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

[Craig Larter]

Dean How could my examples be Gough they were all shipped between 1916 and 1920?

[mobirdhunter]

Originally Posted by Dean Romig

I would think a true artist-engraver would only need to look at and study the “pattern” then engrave it free-style by hand.

Craig once again shows examples of Wm. Gough’s fine work.

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Dean, I seriously doubt that engravers worked completely freehand. We’ve seen some of their templates in TPS.

[Dean Romig]

Let’s ask Geoffroy Gournet or Winston Churchill or Ken Hunt or any other of the best master engravers if they ever use a template…?

I would like to look at the templates in TPS that you refer to. What pages should we look on?


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[mobirdhunter]

I would like to know more about the process and how they transfer their work to the piece being engraved. I’d imagine there is thorough planning.

[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!

[Dean Romig]

Garry, we’ll have to sit down and discuss Parker engraving at length.
I agree with most of those things you point out but some aren’t clear enough IMO.
One point I disagree with is the point that the dogs and animals on grade 4 and higher were engraved by the chief engravers whereas it is the grade 3 and higher that were usually done by the chief engravers. I have several example pictures saved that prove this fact.

The template theory needs clarification too. Is is most likely that some sort of artwork was transferred to the frame panel but after that ink transfer was made the engraving was executed freehand with no mechanical aid. The engraver’s mind, eye, sense of form and finally his hand are most responsible for the artwork applied to cold steel.





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[mobirdhunter]

Originally Posted by Dean Romig

Garry, we’ll have to sit down and discuss Parker engraving at length.
I agree with most of those things you point out but some aren’t clear enough IMO.
One point I disagree with is the point that the dogs and animals on grade 4 and higher were engraved by the chief engravers whereas it is the grade 3 and higher that were usually done by the chief engravers. I have several example pictures saved that prove this fact.

The template theory needs clarification too. Is is most likely that some sort of artwork was transferred to the frame panel but after that ink transfer was made the engraving was executed freehand with no mechanical aid. The engraver’s mind, eye, sense of form and finally his hand are most responsible for the artwork applied to cold steel.
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Dean, I have no idea about whether or not chief engravers executed the dogs on Grade 3 guns (I'd guess some guns yes, and some no). Based on my two 1918 guns, one a CH and the other a DH, I would wager they were both done by the same hand...whoever that was. Craig's wonderful examples bear testament to the ability of the engraver also.

As for the engraving done after the drawing was transferred, remember he created the drawing in the first place, and I agree about his artistic ability being responsible for the final work that we see. And I can attest, it's not a matter of just tracing. I've used a burin (nothing like the finer tools of the engraver), and can tell you that it requires much skill...and practice.

I see that you are going to the HOF banquet. Elaine and I are also. Maybe we can chat more about Parker engraving. I believe I could learn much from your years of observation and research.

[Craig Larter]

Jim DeMunck is a very talented engraver I know who lives in Rochester and shoots with our gang a few times per year. Jim has done many of the high grade CSMC Fox guns and many others for Tony. I asked Jim if he used a pattern to cut his scroll and he said no, he lays it out in his head and just starts cutting metal!!! His statement blew me away. These are one off guns and Jim is a master. Jim told me my Philadelphia XE Fox guns were made using a inked pattern. I asked him how he could determine that. He said they had one layout pattern, used it on the first side and then flipped it over for the second side, the engraving will be a perfect mirror image.

[mobirdhunter]

Originally Posted by Craig Larter

Jim DeMunck is a very talented engraver I know who lives in Rochester and shoots with our gang a few times per year. Jim has done many of the high grade CSMC Fox guns and many others for Tony. I asked Jim if he used a pattern to cut his scroll and he said no, he lays it out in his head and just starts cutting metal!!! His statement blew me away. These are one off guns and Jim is a master. Jim told me my Philadelphia XE Fox guns were made using a inked pattern. I asked him how he could determine that. He said they had one layout pattern, used it on the first side and then flipped it over for the second side, the engraving will be a perfect mirror image.

Interesting, Craig. I can believe the prep issue for a modern one off gun. Coincidentally, I have a CSMC Fox XE engraved by DeMunck. I had Tony supply me with the names of every person who worked on the gun. Maybe some day when one our member’s great-great granddaughters is writing the book on this era, it will come in handy.

I have a GH Damascus 20 that I can see the ghost image of part of the transferred drawing and where the engraver badly missed a line. It’s quite funny.