Added to museum: 8/29/05
Joe Martin Foundation "Metalworking Craftsman of the Year" award winner for 2006
David Kucer at work making one of his miniature masterpieces. (Click on above photo for larger image.)
CLICK HERE to see a PowerPoint slide show of David's work. (16.1 Mb file, slow to download. Recommend you save it to your hard drive and open if from there. If you don't have Microsoft PowerPoint®, CLICK HERE to download a free viewer program from Microsoft.)
By S.J. Gooding
In 1930, at the age of seven, David Kucer departed the town of Vilna in Poland and arrived with his parents at the port of Montreal, Canada where he has made his home ever since. His father and grandfather practiced the metal worker’s art so it was natural that he would continue in the trade. He took his formal education at Montreal Technical School as an apprentice toolmaker and has never stopped his learning process. In 1935 he visited New York City and saw Dr. Sibbald’s Smallest Show on Earth. That exhibit at the Radio City Music Hall with everything in miniature, was to leave a life-long impression on him.
At the outbreak of World War Two he took work in a Montreal armament plant and in 1942 he joined the Royal Canadian Electrical and Mechanical Engineers. As he tells it, “In a month I was wearing three stripes and a crown as an armaments officer.” After the armistice he served as a military interpreter in French and German.
On his return from overseas he joined Artmetwork Inc., the family firm which soon employed 65 people and produced almost anything in metal, in small quantities. One product which will be familiar to many is the turnstiles used in the Boston and Montreal underground systems.
In 1969, a fire destroyed the building in which Artmetwork was housed and his company effectively ceased to exist. The financial loss was too great to overcome. Nevertheless, it was that tragedy which generated the opportunity for him to develop the artistic talents that are featured here. He opened a small shop on Mackay Street in Montreal to produce signet rings—rings carved and engraved with small coats of arms—which are used to leave a unique impression in sealing wax. In his present shop he still has the little steel punches and dies which he had to make for this job. The designs are too small to see with the naked eye, but they are in the shapes of the heraldic signs—shields, crown, coronets, stars, helms, and the like. All the while, he worked in his spare time on miniatures. This was a project that he had wanted to do since he saw his first miniature exhibit in 1935.
David Kucer in the old shop on Mackay Street, Montreal about 1970.
In 1946 there were very few miniature gun makers in the world and each worked in isolation. Now, the Miniature Arms Society (www.miniaturearms.com) has produced a circle of craftsmen and collectors of miniatures, the membership of which is world-wide. The Society produces a regular Journal, provides a means of communication between miniaturists and has developed a vocabulary which describes the field.
The late Joseph J. Macewicz,
secretary and founding member of the Miniature Arms Collectors/Makers Society,
outlined the criteria for miniatures:
1. True miniatures and miniature arms of all sorts, as defined by our Society standards, must be considered as decorative works of fine art. This does not apply to toys, replicas, and the like.
2. This is applicable to either antiquarian or modern-made pieces.
3. True miniature weaponry is classified as one-of-a-kind items even when issued in very limited quantities; they are hand-made by artisans, and are not “manufactured” in the literal sense of the word.
David Kucer’s techniques have evolved over time. His first miniature, a Colt Model 1911 semi-automatic pistol, was made in one-third scale, but he found that the tools he could purchase were too large and inadequate so he then worked for a while in 2.5:1. As he says, he gained experience and realized that he had to make a number of his tools. Soon he returned to the 1/3-scale which he is still using.
Miniatures have been somewhat of a crusade with him. He is always willing to share his knowledge and help to develop the interests of others. His arms have been displayed at many major institutions:
1974: Place des Arts, Montreal
1976: The Visual Arts Centre, Montreal
1981: The Eli Whitney Museum, Connecticut
1988: The David Stewart Museum, Montreal
1989: The Royal Armouries at the Tower of London, England
1991: The Royal Ontario Museum, Toronto
At the time of this writing in the 1990’s, they are scheduled for a return to the David M. Stewart Museum in Montreal. This list does not include the fact that he has displayed at the National Rifle Association Annual Meetings each year since 1989 and in the past five years has won four silver medals for best in his class at those shows.
Mr. Kucer’s interest in sculpting miniatures has driven him to the ultimate challenge in the carving field—the making of Netsuke. This is an area of traditional Japanese art in which he has become so proficient that he was accepted a member of the Japanese Carvers Association, one of only 12 non-orientals with such an honor. He finds this especially relaxing as it gives him the opportunity to design his own project, rather than to use the designs and construction techniques used by the early arms manufacturers.
Their Imperial Highness, Prince and Princess Takamado of Japan, and the Kucer family, at an exhibition held at the Japanese Pavilion in the Montreal Botanical Gardens in 1992.
