Classic and Contemporary African Hunting Literature

Wato

Brian Watson ( 2019, 321 pages)
Reviewed by Ken Bailey

  

Brian Watson’s Wato is purely and simply an enjoyable read. I suspect that’s in part because he’s one of us. Like many of us he took a fancy to guns, shooting and hunting as a child, and he grew up in Australia reading about hunting in Africa and dreaming that one day he, too, could make the pilgrimage. He’s been a working man his whole adult life and had to save his shekels to make those dreams a reality—again, just like most of us.

 

Throughout the book, Wato, as he’s affectionately called by his friends and associates, demonstrates remarkable recall of his many safaris to Africa, in addition to a handful of hunts in other parts of the world. Each chapter describes an individual safari experience or a specific animal he has hunted. Over time he’s taken most of the key species in southern Africa, including the big five, though elephant hunting is clearly his passion and is the subject of several of the chapters. He’s also a bit of a gun nut, and if you enjoy reading about firearms, Wato won’t leave you disappointed. He even serves up a little meat for the wingshooting and angling fraternities.

 

What I really found compelling is that Watson has landed on just the right amount of detail in describing his various adventures. That’s a fine line to walk—too much detail and a reader gets bored before the climactic scene; too little and the stage isn’t set properly, we can’t imagine we’re walking side by side with him. Wato tiptoes along that line perfectly.

 

Watson is clearly a naturalist and conservationist at heart, and his appreciation for wild places and the flora and fauna they support, shines through; it’s evident throughout the book that it’s all about the experience for Watson, he’s not stepping off the plane with a tape measure in hand.

 

For those seeking a little eye candy, Wato is illustrated with 15 pages of colour photographs showing many of the people, places and hunts he describes in his stories.

 

If I have one beef with Wato, it’s that there’s too much passive, rather than active, voice. I find that a little distracting and cumbersome, although it’s not all that unusual in self-published books; a thorough editing would have cleaned that up.

 

Notwithstanding that little nitpick, I encourage everyone who appreciates contemporary African literature to pick up this book. It’s all very relatable and would be a relaxing and enjoyable way to spend those long air hours on the way to your next safari.

Campfire Thoughts & Reminiscences Part 23

Written by Neil Harmse

 

 

 

Chapter 24. A Martini Henry – Resurrecting an ‘Oldie’

 

A number of guns were put up for sale by a retired hunter and among these was a very rusty, badly pitted sporting Martini Henry .577/450 made by Isaac Hollis & Son, an established British gun-maker. At first glance, the gun was in terrible condition and about all it was good for was a ‘wall-hanger’. Apparently the gun had at one stage been wrapped in canvas and buried inside an anthill. The reason for this was unclear, but it might have been during the Boer War when guns were being confiscated, or perhaps during WWI or WWII, for the same reason. At one stage, it had been a beautiful sporting gun made with pride by this prestigious Birmingham gun-maker.

 

On examination, I found that the inner working and barrel were actually in good condition. These must have been well greased and lubricated to protect the firearm from the elements.

 

A friend, Glyn Dennis, mentioned to me that he was looking for an old gun to work on and restore as a project. When I showed him this Martini, he thought I was mad! I said that it was mechanically sound and that once the ‘cosmetics’ had been restored, it would be worthwhile as a shooter. Rather hesitantly, he took my word for it and applied for a licence. We took the gun to Hennie Mulder, a competent gunsmith who I knew could do justice to this project.

 

The first order of business was to dismantle the gun and start removing all surface pitting from the action, barrel and external parts. The gun in its original state was embellished with tasteful engraving in typical ‘English’ style. Removal of the pitting on the surfaces and polishing would also remove a lot of this engraving, so we carefully took clear, close-up photos of the engraving before sanding and polishing began. Hennie had an engraver, Whitey Loggenberg, whose work was excellent and who would be able to re-cut the engraving the same way it had originally been. (Sadly, Whitey passed away a few months after he had worked on this gun – another great loss to the gun industry.)

 

With a lot of careful polishing on the flats of the action, the barrel and other parts were cleaned of all pitting and blemishes, after which all traces of oils and grease were removed.

The Martini action before restoration.

The gun parts were now ready for preparation for the blueing process. Hennie decided to use his special ‘Rust Blue’ process to give the action and barrel an attractive, deep blue finish, similar to the one it had originally had. This is a fairly long procedure, as the parts must be coated with the blueing chemicals and placed in a humidity cabinet for about 12 hours to allow the chemicals to start the rust process. These are then removed and the parts placed in boiling water. The excess oxidation is ‘carded’ or rubbed down and then the process is repeated. This is done over and over for a few days, until the desired deep blue finish is acceptable.

