An Engraved Masterpiece
Sheriff's Model

Over the years, I have encountered various engraved firearms, from rudimentary bunkhouse scratching using old leather punches to the more recent trend of machine laser etching. I have seen examples of varying skill levels; some are impressive, and others … not so much. The scrolls and loops of the less skilled were often rough, asymmetrical and hastily done. Backgrounds were hurriedly executed and frequently overlapped the focal design. Understanding the difference between excellent and lousy engraving is crucial to truly appreciate the art.

Admittedly, I hadn’t known what top engraving looked like for years. People toss around the term “master-level engraving” without seeing the real thing. My perception changed when I became friends with true connoisseurs of the craft. They pointed out how designs should flow and not be herky-jerky, lines should be straight, and background stippling should not cross them. It took a while, but I came to appreciate the level of skill of true masters.

The work of true masters in firearm engraving is nothing short of awe-inspiring. Their craftsmanship elevates the firearm to a masterpiece, to be admired as artwork frozen on steel, silver, platinum and gold for generations.

An Unrepentant Example

Such is the case for this Sheriff’s Model Colt Single Action Army, currently in the collection of Tomas Kirkpatrick. Produced by the Colt Custom Shop in 1985, it features exhibition-grade engraving. The most stunning feature is an unrepentant convict glaring at the viewer with a cigar clenched in his teeth, his hands gripping the cell door bars. As a dealer in collectible firearms, Kirkpatrick has seen an estimated 8,000 Colt SAAs pass through his shop, and never has he seen one like this and estimates its value at $35,000!

Functional Art

Engraving is not a recent addition to the world of art. It has been an integral part of gun culture for centuries, and Colt has been a part of this tradition since its inception. Samuel Colt, in particular, recognized the power of engraving to elevate his revolvers beyond mere tools, using them as gifts for leaders and dignitaries to secure contracts and sales. This strategy proved to be highly effective. By the late 1800s, gun engraving had entered its Golden Age, with Cuno Helfricht, Young and Nimschke emerging as the most renowned and imitated master engravers.

However, a series of events nearly wiped out engraving in America. The master engravers of old were either retiring or passing away. During WWII, the practice of engraving firearms came to a near standstill. American firearm manufacturers’ efforts focused on supplying weapons and ammunition to the troops as quickly as possible. After the war, as the world began to heal, the firearm industry shifted its focus to new technology and cartridges. At a time when communication was limited to phone calls or letters and advertisements were confined to gun magazines, the field of firearm engraving was on the decline. It was estimated only 20–30 engravers were left in America in the years following the war.

In the 1970s, a dedicated engraver named Roger Bleile embarked on a mission to locate the remaining American engravers. His efforts revealed there were less than 80 active engravers in America. In 1980, Bleile took a significant step by publishing a book, American Engravers, which showcased the work of his fellow engravers. This publication served as a catalyst, inspiring the formation of the Firearms Engravers Guild of America (FEGA). It was a testament to the power of individual initiative in the revival of firearm engraving.

Work Of A Master

One of the guild’s founding members, the late Howard Dove, worked on the featured Colt Frontier Six Shooter. Few have reached the pinnacle he attained in his short life.

According to admirers, Dove grew up near Blacksburg and always had an interest in drawing and shooting. He harvested his first squirrel at the tender age of five. As he grew, he became a crack shot, especially with a .22-caliber rifle. He was locally known for splitting a .22-caliber bullet on an ax blade after using a mirror to aim over his shoulder. He could also shoot a bullet through a pop bottle without chipping the neck, using the same technique. His dream was to become an exhibition shooter for Remington or Winchester,

His shooting skills served him well as a Green Beret and during his survival of a tour in Vietnam. When he returned from his enlistment in the early 1970s, Dove spotted an engraved firearm in Gun Digest and decided engraving was the direction he wanted to take his life. Dove started teaching himself to engrave with a rusty screwdriver and a block of scrap steel. As he got better, Dove used almost anything metal, including quarters. “I used to engrave lines in the hair on old George’s head,” Dove said.