His special interests and a search for knowledge have taken him to the communities where some of his models originated. He spent two weeks in the Brescia/Gardone val Trompia area of Northern Italy where fine guns have been made since the 15th century; in the bronze foundries of Pietro Santi in Florence; and recently, he spent six weeks in Japan in search of knowledge on his most recently acquired interest, netsuke. His skill is such that His Imperial Highness, Prince Takamado of Japan acquired two Kucer silver netsuke for his personal collection in 1992.
2005 Update: At age 82, David Kucer is still active in the business with no plans to retire. His family has produced several craftsmen. Danny, David’s oldest son, is a former jeweler and engraver turned successful entrepreneur. Joel, Danny’s son and David’s grandson, worked for David making miniatures for two years before graduating as an industrial designer. He still makes custom jewelry on occasion in David’s shop. David’s other son Zavie quit his job after 8 years as an aerospace engineer to return to learn the miniature gunsmithing trade from his father, becoming a 5th generation metalworker. He has worked full time as David’s apprentice for the past two years learning all he can about miniature gunsmithing and metalworking in general. He has also attended Stockton School of Jewelry and Engraving in California to further his skills. His intention is to someday continue in his father’s footsteps and continue keeping the Kucer name at the top of the list of miniature gunsmithing craftsmen.
(Extracted from David Kucer's web site with permission.)
A miniature firearm, by definition, is identical to the larger weapon it is modeled on in every way except size. The metal is the same alloy, hardness and color. The hardwood grips are checkered in the same patterns. The interiors of the barrels duplicate the rifling. In short, every aspect of the original is re-created, down to barely visible engraving. Here, in his own words, is how David Kucer came to be interested in such miniatures and how he goes about making them.
by David Kucer
It was about 55 years ago that the disease struck me. I have not recovered and apparently there is no cure. Miniatures are a disease, so I decided to make the best of it and improve my condition as the years went by.
In 1935, or thereabouts I first came across some “minies” in a show in New York. Since I was literally born in a metal shop and spent my after school hours there while still in high school, I did have some knowledge of fine craftsmanship. It was a sheet metal shop and the only equipment related to a machine shop was a huge Buffalo Drill and a big grinder with an overhead transmission. There were some hand tools: a hacksaw and a couple of files, a limited number of drill bits, the smallest being one eighth of an inch in diameter and a few odds-and-ends. Bar stock was at a premium but I had a friend in school whose parents had a junk yard and there I managed to find a couple of pieces of 1/4 inch hot rolled iron bar. I had decided to try my hand at making a mini.
I came back to the shop with a
fist full of metal and declared my intentions to my father. His reaction
probably should have been expected: YOU’RE NUTS. It did not deter me and
working from a photograph of a gun (I cannot remember what model), I started
hacking away and this was my downfall. Nevertheless, I did manage to make
something resembling a mini but I realized that it took a lot more skill and
equipment than I had. The idea never left me, but high school and helping the
family make a living were the priorities so I shelved it until I came back from
the War in January 1946.
Again, I joined my father in business but I took another direction. I started tool making and general machine work. A small grant from the army helped me buy some equipment such as a small Burke miller, a small Southbend lathe, a drill press, an Altas shaper, and of course measuring tools.
David Kucer's first miniature, a quarter-scale copy of his Colt Model 1911 carried as a service handgun during World War Two.
While in the army I was an armament artificer and worked on everything from the .22 practice rifle to the biggest howitzers. My personal side arm was a M.1911 Colt semi-automatic pistol, and almost every time I took it in my hands I would dream of making a 1911 Mini. It was sometime around 1952 when I decided that the time had come to start my adventure into minies. Of course by that time I had a little more equipment and a lot more experience.
I stripped down my trusty 1911 (which was never fired in anger), to its barest and started sketching and measuring the frame. My first step as on any mini, was to surface grind a piece of cold rolled steel to its exact outside dimensions. The scale of that mini was one third of the original and my problems began: cutters of the size I needed were not available. I managed to get some 1/16 inch end mills which were pretty expensive for me at the time as I was just starting in business. After many heart-breaking nights I managed to do most of the machining of the frame except for the opening for the magazine. For this, I had to drill two holes in the magazine opening from either side and smaller ones in between in order to remove most of the material. I then surface ground a file to the same size as the magazine and used this to complete the opening. After many more back breaking evenings I had the slide on the frame and knew that the piece was setting in. When I started making the other parts I realized that my existing equipment was not designed for making minies and I started to work in the direction of equipping a shop at home just for minies.
Old (first) vertical milling machine built about 1950 to 1/3rd scale of a Bridgeport miller.
