Tom Curran

It is with great sadness that I share the passing of Tom Curran, of Chatham, New York.  It's an impossible task to write a brief note about so great a friend, mentor, and craftsman.  I was lucky enough to know Tom for close to 20 years, and his encouragement and mentorship played no small part in my own development as a student of flintlock arms.

Many knew him as "Acer Saccharum", on the AmericanLongrifles forum, where he humbly shared his vast artistic knowledge, and gave helpful pointers to beginners asking for feedback, and as a moderator helped guide the direction of the forum over the years. Those who knew him only on the forum could occasionally catch a glimpse of his humor through his posts, while those who knew him in person won't ever forget his big smile and genuine kind-hearted nature.

Tom's favorite style of flintlock to build was his own. That is to say, he would study and learn every detail of an original style, and then make something uniquely of his hand and imagination - while keeping it completely believable within a historic context. It takes great skill to be good at this, and it was inspirational to see his imagination at work.

Though he would be the last to call himself an expert in anything (save perhaps being a skilled machinist), he had a wealth of knowledge about all things artistic and mechanical, and he was constantly learning something new. While keeping one hand in the flintlock world, he expanded his repertoire to make a variety of engraved copper plate and wood block prints, wood carving and sculpture, and even practice some forge work. 

He made all of it look easy - he faced challenges with grace, while remaining humble about his own abilities and sharing with and encouraging others. 

I can only just scratch the surface in a few paragraphs - I will miss sharing flintlock ideas, discussing life, exchanging our favorite Aubrey/Maturin quotes, and much more. 

Thoughts on Tom Curran by Eric von Aschwege

Obituary from HudsonValley360:

Thomas A. Curran, beloved father, grandfather, brother, spouse and friend, died on March 30, 2023. Tom lived and loved fully, and handled his 2018 cancer diagnosis with courage and realism; he declined suddenly in his final week of life. Tom was 70 years old.

Tom was the son of John and Margot Curran of Kinderhook, who predeceased him. He is survived by his spouse Marcia Curran and their three children, Sam (Laure), Jesse (Alexia), and Lydia, and by his granddaughter Georgia. Tom's nine siblings mourn the loss of their brother, who became the core of the family following their mother's death in 2016: Susanna (Greg) Schindler, Mary, Marcella Kelleher, Robert (Jana), John (Mara), Francis (Carol), Patrick (Judy), Margot (Lloyd Ackert), and Edmund (Nora). Tom is also survived by 14 loving nieces and nephews and dear friend Wendy Carroll.

Tom was an artist, printer, engraver, sculptor, and machinist. And more recently a budding writer, recounting memories from childhood. particularly his younger days exploring the creeks and woods of Spencertown where he was born. Tom found new joy participating in writers' workshops. His homemade pizza was renowned. as were his berry and pumpkin/squash pies which he perfected in recent years.

He graduated from St. loseph's Seminar high school in Callicoon. NY where, he made lifelong friends. He settled in Chatham and worked in industrial manufacturing for many ears until he started his own business. Monster Machine, in 1990. Tom was thrilled when his daughter Lydia joined him as partner in the shop in 2018. Tom's expertise was boundless: he was a problem solver and could make just about anything

Tom served as mayor of the village of Chatham for eight ears, from 2011 to 2019

Tom donated his bod to the anatomical gift program at Albany Medical College. In lieu of flowers, donations may be made to Historic Eastfield Village in East Nassau. NY  (httos://www.historiceastfield.org/donate) A memorial celebration of Tom's life will be planned for a later date

Copy from HudsonValley360 here.

Eternal rest grant unto Tom, O Lord, and let perpetual light shine upon him. May the souls of the faithful departed, through the mercy of God, rest in peace. Amen.

Medusa by Tom Curran

This is based on Caravaggio's painting of the beheaded Medusa. It was said one could still be turned to stone by looking directly upon her face. Such a dark theme....well, yes, that the darkness repels and fascinates at the same time is a curious phenomenon.

This piece was a difficult journey into realms I was not comfortable in, testing my skills, pushing myself into unknown lands beyond my experience. I always push myself, tempered by 'always test your ideas on scrap'. With practice, one can enter foreign seas with eyes open, avoiding some pitfalls, increasing your chances of a safe landfall.

 

Medusa's portrait is sterling silver, raised and chased with punches, and clinched into a bronze shield, which is engraved with a Greek key border.

The pendant is 2 1/4" diameter overall, and hangs about 4" below the neck on a 19" long black leather cord.

The back view shows adders writhing to form the loops for the necklace attachment. Signed and dated 2016.

The clasp is another viper, easily caught by a flat oval loop.

Entirely hand made by me except for the cord.

Copy and photos supplied by Tom Curran.

Lehigh Styled Rifle by Tom Curran

I built this Lehigh styled rifle for my daughter. It's .40 caliber, with a 38" Getz barrel. I used a Chambers Late English lock, which has been modified for a Philadelphia Jacob Kuntz-like appearance. The rifle is a melding of three of my favorite artists of the past, Rupp and Kuntz for the stock shape, but the carving is pure wild man Neihart. The nosecap is a total wrap-around, with the sheet metal lapping inside the barrel channel, and riveted. I think this is the hardest nosecap I ever made. The finish is a spirit varnish with Dragon's Blood resin in the mix.

Copy and photos supplied by Tom Curran.

A Rifle of Unknown Origin by Tom Curran

This robust rifle pays homage to the colonial period guns of unknown origin, guns that have turned up in America, but of uncertain provenance.  Heavy with overtones of Germanic descent, one might conclude that this is a Continental-made gun. However, there are undercurrents of colonial America running through the carving and form of the maple stock. I tried infuse all the speculation and mystery that accompanies these early rifles into my latest work, much like an historical novel written the language of the day. 

