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One horn from this period belonged to Jonathan Gardener, who
served in the Massachusetts militia and was present in Roxbury and
Dorchester Heights in 1776. He had his horn carved and inscribed
with his name, date, and the patriotic slogan “Liberty & Property or
Death.” Images included fourteen soldiers marching single file—some
carrying weapons, others a fife and drum—and, on the opposite side,
two ships with tall masts. The leftover space is filled with geometric and
whimsical designs of animals, human faces, and compasses.
After 1777, the Continental Army, led by George Washington,
equipped more troops with cartridge boxes, a far more efficient method
of supplying and loading gunpowder. As a result, fewer soldiers carried
powder horns, and the art of engraving them began to wane. Those
carved after the Revolutionary War were created to serve as mementos
of a conflict or, in some cases, were fabricated to establish credentials as
a veteran. In the early 19th century, one might even use a decorated
powder horn to falsify their patriotic lineage.
Military powder horns became obsolete with the standardization of
the percussion lock system in firearms in the early 1800s, replacing the
William Williams Jr. older flintlock mechanism. Similarly, as gunpowder came to be stored
Powder Horn attributed in self-contained metallic cartridges, there was no longer a need to carry
to the carver John Bush. the black powder in a personalized vessel. While still used occasionally
Historic Deerfield, for hunting, these former military objects and their associated artistic
2005.20.6
tradition ended at the dawn of modern warfare.

Colonial Revival and Collecting Interest

Bush’s decorated powder horns laid the groundwork for what’s By the late 19th century, the revival of interest in America’s colonial
now regarded as the Lake George School. His calligraphic style and history resulted in decorated powder horns becoming a popular
decorative devices were copied by other artists in the camps, including collector’s item. Credit must be given to the antiquarian Rufus
the Selkrig-Page Carver, the J.W. Carver, and the Memento Mori Alexander Grider, who made hundreds of illustrations of decorated
Carver. In 1757, Bush was captured during the surrender of Fort horns during his excursions through the Mohawk Valley between
William Henry, likely by Native allies to the French. Despite his 1886-1900. These drawings, published and circulated widely,
family’s repeated petitions to the Massachusetts Governor for their help reproduced the inscriptions and detailed designs found on engraved
in locating him, Bush was never heard from again. Yet, in the two years powder horns and demonstrated their merit as works of art. Since then,
he served in Lake George, Bush secured his legacy as one of the most powder horns
important and influential powder horn carvers in Colonial America. In have intrigued
fact, powder horns carved after the French and Indian War retained collectors of mili-
Watercolors of a powder
several of his signature elements, suggesting that many of his decorated tary history, folk horn by Rufus A. Grider,
horns were brought back to Massachusetts and traveled with their art, and colonial 1891-1900. New-York
owners into subsequent military conflicts. America. Historical Society.

The contem-
The End of an Era porary market for
powder horns is
The final so-called “phase” of the decorated powder horn tradition robust, with many
in Colonial America took place during the Siege of Boston (1775- private collectors,
1777). After the inciting events at the North Bridge in Concord, Amos museums, and
Barrett and his fellow minutemen joined thousands of Provincial historical societies
soldiers from across Massachusetts to confine the British Army to vying for a piece
Boston for over a year – a siege that ended with the Battle of Dorchester of Revolutionary
Heights and the evacuation of British troops from the city. history. Values are
Powder horns carved during the Siege depicted what Provincials based on condi-
soldiers themselves saw during the conflict. Typical subjects included tion, the type of carving, and, importantly, attribution to a known carv-
sketches of fortifications, city views, and Provincial encampments er or owner. Simple horns with just a name and date might be worth a
in Roxbury, Charlestown, and Cambridge. Horns also depicted soldiers few hundred dollars, while more sophisticated examples command
marching and engaged in battle, along with the weapons and thousands, even tens of thousands of dollars. Meanwhile, new genera-
accouterments of war. Patriotic vignettes and imagery abounded, tions of living historians have continued the art form for recreation or
often used as decorative devices surrounding inscriptions. While public reenactments of historic battles.
calligraphy wasn’t as important a feature during this period, horns with The beauty of decorated military powder horns is the story each one
lettering perpetuated the style popularized by John Bush and the Lake can tell about their owners, carvers, and the places and people they
George School. encountered. They are not merely a record of military service but
unique works of art that have stood the test of time. More than that,
they show that beautiful things can come from the simplest of objects
Siege of Boston with a little patience, skill, and imagination.
powder horn,
c.1776.
Concord Museum Erica Lome is currently the Peggy N. Gerry Curatorial Associate at the
Collection, Concord Museum, sponsored by the Decorative Arts Trust. She holds a
Gift of Mrs. Robert doctorate in history from the University of Delaware and a MA in
M. Bowen (1972).
decorative arts, design history, and material culture from the Bard
Graduate Center.

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