My first requirement was a miller. I examined my Bridgeport at work and started on a set of wood patterns for a one-third scale Bridgeport type miniature. After several weeks of work I finished the patterns and had a local foundry produce the parts for me in cast iron. This was a wonderful adventure in the making of a machine. I used a motor from an electric lawn mower which ran at about 10,000 RPM. I used some timing belts and pulleys with a three to one ratio tied into a Dremel hand-tool-type control which gave me speeds for a half inch end mill up to 1/32 inch at full speed.
I completed the machine including a small, 40 to 1 dividing head, and I adapted it to take jewelers’ lathe collets. I also attached the dividing head to the lead screw on the table and this gave me the equipment to make the broaches for rifling the barrels.
This machine and the dividing head are still in use and I consider them to be my most important pieces of equipment. However, I still had problems with duplicating the small parts and after some thought I realized that I needed a small pantograph.
A Preis pantograph modified with cross slides and 3-D attachment.
After searching the used machine dealers stores and warehouses I found a box of parts for a Preis Pantograph Utility Engraver made by the Preis Engraving Machine Co. at Hillside, N.J. It was a table model and after several months of night work I completed the machine and with a few of my own innovations such as cross slides on both tables to set the positions of the pieces accurately, I was closer to being efficient. I usually find ways with wedges or screws to hold the pieces down on the table and the raw material I sometimes hold in place by soft soldering it to a piece of sheet copper which I then melt off when the operation is finished. Almost any piece can be made in 2 dimensions with the pantograph except for those with sharp corners which have to be filed by hand. I made a set of fingers from 3/8 inch, round, cold rolled steel with increments of 0.0025 inch from 1/16 inch up to 3/8 inch. The cutters are set to the same ratio as the “panto.” The cutter sharpener can be adapted to any grinder with a small slide and rotating chuck.
A full size Luger P.08 frame with miniature frame and related pieces.
As I have said, these two machines are my most important pieces of equipment and they look after almost all of the machine work. I still use a 10 inch bench lathe for bigger turning such as barrels and cylinders but some time ago I bought a small jewelers’ lathe with a cross slide, at a flea market, and on this I make most of my screws and small round parts under 3/16 of an inch diameter. For threading I use a set of Swiss-made jewelers’ taps and dies with metric threads.
A jewelers rolling machine for reducing annealed spring steel to the required thickness, and a bandsaw with gear reducer to cut either metal or wood.
One other important piece of equipment is a drill press. This I also made to my own requirements. It has the capacity to handle drills from 3/16 of an inch down to the smallest, at high speed. The rheostat and motor which control it came from a flexible shaft.
After many years of making minies one learns how to improve one’s lot but it has reached a point now where I spend more time on details and have become much more critical of my work.
Returning to equipment, I have to go back to a very basic project — how does one cut a number of pieces of 3/8 inch thick cold rolled steel and not get too tired to continue working? For this, I acquired a small bandsaw designed for woodwork and put on a reducer with an electric control so that I could then cut up to 1 inch of steel or 3 inches of wood The wood requirement is because one often has to make boxes for the minies. To compliment this machine I bought a combination belt and disk sander for both wood and metal.
After acquiring most of this equipment I man-aged to complete my machine work on the M.1911 and proceeded to do the hand fitting. The number one requirement is patience and good hand-held tools. A set of small Swiss files, a flexible shaft or the small electric hand pieces of a dental technician, a set of dental burrs, and some small rotary grinding wheels are a necessity. I make most of my mechanism parts in tool steel and when they are almost fitted, harden the parts and finish fitting by stoning on a whetstone.
Another important piece of equipment is an electric furnace with a pyrometer. This is important if you want to have good springs and there is really no alternative. Even when I make a coil spring from piano wire I always harden it to make the coils more lively. I usually use annealed, water hardening steel (rather than the more usual oil hardening). The temperature to harden this steel is 1525F and quench in water then for tempering, heat to 710F for 6 minutes and quench. This covers the hardening of all springs. I always buy annealed material, but some configurations have to be bent hot by heating to a cherry red color, and go through the bending and shaping process using my furnace. The furnace has a 4x4x4 inch capacity and is designed to be used in the jewelry trade for burning out the waxes used in lost wax casting.
Left: The heat treating furnace. Right: the two ton arbour press used for broaching barrels.
Having arrived at the point where I have the frame, slide and mechanism, I must look to the barrel. The barrels are turned on the lathe and drilled and then reamed with a reamer placed in the lathe tailstock to about .002 inch smaller than I want. Then I proceed to make my broach on the miller. This will be used to cut the rifling grooves in the bore. I set the gears to the right twist and use a small mounted saw to cut grooves at the right twist in the broach or bullet as it 5s known. It is tapered at both ends after it is cut off, hardened and given a high polish. To get a mirror finish inside the barrel, you simply put on a little oil and hammer the broach through the barrel with a drift punch or in a small arbor press. This will produce the grooves and a give mirror finish inside the barrel.
