Eighteenth century English engraving

[Jim Kibler]

So it's been suggested I study more English engraving, so I taking the suggestion.  Maybe we can study some together.  Here are some smoke pulls from several different English guns.  I honestly don't remember exactly which guns each came from.  Some are likely from a Harman gun I had for a while and I think the others are from a mid grade fowling piece I restored and sold to Dave a while back.  So, these are a couple of examples of work that fits in the mid to higher grade work.  The Harman gun was good, but not top of the line for sure.

The first example is a sideplate from the mid grade fowling piece.  It's best viewed by at least clicking on the picture to expand and better yet through some magnification (at least for my eyes).  What's notable... 

The free and loose nature of the design.
The vibrant moving form created by such few cuts.
The strong impact of heavier cuts whose form is carefully controlled to flow with the design
Nothing is sloppy even at magnification.  You don't have to squint when looking at it and it doesn't break down when looking carefully.
Curves are true to form without elbows etc.
Shading work is restrained, but but is neatly done and has a nice impact.
In my view this work is magical. 

I have a love and appreciation for English work if it's not already evident.  In my opinion very few modern engravers have adequately capture the feel of good eighteenth century English work. 

I'll add more smoke pulls and pictures tomorrow.  That is unless I'm kicked off of here by then!  Ha!

I think Dave has this original gun, perhaps he would share photos of the plate.

[Mattox Forge]

Jim,

I look forward ro your future posts.

Mike

[Jim Kibler]

Thanks!  In looking at this again, I think the most amazing aspect is how the shape of the heavy cuts are so carefully controlled in order create the proper effect of a leaf folding over perhaps a deep inside recess.  Modern day engraving generally relys on multiple stacked up shade cuts to create this effect.  The English way of this period is much different.

Note: since this is a smoke pull, what you see as light areas are actually the cuts.  Colors are in reverse.

[Jim Kibler]

One more before bed.  This comes from a mid grade trade Fowler..

[Jim Kibler]

What I think is noteworthy about this is the delicacy and impressionistic style of the engraving.  It’s again loose, but not messy.  With just a few lines (some conmected and some not) of varying weight a beautiful scene is created.  This is a different style compared to the previous example but still great to study.

[smoke and flames]

Jim  As an engraver, I have been using smoke pulls for many  years. If you take your smoke pull ,which displays as a white line on a black background, and invert it on your computer, it will view as a black line on white. I do this all the time as a method of transferring a design to duplicate. also as a form of record keeping for future reference. It also makes it easier for the eye to see.
For those unfamiliar with the technique, it is very simple and quick.  Take a candle or oily lamp. Pass the engraved object through the smoky flame like you would to smoke a rifle sight.  Now take apiece of clear tape and press it onto the smoked engraving. Pull it off and stick it to a piece of white paper. Done

[Jim Kibler]

Thanks I'll have to give that a try.

Okay, here is another example from probably a mid grade Eighteenth century English gun:

Don't just look at it as a whole, break it down to see how they achieved this wonderful effect.
Pretty much everything I said about the first engraving could be said about this one too.

[Jim Kibler]

And here’s a departure to another neat example:




This example departs in style from some of the previous but is of course pretty spectacular.  It's a more complex design, many more small shade cuts etc.  Dark and light has been captured amazingly well to my eye.  Nothing is sloppy or cartoonish, cuts are controlled, curves are true and the results are amazing.

None of these are hand picked as being the best English work.  Actually I can go through my photos and keep picking out examples as they are pretty common.
I have a lot of respect for these engravers.

[Craig Wilcox]

Thanks, Jim.  I'm not good at engraving at all, even worse now with more nerve damage done to my hands.

You've demonstrated some fantastic engraving that is quite stately, not a bit over-dramatic.  Wouldn't delay even a second in putting either side plate on a rifle.  I especially like the butt plate return.

[smoke and flames]

Here is an example of a smoke pull and a inverted copy so you can see the difference

[Jim Kibler]

Interesting.  It seems some things have been lost in the color inversion though.  I'm looking at the shape of the cuts and shade cuts.  Looks a little different to my eye. 