 

Once ready, the parts receive a final polish with very fine steel wool and are then oiled to retain the blue finish. Hennie’s able assistant, Sam, is excellent at this polishing and manages to get the metalwork to a mirror-smooth finish.

 

While the metalwork was being attended to, it was time to tackle the woodwork, stock and fore-end. The stock was not in good condition and required quite a lot of sanding and filling of the grain. The scratches, dents and dings were removed by steaming and more sanding. Once the stock was almost completed, the final rub-down was done with fine water-paper and then fine steel wool to smooth the wood. The gun was then ready for staining. The checkering then had to be carefully re-cut and a final oil finish applied.

 

The fore-end had to be repaired, as there were a few places where wood had been chipped off. To fill these, pieces of matching wood had to be shaped and glued into place, then sanded and smoothed, before staining and oiling. The front of the fore-end had originally had a piece of buffalo horn tip and this had to be remade and fitted. The plates for the wedge pin that held the fore-end to the barrel also had to be fitted flush with the wood.

 

The gun had originally come with a ramrod which fitted under the barrel. This had disappeared and an original one could not be found, so Hennie made one from a hardwood rod which he turned on the lathe. He also made brass fittings for jag and brush attachments and fitted these to the ends of the rod.

 

When Glyn collected his gun, he could hardly believe his eyes. The old Martini Henry had been transformed from a piece of rusty scrap into a gun to be proud of, worthy of a place in any collector’s armoury.

 

Many of these fine sporting Martini Henry guns made their way to Africa and India in the battery of guns of ‘gentlemen adventurers’ who came to hunt in areas of the British occupied colonies. Who knows where this gun had travelled to and what game had fallen to its shots? If only it could talk!

 

It is an immense pleasure to see a gun that left the gun-maker’s bench about 150 years ago being brought back to life and again taking its rightful place on the hunting field.

The Martini rifle after restoration.

To order Campfire Thoughts & Reminiscences – the complete book with illustrations (US $15 excluding S&H), contact Andrew Meyer at andrewisikhova@icloud.com

Rigby welcomes celebrated wildlife artist Zoltán Boros

Red Stag with Hinds

London gunmaker John Rigby & Co. is delighted to announce the latest addition to its esteemed art department, Zoltán Boros. Hailing from Subotica, Serbia, Zoltán is known for his passion for wildlife and his exceptional talent in capturing the beauty and essence of the natural world.

 

His artistic journey began during his secondary school years, where he developed an affinity for hunting and hunting-themed art. Over the years, his artistic talent blossomed, and he has become renowned for his captivating works predominantly centered around native European wildlife. His art is a testament to his deep connection to nature, his keen observations of wildlife behaviors, and his commitment to authenticity.

 

Zoltán has received numerous prestigious honors, including the Golden Brush-Pen Award and the Peter Balogh Grand Prize for Art. His fascination with the interplay of line and tone in graphic art has led him to create masterful works characterised by elegance, simplicity, and a profound understanding of anatomy.

 

To celebrate this exciting collaboration, Zoltán has created seven stunning limited edition prints, each priced at £75. Each piece comes with a 7cm white bottom border, a unique series number, the artist’s signature, and the Rigby logo embossed in relief.

 

The seven exquisite art pieces include:

  • “Grey Partridge” Limited edition print
  • “Wild Boar Driven Hunt” Limited edition print
  • “Red Stag with Hinds” Limited edition print
  • “Roe Deer Study” Limited edition print
  • “Fox, Mouse and Male Boar” Limited edition print
  • “Male Boar” Limited edition print
  • “Hanoverian Bloodhound” Limited edition print

John Rigby & Co. invites art enthusiasts, collectors, and wildlife aficionados to explore and acquire these remarkable artworks, each a testament to the artist’s deep connection to nature and his extraordinary talent.

 

For more information about Zoltán Boros and his limited edition prints, visit: www.johnrigbyandco.com

Wild Boar Driven Hunt

Fox, mouse and male boar

Grey Partridge

Hanoverian Bloodhound

Male Boar

Roe Deer Study

Classic and Contemporary African Hunting Literature

Dangerous Game Quest

Kim Stuart, (Fjermendal Press, 2021, 236 pages)
Reviewed by Ken Bailey

  

Kim Stuart’s Dangerous Game Quest – A Personal Journey is a compilation of stories describing his odyssey to become the first hunter to take each of the Magnificent Seven African game animals (elephant, rhino, Cape buffalo, lion, leopard, hippopotamus, and crocodile) with each of rifle, handgun, and muzzleloader. That’s 21 dangerous game animals in total, and it took Jim 20 years (1997 to 2016) to accomplish this. The book is written in chronological order, with a chapter describing each hunt along the way.

