3d Design Layout Sidelock -A Celtic Reproduction Study

Crossbolt

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For a number of years now I’ve been tracking examples of a particular Celtic style engraving pattern used on some English sidelocks. Some of you may have seen this pattern photographed in Tate’s book British Gun Engraving. The first photograph I’ve attached is a copy of that. Over the years I’ve found six guns showing examples of this pattern, usually applied to pairs of high end sidelocks (stocked to the fences) but sometimes to lower end variants (wood not extending to the fences). The additional photographs show examples from these guns. The photographs were typically downloaded from sites where the guns were listed for sale. The guns were usually originally retailed by Alex Martin of Aberdeen or Edinburgh, appropriately enough, but there are examples from Alex Henry. The use of the pattern by different makers may support Tate’s view that the engraving was probably done in Birmingham by an engraver at an anonymous supplier; however, I think it was in house. Alex Henry’s business in Aberdeen and London was taken over by Alex Martin who continued in both Aberdeen and Edinburgh (in turn being absorbed eventually by Dickson). I think the pattern, if not the engraver as well, stayed with the business. Looking at the details of the engraving you can see subtle variations in the high end examples suggesting an engraver working off a pattern and adjusting has he went (you can see a few “unintentional adjustments†as well if you look hard enough  ).

Where I’m going with all this is that I have it in mind to produce a reproduction of this pattern on a sidelock I currently own. Hence the reason I’ve been tracking examples. Despite the photographs, it is a little tricky to work out exactly what is going on in three dimensions on the guns.

I posted separately on a modeling/ casting approach I used to tackle this developing a resin cast to practice layout of the design. The cast 3d layout allowed me to readily decipher how the engraving worked in areas like the fences and the transition from side to bottom that aren’t usually obvious in detail. It also allowed me to easily make minor adjustments to the layout to fit the particular sidelock variant I’ll be attempting this on.

The last photograph shows how I’ve transferred the pattern to the cast. The pattern is taken about 75% from the high end variant, 5% using lower end elements (stylized rabbits on the fore end end piece for example), and 20% free form adjustment (mostly strapwork). The free form adjustments are extending the strapwork under the trigger guard where bare metal appears on the original and further down a longer top strap present on the subject I’ll be working on. You can get a decent idea of how the ink does or doesn’t portray the design by comparing the photograph to the original guns. I haven’t inked in all the inner fill on the strapwork for visibility. I think it works rather well for the fundamental layout; obviously texture and smaller details aren’t there though. If nothing else copying the work allowed me to see in great detail what was going on and pick out, and in some cases enhance, stylized elements (birds of prey, pigeon, rabbits, pheasant, for example).

Just sharing what goes on in my warped little corner of the world 
Jeremy
 

Attachments

  • pair in Tates English Engravers.jpg
    pair in Tates English Engravers.jpg
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  • martin celtic 2 pair.jpg
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  • henry celtic 4.jpg
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  • alex martin celtic 2.jpg
    alex martin celtic 2.jpg
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  • cast 4.jpg
    cast 4.jpg
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