Fresh from engraving is another of our ever popular .410 droplock shotguns. Over the years we have worked on scaling every detail on these fine little guns to such an extent that the engraving has now become an important and final element of this process.
Westley Richards traditional house scroll can trace its ancestry back to the earliest guns produced by the company. Guns of the muzzle loading era were ruled by the larger 12, 14 and 16 bore hence engraving designs were bolder with large scrolls to provide more coverage and suit the tastes of the time. With the advent of the Anson & Deeley boxlock gun design of 1875 Westley Richards ‘house’ engravers had the final canvas on which to perfect the companies own scroll design, one that remains the standard for the guns and rifles built today.
Interestingly, small bore guns built on scaled action frames were often the tool for boys and consequently lacked any real engraving, more often the only form of engraving was the Westley Richards name simply adorning the action sides.
Fast forward to the re-introduction of the droplock .410 in 1989 and you’ll note that one of the first guns produced from the original batch of six was engraved by the renowned Brown brothers (Paul & Alan) with a beautiful bouquet (rose) and fine scroll design. Whilst game scenes also featured on this gun, the small scroll design really lifted this little gun into a new light.
Over the last couple of years, several of these modern droplock incarnations have been handed around various engravers each of whom has given their own unique twist on this beautiful design. The images which illustrate this blog shows one of the latest which you really must see in the hand to truly appreciate. Whilst it is a given that the gun is small, the delicate nature of the scroll design really does complete the refined scale of this gun.
The Westley Richards patent top lever makes a great canvas for the delicate scroll.
The ‘scroll back’ of the action creates a natural starting point from which the scroll can emerge and flow.
The application of gold on traditional sporting arms—and especially on British examples—is a very easy thing to get wrong. Recall that the aesthetics of Britain’s classic designs, their shapes, their lines, their engraving, evolved during an age and in an empire where ostentatious decoration on firearms was generally frowned upon.
In English Guns & Rifles, J.N. George’s fine 1947 treatise on the evolution of British sporting arms, the author noted a trend evident by the late 18th Century—“a marked tendency toward greater simplicity of form, combined with the abolition of all kinds of ornament which might impair either its utilitarian value or its appearance of neatness and smooth finish, began to be apparent in all forms of the sporting gun.”
Broadly speaking these strictures dominated British gunmaking, and British gun engraving, throughout the 19th Century and well in to the 20th. Lavishly embellished outliers, with some exceptions, are most notably the guns and rifles made for the princes of India and the royalty of the East, to whom Westley Richards was a favourite gun and rifle maker.
By its nature, gold—in all its flashy, sometimes heavy opulence— can readily overwhelm the spare elegance and quiet lines of a traditional English firearm, and often does when applied—unless the applicator has not only hands of great technical virtuosity but also the eyes of an artist and an aesthetic taste congruous with the object to be engraved.
As his gold inlays and the bejewelled engravings on the India Rifle (2013) and the Africa Rifle (2016) illustrate, Lithuanian-born and America-based Paul Lantuch possesses each of these talents. This spring, after 6 1/2 years in the making, Lantuch completed the ‘Arab Warrior Guns’, a pair of sidelocks, the third and fourth examples of the largest, most expensive, and the most elaborate commissions that Westley Richards has placed with an engraver since the Boutet Gun of the 1980s, engraved by Alan and Paul Brown.
The pair, 12-bore rounded-body sidelocks, feature panoply of carved Arab warriors with interwoven Arabesque ornamental motifs against a full background of inlayed, stippled gold. Built for a member of Qatar’s royal family, there is more precious metal on display on these guns than at Fort Knox, but … but—and I say this as a conservative rose & scroll purist—the effect is sumptuous, certainly regal, but not gaudy, nor garish. That is because Lantuch’s design effectively integrates the figures and ornaments in with the gold in a manner so that no one element visually dominates another, nor does the gold crush the fine lines of the canvas—which is, after all, a traditional British shotgun.
Lantuch is first and foremost an artist; he studied at Lithuania’s Vilnius Institute of Arts, and is accomplished in many mediums—drawing, painting, printmaking, and creating jewellery of elaborate and innovative design. The late Simon Clode, in his 2013 introduction to Lantuch on The Explora, wrote: “Gun engravers who can draw and design are scarce, engravers who can conceive, draw, design and execute to the standard of Paul are even scarcer.” Clode—not only a connoisseur of engraving but a champion of the art and a sponsor of talented young engravers—recognised something special after Anthony Alborough-Tregear brought Lantuch’s work to his attention upon seeing it at the American Custom Gunmakers Guild Exhibition, in 2011 in Reno.
The process of embellishing the Arab Warrior Guns began in 2016, beginning with discussions between Lantuch and Clode about depictions of mounted warriors struck in fighting poses. The concept called for the figures and ornaments to be carved and depicted in relief against a stippled golden background, as if they were set on shimmering sands in the sunlit deserts of Arabia. “The balance of figures to the gold surfaces had to be carefully calculated,” emphasised Lantuch. In his final design this balance, to my mind, is the key to the success of the composition.
Lantuch and the team at Westley Richards exchanged notes and photos of evolving designs over two-and-half months until the right concept crystallised. The physical process of engraving started, Lantuch explained, with him transferring the drawings on to the steel surfaces with a needle, then cutting contour lines. Lantuch shaped and carved the warriors with a variety of chisels.
“The figures are actually based on 19th Century Orientalist European art, rather than real Islamic iconography,” Lantuch explained. “The ornamental work is florid in style, with geometric inclusions; this is called Arabesque, a kind of European interpretation of Islamic art.”
