Southern Mountain Rifle by Wm. Madden

Pictured is my rendition of a 19th century Southern Appalachian Mountain rifle. Its sleek architecture, simplicity, delicate mounts and distinctive features (e.g. cheekpiece, sideplate, trigger guard and rear ramrod pipe) are based on two longrifles, one, a flintlock, attributed to Western North Carolina gunmaker Robert Hughes, or someone associated with him (Ivey, North Carolina Schools of Longrifles 1765-1895, Rifle  #197), and the other, a caplock, of very close resemblance, described as having been built by an unknown maker in Eastern Tennessee (http://americanlongrifles.org/forum/index.php?topic=24808.0).

According to those more knowledgeable than I, both guns were likely made by the same hand, although maybe not that of Robert Hughes, whose signed work is quite different (http://americanlongrifles.org/forum/index.php?topic=18547.0). Discovery of yet a third rifle, a nearly identical twin of the Tennessee caplock, in the Maryville area of East Tennessee raises a possibility that the maker of these pieces could have been someone, as yet unknown, who worked in that locale (ibid.). No one knows for sure.

Although inspired by these originals, this build is not a copy of either. While similar in overall appearance, it differs in a number of respects, including a few construction, finishing and decorative details that were gleaned from outside sources, are of my own design or both.

The vent pick inlay beneath the cheekpiece is an example. One of the original specimens, the flintlock, has such an inlay: a semi-circular iron disc that, to me, is not terribly interesting. So, I designed a different inlay, featuring, as its central element, a sharply scalloped “crown,” like that seen on the patchbox surrounds of rifles built in the area of Lexington, Ky., flanked by a skirt of my own creation. Although not engraved, this inlay gives a little pizazz to an otherwise unornamented rifle and, because it is a bit different, complements the unique sideplate and unusual rear ramrod pipe copied from the originals.

 

Copy and photography supplied by William Madden.

Lehigh Valley Rifle By Wm. (Bill) Madden

Pictured is my rendition of a Pennsylvania Longrifle in the style of the Lehigh Valley circa 1790-1810.  Built in a contemporary manner, after no particular maker, the piece was principally inspired by the work of Jacob Kuntz, the Rupp family and John Young.

The architecture, furniture and some of the artistic motifs are patterned after that seen on the originals.  Other features and decorative details are either based on outside sources, foreign and domestic, period as well as contemporary, or are of my own design.

There are a few details regarding the build that are not readily evident from the photos or that could use further elaboration.  The ivory nose on the cheekpiece, for example, is mechanically locked into the stock using a joint with a reverse draft or dovetail.  The concealed hinge on the patchbox consists of tabs riveted to the lid that are pinned to folded tabs on a “standing” plate fastened to the front of the box cavity.  Because the finial and surround are permanently nailed to the stock, this design facilitates installation and removal of the lid and hinge assembly as a separate unit.  The folded tabs restrict lateral movement keeping the lid aligned with the opening in the surround.

According to some, the slim look of the Lehigh is achieved, in part, by keeping the top of the forestock sidewalls low, “typically” covering no more than one-third of the barrel sideflat.  To my eye, any slenderness realized in this manner is more than offset by the heavy look of more barrel being exposed.  Here, the appearance of barrel heaviness has been avoided by leaving the sidewalls a little higher, and, instead of running at a uniform height along the barrel, the sidewalls taper, becoming narrower as they approach the muzzle.  For me, a tapered forestock does a better job of visually slenderizing a rifle’s appearance than does the “typical” approach.  Moreover, on this gun, the width of the upper forestock at the muzzle is about 1/8 of an inch narrower than considered “typical” for a Lehigh, which makes it appear slimmer, less squat or fat.

Although difficult to appreciate without handling, the carving is extremely shallow, no more than .020 deep in most cases.  The engraving is similarly done in a light-handed manner.  Most of it was cut using a hammer chased graver, the hammer being choked well up on the handle to facilitate delivery of light, rapid blows.  The more delicate leaf nicks and shading cuts were done with a hand-pushed burin.

As regards finishing, the barrel, tang and tang bolt head are cold rust blued.  The rear sight (notch not yet cut) is charcoal blued.    The stock is stained with three coats of aqua fortis (shop-made by fellow Montana Guild member Joe Sharber) over a base coat of Honey Maple stain, rubbed back and lightly patinated with lampblack.  The wood is finished with five coats of custom-made varnish oil, rubbed out between coats and top-coated with a paste wax.