[smoke and flames]

Jim You are correct The inverted print was used to transfer the engraving main lines. The straight pull was of the finished piece.  If done properly the detail you pick up is striking   I mostly do modern guns and pulls are an invaluable asset

[Mattox Forge]

The smoke pull technique is great. What a great way to duplicate or record an engraving.

This is an original fowler by John Joyner who was active in London as a maker in the 1760's and early 70's.
It has a silver side piece and thumb piece.

This seems much more elaborate than other 1760 pieces. It was worked later in is life and converted to a halfstock gun, from a take-down full stock gun. Is it possible that the more elaborate engraving was added later, or is this just elaborate ca 1760 engraving?











Mike

[Jim Kibler]

Wow, thanks for all the additonal photos.  The Joyner is interesting and doesn't follow the typical patterns or styles.  Very neat!

[smoke and flames]

Jim  Here is your last pull inverted   I do it in photoshop

[Greg Hartman]

Thank you all for posting these images and the comments.  I'm working on a Kibler fowler kit and have not been able to find much in the way of examples of period English engraving.  I'm very familiar with and have done my share of Germanic engraving themes on PA longrifles and Jägers.  When the fowler is ready, it will be my first attempt at 18th Century English engraving.

Greg

[Mattox Forge]

Here is another original English rifle I have, albeit restocked. The hardware and engraving is original. It was made by the Birmingham gunmaker Joseph Pendrill. He is listed in The Gunmakers of Birmingham 1660-1960 by McKenna as being active from 1740 to ~1760.

I think this is more representative of the type of engraving that a 1750's or 60's higher end English gun or rifle would have.













Mike

[Jim Kibler]

Mike,

That is a beautiful gun and very classy engraving.  It's a great example of relatively simple designs executed in a beautiful manner.  At least that's my view!

[Mattox Forge]

It is a very accurate rifle for being almost 300 years old. I think it deserved a better restocking job. I dissected it after I got it. (https://americanlongrifles.org/forum/index.php?topic=75331.0)

 I think it is a really nicely designed rifle. Joe Pendrill was apparently ahead of his time, as he rifled this barrel (and some others from what I gather) with a slower twist more like what we rifle .62 caliber guns today, instead of the fast twists that were typical at the time.

Mike

[mountainman]

If we could only take a peek at these Birmingham Gun Shop Gunmakers, or Gravers., and watch them and see what settings they used, for example no electric lights,  but most likely natural lighting, and would they have used magnifiers? and speak of the tools they used, like just simple square gravers, round etc.? and the sharpening system? and did they have a ball vice? What kind of chasing hammers?
The modern setting I imagine well lit room with all kinds of lighting, a microscope , a ball vise,( with a soft plush chair )  a honing machine, and a couple of different stones for fine polishing maybe with Steve Lindsey graver sharpener fixture, and for those who are fortunate to be able to own a pneumatic air tool system, plus the dozens of different style of gravers, ( did I miss anything? )  oh yeah all kinds of carbon copies, and pigment markers pencils etc. I think the list goes on and on, polishing papers.................
In all reality they probably just had a very basic workshop, they made do with what they had. But the kind of quality work that they produced in their setting was pretty amazing!! Would love to see an historic working area.

[Scota4570]

I used to use a smoke pull variation at work.  As a forensic firearms examiner I sometimes needed to document markings on guns.  This  was quicker and easier than making notes.  I used Expo dry erase markers to cover the area of interest.  Then I used scotch tape or mylar packing tape to lift the mark. This may be of use when time is short or you do not want to take the gun apart. 

Scot

[bama]

Thanks for the great examples, Jim. I have used the smoke pull technique to capture designs. I have a copy of Lynton's smoke pulls and Nimschke's book of smoke pulls and both are great study piece's. They don't take the place of having the original piece in your hands to look at though. It is amazing the work the early engravers could produce.