 

Of interest to me was that Stuart wasn’t focused on “trophy” animals, which is to say that he wasn’t hunting horn length, tusk length, or any of the other size standards that drive most African safaris. He saw a tuskless cow elephant or a lioness as being every bit the challenge, equally dangerous, and just as rewarding as hunting for what most consider trophy animals. His primary objective was to take these animals by fair chase using his weapon of choice. He goes to some length in describing the development of each of the weapons used and how they came into his possession. This is particularly true for the muzzleloaders he used, which were designed and built for this quest by his friend, Jim Gefroh. In fact, as we learn, Gefroh accompanied Stuart on most of the hunts.

 

As might be expected when you engage in this number of big game hunts, Stuart experiences many highs and lows along the way, from aggressive animals to missed shots to unscrupulous PHs. It’s refreshing that he isn’t shy about describing the bad along with the good, even when the bad is of his own making.

 

The easy-to-read text is accompanied by 22 full-color photos showing many of the animals Stuart collected through the years.

 

Stuart’s quest was an unusual one by almost any standard, particularly given the costs of hunting dangerous game in this day and age. Dangerous Game Quest will appeal to any hunter wanting to read contemporary tales of hunting Africa’s most dangerous game, and in particular to those with an interest in hunting them with a muzzleloader or handgun.

Campfire Thoughts & Reminiscences Part 22

Written by Neil Harmse

 

 

 

Chapter 23. The Ultimate Big Bore

 

For those big-bore shooters who always claim they are addicted to back pull, I have come across the ultimate rifle which should satisfy their every craving for brain rattling, shoulder-thumping RECOIL!

 

The rifle I have found is in a private collection, carefully and jealously guarded by the owner, so it is unlikely anyone will actually get the chance to experience a shot with this behemoth.

 

The gun referred to is a double rifle in four-bore calibre made by Rodda & Co almost 150 years ago. Rodda breech-loading double rifles in the monstrous four-bore calibre are extremely rare. It is rumoured that Rodda only made five of these four-bores and that these were made for an Indian maharajah’s private collection. Only four of these can be traced today, giving one an idea of how rare these guns are. Truly a collector’s dream.

 

The Rodda rifle in this chapter was manufactured circa the 1870s, having Birmingham

 

Proof House marks for view and proof dating to about 1868. Given the vintage, it is in very good condition, but then, because of the calibre and massive weight, these guns saw very limited use, especially in Africa. At a weight of about 25lb (approximately 11,4kg), these guns were not really meant to be carried by the hunter, but lugged along by a team of gun bearers until needed in an extreme case of last-hope survival. Any bearer on a safari used to carrying a 70-80lb (32-36kg) tusk or similar load would not have a problem carrying a 25lb rifle, but handing this heavy, unwieldy gun over to a hunter in an emergency would be awkward, as it would not be easy bringing these two weighty barrels to bear onto a fast approaching target. This could well compromise the hunter’s safety. Most ivory-hunters during this period preferred either a single-barrel four-bore or a lighter double rifle in eight-bore calibre.

The Rodda four-bore double rifle.

The majority of these four-bore doubles saw use in India for hunting tigers and elephant from a howdah mounted on the back of a trained elephant, but even this use was rather limited. This is also the reason that any of these guns found today are in remarkably good condition.

 

The gun in this collection is a back-action hammer gun with a Jones large grip underlever and the trigger guard extending along the pistol grip to the ebony grip-cap. Between the hammers along the top of the action, the long tang extends to the top of the pistol grip. The action still retains about 80-85% of original case-hardened finish. The browned Damascus barrels are attractive and show very little sign of wear and use. Having an extended doll’s head lock-up, the action is still as tight as the day it left the factory. The action detail has fine English scroll engraving, with gold inlay reading “RB Rodda & Co” in English script on the side plates. Along the barrels, also in gold inlaid English script, are the words: “RB Rodda & Co. Makers by appointment to HE the Viceroy & HRH the Duke of Edinburgh. London & Calcutta”. In front of each hammer is a safety lock which engages when the hammer is brought to the half-cock position. The broad rib is finely filed and has a standing express sight for 50 yards (46m), with two fold-down leaves marked ‘100’ and ‘150’ (yards?), while the front sight has a fine bead dovetailed into the rib.

