[Sam Haverkamp]

Im working on a new order for a customer in Canada. Any opinions on the patina? I went a little darker this time and I think I like it....
Sam

[Darrin Hughes]

That is stunning. Looks like a nicely aged piece of pewter.

Darrin.

[Sam Haverkamp]

Thanks Darrin,
Its actually pretty glossy, just hard to tell from the picture. The finish is bright Nickel Silver over Copper which I take all the way down using chemical blackening and abrasion. I then bring up the finish selectively. It takes some time and elbow grease but worth every minute. Man I love metal.
S

[Jared Smith]

[Sam Haverkamp]

Thanks Jared,
The Armour reproductions I make are accomplished in an A-typical way. Through my trials, I realized casting was not best the way to capture the detail needed to pull off a museum quality piece. Castings are very heavy and unless the lost wax process is used there is significant loss of detail. Electroforming was used by Elkington to reproduce important pieces for the Royal Family and Museums throughout Europe as there is virtually zero loss of detail, and it is possible to create reproductions that weight in very close to the originals.
I Electroformed this shield onto a wax mandrel. There is really no added structure or is any needed. Electroforming is the process of electrochemically growing metal onto a base or mandrel using acid and electricity. I use phosphorized copper as my base metal and then heavy plate the nickel silver to a thickness double that of marine specs. After several process changes we have landed on brazing the entire back of the copper armours to add additional strength and to facilitate accurate weights for the pieces. All of the shape and finish is done by hand. I have about 12 hours just into the finishing/patina on this shield.
I do work from original armours, as well as Museum Copies purchased from institutions like the Higgins Armoury.
There are many more museum quality pieces we will reproduce in this manner over the next few years.
Here are the projects we have wax ready for at this time.
http://www.goantiques.com/detail,16th-century-shield,1558209.html
http://www.goantiques.com/detail,16th-century-shield,1558213.html
http://www.goantiques.com/detail,milton-shiel...58163.html
Also, we are working on an affordable line of custom scabbard fittings and details. Contact Russ at Tritonworks if you would like to include some of our pieces into one of his scabbards.
Thanks for your interest.
Sam

[Allen Foster]

I happen to be working on a scabbard now and am interested in fnding out more about your affordible custom chapes. Like how much and when can I get one.

Thanks,
Allen

[Sam Haverkamp]

Allen,
Ever since I started the reproduction of the Museum pieces I have longed to create my "Own" carvings. Doing so, I have opened up to a whole new world of possible outlets for my creativity.
I am in no way as talented as the masters like Etienne Delaune, who designed Iron masterpieces like the Henry II shields. Its difficult when you are working with reproductions of this level not to be too hard on ones own comparitively pittiful work!
So I am going to try lots of different things to grow my skills. I am currently working on a Coat of Arms consisting of handcut 6 inch tall Dragons and Tygers for the shield of a fellow SCA fighter as well as Scabbard parts. I am even working on a Viking Gorget and all Metal Viking shields completely covered with animorphs. I am having fun, and looking for new projects all the time.

Send me a PM.
Sam

[Sam Haverkamp]

Ive had a few people thinking very odd things about the process I use to make these. I realize the description of how I make my reproductions sounds totally Alien, and far from Authentic. The process of electroforming is actually much older than the way most of the modern swords are made. CNC machines were not even invented for almost a hundred years after the advent of galvanic metal forming.
I hope that brings us back to earth a little.
Sam

[Matthew Stagmer]

A truley stunning piece. Thanks so much for sharing.

[Jared Smith]

Just to detour back to your initial post, I like the patina as the photo seems to depict it. If the wood decking is really dark, than this is something of a muted pewter (not as high contrast as "black and white") appearance armour finish?

I am probably not spelling this right, but guess the historical method of sculpting and forming directly into metal was "chasing"? Having to hand form/press all of that detail into a harder form, and then deform the ductile metal would probably drive costs up by 10X. I was actually surprised at how affordable the prices I saw were. This seems fully justifiable in terms of making a reproduction available to the interested market, just as CNC makes sword prices more affordable to the same market.

[Sam Haverkamp]

Jared,
The finish I go for is very much the typical Museum finish of period artifacts. I spent many months trying to get it just right. It would make sense to call it Black and White.
Your statement is true, there is no way to make a cost effective completely hand made reproduction of this quality. My process allows me to replicate these historical examples without loss of finish and detail, while still being affordable to the common man.
I truly love the Art and have found a feeling of purpose when working with metal. From collecting, to where I am now is very much a Labor Of Love. I dont think I even make minimum wage at this. I try not to think about it too much.
Thanks for all the great comments!
Sam

[J.G. Grubbs]

Truly beautiful work. Thanks so much for sharing it!

[Matthew Stagmer]

Thanks for posting. I like the 2nd one even better.

[Sam Haverkamp]

Thanks Matthew!
Coming from you that means a lot! I have been checking out your site, a few times actually and the hilt work on your swords is amazing. High art as it were.

I am working on the Negroli these days and hope to have both front and back done within the month. Im really having fun with this stuff!
Sam

[Dan MacDonald]

Sam, I can't believe the detail of those sheilds. I had a closer look at them on the place you pm'd me about.
The pictures you show here may look nice, but they don't come close to showing the incredible detail. You should be extreemly proud of this work and when your own site is up and running , people will be able to see just how fantastic this work really is.

I cant say enough about how impressed I was with those shields. Great work.

I better start saving now before they are no longer within my price range.
.....Dan MacDonald

[Sam Haverkamp]

Thanks Dan!
I'm glad you like them, I do as well. Everything I make is either something from my collection or inspired by the masters.
It would be nice to sell a few more, even though they are priced to sell, they are not everyones cup of tea.
In regards to my custom work, I'm trying my hand at traditional European Sculptures and trying to break away a bit from the Viking/Celtic work. (I do still love it so) I am just trying to broaden my horizons and skill level. I know Russ posted this on his site, but here is one of my recent carvings. Its my interpretation of "The Temptation of St. Anthony" in Copper with Silver work. I am planning to sculpt additional works from the Durer and other renaissance artists.
My website is under construction and should be done by the end of the month.
Thanks again for all the kind words.
Sam

[Jean Thibodeau]

[Sam Haverkamp]

Jean,
It will be an honer to serve my Lord with shiny metals for said scabbard.
The way I see it, you are as close to a Duke as I will get to work for in this lifetime, so the honor is definitely mine.
Russ has some great ideas for your project, and I am already looking through Venetian Icons for something unique.
We may want to start a thread dedicated to this work exclusively. We will discuss it.
Thanks for the comments on the carving. I really appreciate all the positive comments.
Have a great day
Sam