Wm. H. Gough - Parker Chief Engraver 1899 - 1911

[Dean Romig]

Food for thought and further discussion…


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[mobirdhunter]

I think the issue of transferring a design to the metal, and then the execution of the design, might be where I’m not communicating well.

In TPS it is noted that, “Some templates and guides were used to layout some of the perfect circles and ellipses and to guide tools along borders where straight cuts were needed, but the other engraving was done freehand. (My italics.)

Further in this section it notes, “From the earliest times until the last Parker gun was engraved at Ilion, the actual design layout of the engraving pattern on the top grade guns was done by the chief engraving contractor, who also executed some, if not all, of the engraving of animals and birds on C (number 4) and above.” (Again, my italics and boldface.)

The text describing the engraving process goes on to state that plaster casts were made of “all engraving patterns…” The process description goes on, “The pattern in the plaster cast was filled with printer’s ink or ink and beeswax. Transparency paper was then place over the plaster cast to absorb the printers ink. Then the inked paper was pressed onto the polished soft steel surface of the gun to be engraved. By this means, the inked pattern was transferred onto the metal.” (My italics and boldface again.)

As an artist with training in printmaking, I am familiar with and have done various intaglio processes (engraving, drypoint, etching, mezzotint, and aquatint). Knowing something about these processes caused me to investigate and admire gun engraving. There are various processes for transferring designs/templates to the gun parts to be engraved (a web search will reveal many examples). The transfer process described in TPS is a standard process from my investigation, and there are other transfer processes that use wax, acetone and other means — all to facilitate the transfer of a preexisting design to the metal.

There is significant planning that goes into engraving as there is a confined space and little room for error. Having a sound process to transfer drawings and other designs is an important part of that planning, and in no way takes away from the skill and artistic ability of the engraver (I think it only adds to it). This is also not to say that once the design/template is transferred the engraver is not working with a free hand and can and does exercise his/her aesthetic inclinations.

The fact that these guns we love so much have a “production” element to them, unlike a one-of-a-kind engraving project, makes them even more special in their own way.

Dean, I appreciate your bringing up the Parker engraving process and the engravers, and I look forward to learning more from your study — thanks!