 

The fore-end is a typical ‘splinter’ type and is fixed onto the barrels with a wedge key or locking pin and lug. The four-bore was the ultimate ‘stopping rifle’ which fired a ¼lb (1,750 grain) lead bullet in front of a 14- to 16-dram load of black powder. A conical moulded bullet of about 1 880-2 000 grain was normally loaded with 380-430 grains of black powder to give about 1 500fps and a muzzle energy approaching 6,000 foot-pounds!

 

Later, Kynoch four-bore loads for Nitro-proofed rifles were loaded with 70 grain cordite, but these should not be fired in Damascus barrelled guns made for black powder. Holland & Holland’s last four-bore was made for the Maharajah of Rewa in 1922. This was a Nitrofor-black load of 70 grain cordite firing a conical 2 000 grain bullet generating in excess of 8,000 foot-pounds of energy!

The Rodda double rifle, showing a four-bore cartridge compared witha .458 Lott.

To order Campfire Thoughts & Reminiscences – the complete book with illustrations (US $15 excluding S&H), contact Andrew Meyer at andrewisikhova@icloud.com

Rigby’s Rising Bite Shotgun

Diggory Hadoke examines the re-emergence of Rigby’s classic shotgun in modern guise.

 

When you buy a new British gun, you actually buy an old British gun, made recently. Every major maker still in business is selling products developed from patents dating back to the reign of Queen Victoria. Fortunately, the reason for this is because the designs of the Victorian inventors were extremely good. Match the inventive genius of the originators with the exquisite skills of time-served, apprenticed gunmakers and the result is sporting gun perfection.

 

The best British designs have never been bettered, only manufacturing cost and time-saving developments have been influential in the success of later types of shotgun. To date, the typical choice for the buyer of a best English shotgun has been Holland & Holland’s ‘Royal’ (the current model is the self-opener produced from 1922 but the basic ‘Royal’ has been in production since 1893), a Purdey (built on Frederick Beesley’s 1880 design) or a Westley Richards hand-detachable lock (another Victorian original, patented by Leslie Taylor in 1897).

 

Enter Rigby. Re-located to London six years ago after an ambitious investment and purchase by the German L&O Group, the same company that owns Blaser, Mauser and Sauer, Rigby has grown from a small team, under managing director Marc Newton, to a serious player. In fact, Rigby now makes more sporting rifles than any other London gunmaker. Let that sink in for a moment. Rigby has sold close to 1,000 rifles in six years.

 

The Rigby policy has focused very much on re-imagining classic models from the firm’s back catalogue. The Big Game and Highland Stalker models re-visited the hugely successful Rigby-Mauser rifles of the first quarter of the 20th century for inspiration and became the gentleman’s rifle of the modern era: classic, functional, aspirational, yet affordable, at around £7,000 (by comparison with best bolt rifles made by any of the top gunmakers today, including Rigby, which run between £25,000-£35,000).

 

Building on the success of their bolt-action rifles, the Rigby team then embarked on a more ambitious project; resurrecting the double rifle for dangerous game with the iconic vertical-bolt side-lock action patented by John Rigby and Thomas Bissell in 1879.

 

To give that some historical perspective, 1879 was the year in which British forces under Lord Chelmsford were decimated at Isandlwana by Cetshwayo’s Zulu impis. Around the same time, Henry Morton Stanley was fighting his way through the Congo to rescue Emin Pasha, and Thomas Edison was preparing to demonstrate the first workable light bulb. The world was a very different place. That gun patents dating back this far are still being launched as new models in London is a mark of their cleverness and utility.

Given the success of their rifle projects, it was only a matter of time before the shooting public expected to see a new Rigby shotgun emerge from Pensbury Place, Rigby’s workshop on the south side of the River Thames. That day has come, and the new shotgun mirrors their double rifle in being built around the Rigby & Bissell action.

 

Thomas Bissell was a gunmaker with whom John Rigby had a close relationship. Some Rigby guns made in the late 1800s bear his stylised ‘TB’ initials on the face of the action denoting their origins. Patent 1140 of 1879 remains his best-known work. Rigby made it as a signature action from September 1879 until 1932 as a shotgun, a black powder express double rifle and as a nitro express double rifle. Its demise was due to the high cost of manufacture, rather than mechanical obsolescence.

 

The action is inherently very strong, with a traditional Purdey patent double under-bolt holding the barrels on the face from below, by way of bites in the two lumps. Additionally, the vertical bolt rises from the top of the action and locks into a bite in a top rib extension, providing a third anchor point.