The rifle is built around a Rice 42 inch, 50 caliber, swamped octagon barrel using a blank of bias cut, curly, sugar maple from Wayne Dunlap and a mildly reworked Chambers Large Siler Deluxe lock.  Except for the buttplate, tiggerguard and ramrod tips, the furniture is scratch built.

Copy and photos by Wm. (Bill) Madden

Bozeman, Montana

William Madden Rifle

This “New School” piece was inspired principally by the work of Hagarstown, Maryland gunsmith George Kreps, Sr. and, secondarily, by that of John Armstrong, and his mentor, Hanover, Pennsylvania gunsmith George Schreyer.  Maryland architecture is evident in the slight “swan’s-neck” wrist and v-shaped forestock.  Ornamental motifs used by Kreps and Armstrong appear as piercings in the toe plate (heart / bell flower) and ramrod thimbles (bell flower / Edelweiss flower) and in the carving in front of the trigger guard (stylized bell flower) and behind the rear ramrod thimble (Schreyer fleur de lis or stylized acanthus leaf).  A Federal Eagle, frequently engraved on the cheekpiece, is displayed here as an engraved silver inlay in the nosecap.

The patchbox has a side opening, “captured” lid with a cabinet catch and “throw-bolt” release mechanism patterned after that found on a lid by Hachen-Schreyer (Muzzle Blasts, March 2005, pp. 55-57).  The sideplates opposite the lock and around the patchbox are substantially of the same design used by Kreps and are partially engraved in the broken-line style employed by him.  Engraving on the tang and barrel, which is “popped” by use of gold inlay, are my own designs.  They also show the broken line style favored by Kreps.  Barrel key escucheons and surrounding wire inlay are of contemporary design. Ropework, used by both Kreps and Armstrong, surrounds the patchbox lid and serves as a border at the breech of the barrel.

 The carving behind the cheekpiece features curved diaper work found on a rifle by Kreps.  The carvings along the wrist are of my own design. Carving around the barrel tang is typical of that used by Armstrong and other northern Maryland gunsmiths.   The shell-like carving ahead of the lock and sideplate panels is a modified form of the gadrooning used in this location by Armstrong and Schreyer. All are cut in low relief below the base of the surrounding surface plane in the manner done by Schreyer.

The rifle was built as a surprise 2010 birthday/Christmas gift for my brother.  In the tradition of symbolic ornamentation found on some period arms, this rifle displays artistic embellishments of significance to him, our family and our Western Nebraska heritage.  The “Scotts Bluff” and “Chimney Rock,” prominent landmarks along the Platte River for rendezvous-bound traders during the fur trade era, for travelers along the Oregon Trail and in the shadows of which we grew up, appear as engraved overlays on the patchbox lid and cheekpiece inlay, respectively.  The views depicted by the overlays are substantially the same painted by A. J. Miller in 1837.  A Nebraska blue agate, set in a leaf and scroll inlay, adorns the lower butt stock.  A Plains buffalo skull (made of buffalo bone) is part of the fancy, folding rear sight. A distinguishing feature of the Madden Coat of Arms, a silver, heraldic raptor with an ivory swan in its grasp, forms the apex of the patchbox finial.  My brother’s astrological sign, a frontal portrait of Capricorn (the Sea Goat), is engraved on the lock plate along with a trophy of ornaments symbolic of the hunt commonly seen in 18th Century French pattern books.  A symbol of his profession (dentistry), comprised of a caduceus and a pair of pliers (found in a 12th Century stained glass  picture of St. Apollonia of Alexandria, the patron saint of dentistry), is engraved on the tang of the rear ramrod thimble.  December, the month of his birth and Christmas, is symbolically captured by an engraved bi-metal, floral inlay in the trigger guard – a poinsettia (the Christmas flower).

The piece is built around a 50 cal. 44" Getz swamped barrel, Wayne Dunlap quarter-sawn sugar maple blank and L & R Durs Egg lock.  Except for the cast buttplate and triggerguard, all mounts, including set-triggers, are handmade.  The stock is stained with shop-made aqua fortis and finished with shop-made varnish oil.           

Text and photos by Wm. (Bill) Madden, Gunmaker

Bozeman, Montana