With flat chisels Lantuch removed steel for the background down to a depth of 1.5mm, and he then punched thousands of dots into the recesses before crisscrossing them with a sharp flat chisel. This creates a gripping surface for the gold inlay. Then, using pure 24-karat gold wire—and a lot of it, 1.8 ounces for the two guns—Lantuch hammered and inlayed the gold with a flat punch, then textured the background with special tools that he made himself.
After the guns were returned to England and had been traditionally pack-hardened nearby in the premises of Birmingham’s famed Richard and Bob St. Ledger, Lantuch flew to England to begin the two-week-long finishing process.
The correct finishing of any carved gun is critical to the quality of its final appearance, and it is a delicate, painstaking multi-step process. First, the case colours must be removed, but not all of them, so to account for and to accentuate shadows and highlights, and the figures and ornamental motifs re-detailed and their lines sharpened where necessary. In some places the background needed re-matting and, beautifully, the gold seams between the action and lockplates were hammered and joined as if each action was one unit. “Paul essentially sealed the guns’ actions to mate up all the goldwork,” said Alborough-Tregear. “It gives the guns a svelte, almost organic quality.”
Though best known for its hand-detachable droplocks, Westley Richards still builds sidelocks, and the mechanics of the Arab Warrior Guns conform to the firm’s preferred modern-day configuration for its sidelock shotguns: Boss-type bar-action locks, rounded actions, Southgate-type ejectors, with H&H-type assisted openers, and single non-selective triggers. The 29-inch barrels are fitted with gold and ruby foresight beads.
Despite the carvings and gold, the guns appear as fleet as the long-limbed Arabian stallions portrayed on them. They are even lightweight—6-pounds, 8-ounces each. “Regrettably, many London guns are now getting heavier and heavier, with loggish, long barrels made to fire heavy cartridges—really missing the point of a fine gun,” said Alborough-Tregear. “The Westley Richards round-body guns are so elegant you could easily mistake our 12s for 16s.”
The pair is housed in an oak-and-leather case appropriate to the guns: outwardly clad in best black alligator hide, French-fitted, goat-skin lined, all metalwork gold plated, tools made with horn handles, and geometric marquetry in the frame, the owner’s name hand-embossed in traditional gold leaf. It is a showcase in the most literal sense of the word and befitting of display in any museum of the arts.
Vic Venters is a journalist and author of The Best of British: A Celebration of British Gunmaking, as well as Gun Craft: Fine Guns and Gunmakers in the 21st Century. He has covered the British and European fine gun trade since the early 1990s and is the Senior Editor of America’s Shooting Sportsman magazine.
After a two-year hiatus, the Scottish Sporting Journal is back, injecting a modern design into a much-loved 40-year-old title; the same passion for Scotland, captured and documented in a new, exciting way. Evolving from the Gazette to the Journal, this 180-page bi-annual magazine is a visual and written journey through Scotland’s wild places, capturing the passion, craft and pursuits within them.
The ethos behind the publication is that Scotland represents a way of life that is long lost to much of the modern world; a way of life in which the people, wildlife and landscape are all intrinsically linked. The aim of its content is to share this emotion and experience, offering true escapism to their readers. From chasing brown trout in small spate rivers to stalking stags in the Highlands to spending time with faraway island communities, Scottish Sporting Journal puts the focus on visual storytelling, capturing the essence of what makes Scotland such a unique country.
Volume II, Issue I highlights include:
– The Arab Warrior Guns from Westley Richards A unique pair of museum-quality featuring the most prolific gold inlay coverage of any guns they have built in their 207-year history
– Hunting with golden eagles We head high into the Cairngorms National Park to witness golden eagles hunting mountains hares in their natural habitat
– Hidden Scotland with Jim Richardson Renowned National Geographic photographer Jim Richardson shares some of his favourite images from his adventures around Scotland
– The new spirit of Scotland With Scottish gin reportedly set to usurp whisky in the next 12 months, we visit the Isle of Harris distillery to see it first hand
– Exploring the Isle of Arran Known as Scotland in Miniature, we explore the many sporting opportunities and way of life on the Isle of Arran
– Spearfishing in remote seas Spearfishing guide Will Beeslaar heads into the cold waters in pursuit of Pollock, with bespoke underwater photography
– Salmon fishing on the Spey A morning with ghillie Roddy Stronach, who has lived and worked on the Spey for 15 years, to understand how the role of a ghillie is changing
Happy Independence Day to all our good friends and customers there in the USA. 243 years ago you pushed through your own version of Brexit with a lot more success than we seem to be achieving today!
As a company well supported by the USA we thought it only proper to post a good old piece of American gun history with a little English twist. Winchester is without doubt one of the most iconic rifle names in the world and so it was just this weekend that we persuaded a gun collecting friend of ours to lend us this little gem of a rifle.
This Model ’95 lever action was the first model offered with a box magazine by the Winchester Repeating Arms Company and as such allowed for the use of pointed bullets in a Winchester rifle. The design was made famous by Theodore Roosevelt who used one in .405 Winchester calibre on his epic safari of 1909 an account of which is detailed in his subsequent book African Game Trails.
Previous Winchester models had the famous tubular magazine which due to the in-line nature of the cartridge in the magazine, meant that for safety reasons only blunt nosed bullets could be utilised. The Model ’95 changed all that.
This particular rifle is chambered in that great American cartridge the .30-06 Springfield, to this day one of the finest cartridges around. The rifle was offered in this calibre from 1908 to 1926. The rifle features the interrupted thread take-down system and is unbelievably quick and easy to assemble.
Retailed through the London Armoury Company Limited, London, the rifle comes in a very typical English format canvas and leather trim case. Even to the trained eye you would be forgiven for thinking that this case held a small bore shotgun or some other weapon of British origin. The fact it holds a wonderful Winchester take-down rifle is all the more surprising and in truth pleasing.