Tuscarora Lapidary Society

   "When our club was formed in 1957 and its name selected, the Tuscarora Indian Head was chosen as our club emblem. The club is named after the Tuscarora tribe who long ago inhabited this region (Pennsylvania). The idea of an intarsia (commesso) of this subject had been discussed from time to time at meetings.
   As plans for our GEMARAMA '75 show were being formulated, we sought a theme or subject that would generate interest in our show. It was then that the intarsia idea was again resurrected and work on it was started. A color sketch of the Indian head was prepared by Paul Longnecker (director of the project). This, along with color swatches of the minerals needed, was presented and approved. A tracing of the parts and shapes that would be needed was made and patterns were cut from a parchment type paper.
When the selection of materials was completed, the patterns were shellacked and cemented to appropriate slabs and the parts distributed to the members. They were instructed to trim these shapes to 1/32 of an inch of the pattern. The final assembly and fitting was done by Harold Comfort.
   The assembling was done in five sections, which were smoothed on a large lap. In making a section, a piece of wax paper was placed on plate glass and the slabs placed face down on the wax paper. A "V" groove between the pieces allowed for epoxy to join them together without sticking to the glass.
After the whole assembly was completed, a temporary frame was built around it, and the back was coated with plaster of paris. We were then ready for the final cleanup and the permanent frame.
   Our efforts were amply rewarded when the show opened and the intarsia occupied a prominent place befitting our cooperative project, just as it has done at every show since".

Hair: Black Obsidian
Face: Light & Dark Feldspar
Highlights: Blue Petrified Wood
Feathers: Gray Quartz & Yellow Jasper
Background: Green Serpentine



   "In 1983, starting with an oil painting by Ann D'Allura, the original bell committee under the direction of Harold Comfort began collecting slabs and shaping them. After the bell proper was 85% finished, the committee felt that the material was giving an unsatisfactory appearance. So the project was abandoned with the hope that more appropriate material would be found.
   Seventeen years later, the "bell" was rediscovered. This time artist Mike Quinn made sketches and watercolor renderings, spending much time on the project. From a scan of a photo of the Liberty Bell the graphics design program Quark Xpress was used to prepare the pattern for the intarsia. This pattern was then transferred to the various slabs. Many members helped cut the slabs to the size of the pattern pieces. The final fitting was then left to the committee… Approximately 275 hours of effort went into the construction of the Liberty Bell intarsia."

Sky: blue lace agate
Bell proper: nephrite jade, blue tigereye, and jasper
Bell highlight: jasper
Yoke: petrified wood
Nuts, bolts, and straps: jasper and tigereye
Crack: black jade
Background flowers: pink and green thulite
Background grass: Pennsylvania serpentine

Artist: Mike Quinn
Pattern maker: Frank Warner
Cutters: Ben Coren, Gary Cummings, George Franklin, Betty Margerum, Betty Smith, Gary & Kathy Statton, Frank Warner, and Al Webber
Final fitters: Betty Margerum, Betty Smith, Kathy Statton, and Frank Warner
Final framing: Frank Warner

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