 

Aesthetically, Rigby has stuck to the original bar action lock-plate with dipped edges. It is so distinctive that anyone with a modicum of knowledge will recognise it immediately as a Rigby. Marc Newton told me once that his customers want traditional-looking rifles and shotguns. Part of buying into the family of Rigby ownership is the distinction it provides.

 

Rigbys are not like other guns. It would have been so much safer to build a copy of a Holland & Holland ‘Royal’. A London-pattern stocked to the fences side-lock of conventional appearance would be the sensible choice, but it would not reflect Rigby’s ethos of being true to their history. Not everybody will understand. Rigby customers will. And the word will get around.

Marc Newton told me recently: “The gun looks old-fashioned”. It really has the look of the era in which it emerged. The early 1880s was a period of variance. Every maker was building a style of gun they hoped would catch the public’s imagination and be blessed with general approval. In the two decades that followed the introduction of the Rising Bite action, a number of things happened that streamlined the look and mechanics of what became known as the London Pattern side-lock. First, most makers dispensed with third grips for best shotguns. Rib extensions and machined recesses in the action are expensive to fit properly and it became apparent that for normal usage, a Purdey bolt alone was sufficient. Some argued that third grips were unsightly and the protruding rib extension was an impediment to rapid loading. For many, the crucial factor was cost.

 

The other stylistic feature which became the norm as the 19th century waned, was the stocked to the fences look of the Purdey and the second pattern Holland & Holland ‘Royal’. This means the wood from the horns extends right up to the fences, without the shoulders that actions like the earlier Boss, Grant and Rigby guns feature. When Marc Newton says his gun looks old fashioned, it is the differences here to which he primarily refers. There is also the matter of the dipped-edge lock plate. It is a distinctive feature that dates back to early models like the Gibbs & Pitt, and the first model Holland & Holland ‘Royal’. The dipped-edge plates of the Rigby serve no particular purpose, but they are a recognisable house style which Rigby decided to resurrect for the new gun.

 

Available in early 2019, the new Rigby Rising Bite shotgun is priced from £79,000 (excl. VAT) and is built in London at the Pensbury Place factory, where Rigby’s craftsmen and management operate side-by-side.

 

With dipped-edge lock plates, Rigby scroll engraving and the vertical-bolt action, it is immediately identifiable as a Rigby. The new Rigby offers a distinctive alternative to the discerning game shot at a price significantly lower than its main competition.

The confidence the Rigby team has in itself and its product is evident in the decision not to build a copy of a Holland & Holland ‘Royal’, which has become the generic style for most British makers over the last 50 years, but to make a very distinctive, very different shotgun.

The reasoning goes right to the heart of Rigby’s 21st century success. Marc Newton told me that his experience with the buyers of Rigby rifles was that they wanted classic designs, as close to the originals as possible in feel, look and style. Modern innovations were not seen as desirable, unless incorporated almost invisibly into the design. If you want a high-tech modern rifle in a cardboard box, you can buy one; but not from Rigby. Rigby provide tradition, quality and classic rifle-building. For their shotguns, the same strategy is evident. If you buy Rigby, you want different, you want distinctive.

 

Of course, the stylistic quirks only succeed if the product is flawless. Hand-built in London to the finest traditions of the London gun trade, with chopper-lump steel barrels, the best Turkish walnut stocks and engraved with the house style of Rigby scrolls, the standard gun is a bespoke product, with everything made expressly for the customer.

 

Modern production methods have been employed to produce the machined components. This is the way all shotgun production is going. Spark erosion and CNC machinery improves every year, and we have now reached a level of 

sophistication that means, for practical purposes, a working gun can be made entirely by machine. The best guns are made to fine tolerances and then hand-finished at the final stage of fitting to achieve the traditional levels of perfection in every moving part and chain of mechanical interaction. Engraving, stocking and barrel-making are unchanged, being carried out entirely at the bench in the traditional manner. Finishing is to the best London standards.

 

Even with the use of modern machinery, the creation of a best-quality shotgun is a time-consuming process and, therefore, expensive. Rigby’s new gun is not cheap, but it is competitive and sits at a price point significantly lower than its London rivals. Rigby has proved already that it is a reliable producer of quality rifles, and many who doubted the ability of a young team to take on the trade’s top names and compete successfully in a small and difficult market, are now ‘eating crow’, as my American friends like to say.

 

It is typically brave and impressive that the first shotgun to emerge from Pensbury Place is such a classic form and so clearly a Rigby. Rigby’s management broke the rules before with their rifle-building strategy, and succeeded. They have done it again, and I wouldn’t bet against them being a winner this time either.

 

For more information on Rigby’s new Rising Bite shotgun, visit: www.johnrigbyandco.com.

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