By 1978, Dove had excelled enough to catch the attention of Al DeJohn at Colt Firearms. By the early ’80s, Dove achieved the status of Colt Master Engraver. Dove loved his work but missed his home in Virginia. With the blessing of his fellow engravers, Dove left in 1985 to return to the New River Valley and set up his own business. The move actually expanded his market. From there, he did work for Colt’s and Winchester’s custom shops. As far as I know, Howard Dove was one of only two men ever employed as a master engraver by Colt and Winchester simultaneously.

He was the most highly regarded engraver by Colt Collector’s Association members at the time. He engraved six annual show guns for the CCA, more than any other engraver. Dove was a prolific engraver and many of his works are found in various gun books: Classic Colt Peacemakers, The Colt Engraving Book Volume Two, Colt and Its Collectors, Winchester, An American Legend, and numerous magazine articles.

An owner of a Howard Dove masterpiece is in rare company. His clientele included Gene Autry, Sammy Davis, Jr., Hank Williams, Jr., John Wayne, Michael Wayne, Tom Selleck and many others.

Sadly, Howard Dove died suddenly in 1994 at the age of 52. His death left a void in the American engraving family.

The Legacy Live On

Since his passing, the CCA has presented the Howard Dove Award each year to exceptional engravers who carry on his legacy. A frequent winner is founding FEGA member Mike Dubber, who continues producing thrilling masterpieces and provides valuable insight into the work in the Colt in this article.

The second master to work on the featured Colt is Bryson Gwinnell, who did the gold inlay work. Gwinnell, employed by Colt as a Master Engraver then, is well known for his stunning inlay and relief work.

According to references, Gwinnell apprenticed with Smith and Wesson from 1969 to 1971, operated an engraving studio from 1974 to 1975, was an engraver with Colt Firearms from 1975 to 1986, and operated a custom engraving studio again from 1986 to 1990. Then, on February 26, 1990, he was employed as a sculptor-engraver at the Philadelphia Mint. In 1987, he was awarded best-of-show at the National Firearms Engravers Guild Show. Unlike Dove, Gwinnell never joined the FEGA.

One of Gwinnell’s more recent pieces, the incredible “The Monster Legacy” Colt Frontier Six Shooter, sold for $35,000 in 2016. Do a Google search. You won’t be sorry.

This Six Shooter

The delicate engraving designs on our featured Colt Frontier Six Shooter are precise and balanced. Every element complements the whole. These engraving and gold work were completed after the revolver pieces were heat-treated but left in white. The design was painstakingly cut and clean surfaces were polished like glass. The Frontier Six Shooter designation indicates it is chambered in .44 WCF, also known as .44-40, a cartridge first developed for Winchester’s Model ’73 lever-action rifle.

The jail cell feature is a deep relief into the recoil shield, designed to resemble the cold stone walls of an old prison cell, complete with bars. The convict’s face is glaring out from between the bars, his stogey clenched between his teeth. The color-case hardened frame is made in the original style, commonly known as a black powder frame, as it uses a set screw to hold the cylinder pin in place. The hammer also has an older profile. The revolver does not have a case ejector.

The gold highlights and reliefs are created by fashioning a channel or a surface into which the soft gold can be forced. The steel is often cut like a dovetail, so it is locked in place without soldering or with an adhesive when the gold is forced in. The gold is worked into place and then carefully engraved to form the features of the gold face, holster and Texas Star. We can truly be amazed at the skill and patience involved in producing them.

Once all the finished work is complete, the parts are sent to the bluing tank. The salts in the tank only impact the ferrous components, not the gold and silver embellishments. The deep Colt Royal Blue provides the perfect backdrop for the engraving and embellishments.

While the bird’s head grip was never found on original Peacemakers, they are popular on custom pieces. The completed grips feature genuine ivory with a carved star.

The collaboration of two masters of their craft in a project such as this leaves the viewer speechless. When I first saw this Colt, I felt duty-bound to present it to the readers of American Handgunner. While this piece is well beyond my means, it is art I can genuinely appreciate and I hope you do as well.

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