While maple was often used in Europe for gunstocks, it was perhaps the most common wood for stocking firearms made in the American colonies.  The stock wood, then, proves nothing about the origin of this rifle-gun. 

The round face lock would have been made in a German production shop. The barrel is swamped and rifled, a jaeger styled barrel. The reproduction mounts are definitely European, possibly Dutch, but probably German. 

One could assert, and not wrongly, that this gun was made in Germany, using European maple. It could also have been stocked in America, with imported European parts, by a German immigrant smith.

The most compelling argument for this being a colonial-made gun is the two-piece brass patchbox. The complex sliding bolt closure instead of the usual, and later, simple latch and hook mechanism, indicates this is an early form of the hinged brass box.  A mortice is chiseled into the buttplate to receive the sliding bolt. A similar bolt mechanism can be found in the patchbox of the ‘Musician’s rifle’, or Fesler rifle, thought to be a very early colonial stocked rifle.

Barrel: made by John Getz, .60 cal, 35” long

Lock: Davis Jaeger lock, heavily modified

Mounts: reproduction, brass, lost wax cast

Patch Box: fabricated from sheet, rod, and iron bar

Wood: New York sugar maple

Breathtaking photography by the very talented Jim W.Filipski.

Copy and photos supplied by Tom Curran.

Brooch by Tom Curran

Wrought of steel, with engraving based on 16th Century Germanic art, this warrior's brooch holds my sweetheart's cloak fast against the ravages of winter....and it keeps her heart warm.

Copy and photo supplied by Tom Curran.

A Historical Novel in Metal and Wood by Tom Curran

I've been working on this gun for a while, designing, shaping, carving. And it strikes me that this is akin to composing a piece of music or a poem. The carving is far from done, and the wood not finished, but there is something compelling about the light, the tools, and textures that reminds me of a Flemish painting perhaps, or a Tom Waits song....

Copy and photo supplied by Tom Curran.

We look forward to seeing the completed gun, one day...

A Carving Mallet by Tom Curran

I  made this mallet for my dear friend Benjamin Tullar, a giant of a man, a walking encyclopedia, generous as he is tall. He has made me many things over the years, and I attempt to acknowledge his generosity with this token of my esteem for him. Benjamin and I went to the Wooden Boat Show at Mystic Seaport last year, and we came across a pile of scrap Live Oak from the Boston Navy Yard. Were they cut-offs from the USS Constitution re-construction? I don't know, but I like to think so. Flared ash handle will never let the head fly away. The curly ash is a gift from Ian Pratt.

Copy and images supplied by Tom Curran.

Mitch Yates and the moderators over at American Long Rifles web site have made a very special rifle for the upcoming CLA fund raising auction. This Dickert style rifle was designed to pay tribute to the legendary “Hunters of Kentucky” and their expliots at the Battle of New Orleans under Andrew Jackson. The rifle has a special "Alligator Horse" silver inlay, and silver presentation plack affixed inside the bottom of the patch box. Starting with a stock from Dunlap Woodcrafts, a barrel made by the Getz Barrel Company, a lock from Jim Chambers, brass hardware donated by Reaves Goehring, and barrel inletting done by Mark Wheland, Mitch Yates built and finished this outstanding rifle. The board moderators at the A.L.R. web site also played a part, both in giving physical assistance and moral support to the building of this "show stopping" rifle. Tom Curran did the special engraving, Rich Pierce professionally polished the metal work, and the rest of the moderators purchased assorted materials. Photographs of the finished rifle were taken by Jim Filipski, and they say it all. You will not want to miss seeing this rifle at the show.

For more information about the auction or CLA membership please visit: Longrifle.

Photos by Jim Filipski and text by TC Albert. "Hunters of Kentucky. Or Half Horse and Half Alligator." 1815. The Filson Historical Society.

Bench Copy by Tom Curran

I saw a rifle years ago, hanging on the wall of my friend’s gun room. It looked very different from anything I’d ever seen. Was it Dutch influence? German-American? Where was this gun made? There is no signature, no indication of who made it. While the gun looks really early, the design of the buttplate and guard tells me it falls between 1770 and 1780.

Over a period of two years, and many visits, I managed to make a drawing, make patterns off the hardware, and take a series of photographs of the gun, inside and out.

For my copy, I used red maple, which I believe the original stock is made of. The rifled barrel is a .54 caliber by Bob Hoyt. The lock is the Davis ‘early Colonial’, a massive and exceptional sparking lock. The brasses I made pattern off the original, and had them cast.

Several features stand out on this piece. The most obvious is the large rounded buttstock and huge flat cheekpiece. The wrist is round, and stops right where the comb meets the wrist. This makes for an ‘inflated’ looking buttstock. The forestock is very slim, in contrast to the heavy, rounded butt. The sideplate is very unusual, similar to some I’ve seen on Hudson Valley fowlers. Another strange piece of hardware is the rear entry thimble, as it transitions from forestock to grip without the customary bulge. The carving around the tang and entry pipe is very simple and folksy. Dutch? Pennsylvania?

On the bottom of the butt is a piece of scabbed on wood, and on the top of the comb, there is a peg attempting to keep the stock from checking more. I believe the original gun was built with this piece pegged and glued in place, not a repair, but the saving of a fine piece of wood.

While there is nothing fancy about this gun, it has a real presence. It is dark, almost ominous in it’s simplicity. That everything about it is still a mystery just adds to the aura. During this build I had many conversations with friends about this gun, speculating, theorizing where this gun might have been built and by whom.

Photographs by the incredibly talented gunbuilder and photographer, Jim Filipski.

Copy by Tom Curran.