bill Guthman, was otherwise an obscure African American farmer from Shrewsbury, Mass., who is regarded as one of the founders of this entire tradition of American folk art. Trained as a clerk, he served in two military campaigns before his capture in 1757. Bush was never heard from again, but his calligraphic styles, formats and decoration are the basis for the Lake George School of carving. The calligraphy and format of the Israel Putnam horn are typical of this period and the artist. This includes the four-line rhyme, floral designs and dark zigzag accents of the lettering in the word “W A R,” which are similar to those on other Bush horns.

But it is the “plan of stations from albony to Lake George”that really makes this horn stand out. Included are detaileddiagrams of two forts – probably Fort Edward and Fort WilliamHenry. Both plans are more than two inches square. They arearranged along a rod with five other blockhouses, as is the courseof “The River.” The rich detailing includes the British flag flyingover each fort, as well as directionals indicating the points ofthe compass on the two large forts.

Several other artifacts belonging to Israel Putnam are also part of the Guthman collection, including his signed bullet mold.