One of the more prolific master period gunsmiths was undoubtedly Nicholas Beyer. Yet, not much is definite about this builder's life. Conjecture, yes, but hard facts are scarce. I wrote the following passage in the 1990 book The Pennsylvania Rifle: A Lancaster Legend. Since the book is long out-of-print and rather difficult to obtain, I include the language in its entirety.
The work of Nicholas Beyer (1780-1850) is considered to be one of the finer statements of artistic rifle building in the late Golden Age. A prolific maker of fine hunting rifles and fowlers, Beyer was almost certainly a late apprentice of J. P. Beck. He worked in the Lebanon region during the period when the county borders were in a state of transition. Beyer was born in Lancaster County and was taxed in Dauphin and later in Lebanon County, all without moving from his home near Annville. [present South Annville Twp.] He was probably active in the trade in the last years of the 18th century and he continued to work there until about 1835, establishing himself as one of the best builders of the Lebanon school.
Beyer's relief carving is superior in both creativity and execution, and it usually covers a large area of the cheek side of the stock. His motifs vary from provincial adaptations of the C-scroll to unique patterns reflecting considerable "Pennsylvania Dutch" influence. Beyer used an array of patchbox finials, several featuring bird patterns. Regardless of the pattern, his work is always well done. Although Beyer was not one of the fanciest engravers, his metalwork is always tasteful. While the "Pennsylvania Dutch" region was the proclaimed birthplace of the longrifle, Pennsylvania German motifs are not frequently seen on rifles built there. Nicholas Beyer was one of the few builders to employ local themes; regional heart, tulip, bird, and other folk art patterns can be found on some of his rifles. The federal census of 1850 lists a Nicholas Boyer, age 70, gunsmith, among those dwelling at the almshouse in South Annville Township. As no death or burial records have been found for Beyer, it is probable that the old master was buried in the pauper's commons.
Since then, I have found no additional reliable material on Beyer. Does anyone have any documented material that would flesh out the story?
Incidentally, just for general information on folk-art motifs, I have a theory about why they may be so uncommon. I am Pennsylvania Dutch on both sides and can tell you from personal experience that, just like most other ethnic groups, there was a strong desire in most of them to become assimilated to the mainstream as soon as possible. They kept their customs and were a proud group, but wished to lay aside the "Dumb Dutch" label and fit in with the flow. Hence, Pennsylvania Dutch folk art was, by my parents and grandparents alike, seen as pedestrian. The Rococo was, in itself, an attempt to show an urbane, sophisticated bent, as it was the imported art of European culture. My guess is simply that a sophisticated presentation suggested class and status to the original owner, as opposed to the common, local folk themes.
Please add anything that would be of value. JWH