The magazine construction is not easy unless you have some experience in sheet metal work and oxyacetylene welding. The material that I have been using is cold rolled steel shim stock and the thickness is of course to scale with the original. The first thing I do is make a mandrel, or form, for shaping to the size of the opening less the thickness of the material. This mandrel is usually hardened as I must hammer the shim stock around the mandrel with a wooden mallet. The jaws in the vise in which this is held are either smooth or copper covered, and I put masking tape wherever it is needed to avoid any unnecessary scratching. I usually weld the back edge of the magazine and file the residue material from the inside. By the way, the mandrel is also prepared to act as the anvil for bending the lips on the magazine. The angle on top and bottom of the magazine is marked with a protractor and cut with a one inch cutoff wheel which is 1/32 inch thick, operating on the flexible shaft. The bottom of the magazine is then silver soldered in place. The next step is to bend a sheet metal channel to fit over the magazine to produce a drill pattern or jig for the holes.
The springs are also bent on a mandrel and again hardened in the furnace to make them lively. The platform is straightened if necessary and put into the pantograph. I often have two parts handy, one bent and the other in the flat. I also like to have two guns handy — one assembled and the other in parts so that I can check the operation of the mechanism although this is not always possible because of the rarity of some the pieces I make.
Last, but not least, are the grips. These I also shaped on the pantograph but the checkering is done by hand and many of the checkering tools I make on the milling machine.
This is a somewhat composite summary of how I made my first Model 1911 automatic with refinements that were added as different models of gun were produced. I have made many since that first one but my methods have not changed too much. I should note that when making the moving parts, I usually make more than I need in case I make a mistake. On each part I leave a piece of material to hold it by in the vise until finished fitting then I cut it off. This idea of leaving a piece of material for gripping is especially useful when a part is to be shaped by hand as was done on the flint lock mechanism from the Museum Restoration Service “Logo Gun.”
Actually, machining and fitting all the parts to the finest tolerance still require hand finishing. This operation is very critical as it is the first thing one sees before trying the mechanism. There are many ways to polish but I will record my way.
The first thing I did was make emery boards. I bought water proof (wet/dry) emery sheets with paper back in six grits: 80, 120, 220, 320, 400, and 600. I then bought, at the local hobby shop, some 1/16x3x24 inch wood used by model makers. I then sprayed the emery cloth with spray-on contact cement and glued the wood to the emery. After a few minutes the board can be cut with a knife into boards 1/4x11 inches for “emery sticks.” With these, I can polish all flat surfaces starting with No. 80 grit to remove all machine marks and proceed to the finer boards until arriving at the 600 grit for a super-smooth finish. I always keep a razor blade handy to sharpen a point onto the sticks when it is necessary to get into difficult corners. The finish obtained with 600 grit is usually what is found on the best commercially finished weapons.
I never use a polishing wheel of any kind on flat surfaces. On the other hand, I use rubber wheels in various grades of coarseness on the contours. Here again there is always a progression from coarse 80 grit through 600 grit as with the emery sticks. If I want a finer finish I can use a polishing or crocus cloth on the flat surfaces and a small felt buff with compound on the contours.
The new miller (milling machine) made about 1980 and the wood pattern used in making it.
After many years in the machine shop and die-making business you learn to improvise and create methods within the restrictions of your capacity and equipment. The exercise of producing a miniature is an adventure in metalworking. It is not possible to recreate the methods that were used originally in mass production—the jigs, fixtures, and holding devices used for each operation is out of the question when you are called upon to make a few minis. But the adventure continues when it is necessary to make miniature holding devices or special contour cutters. By examining the parts you can sometimes find a clue about the methods used originally but alas, for minis you must substitute a dental bur for an end mill and an emery stick for a surface grinder.
If I may repeat, after more than half a century the disease appears to be worse than ever. Nevertheless, I have enjoyed it and will continue as long as I am able.
This miniature 1854 Smith & Wesson "Volcanic" lever action pistol made by David Kucer now resides in the Miniature Craftsmanship Museum in Vista, CA. It is just 3-3/16" long.
A 1/3 scale Thompson machine gun by David Kucer...a miniature masterpiece.
The finest contemporary miniature firearms find their roots in the apprentice systems of the Old World Europe. The earliest of these miniatures (a wheel lock musket) dates from Elizabethan England, a half-century before the Mayflower landed at Plymouth Rock. It was probably the creation of a highly skilled gunsmith working for his own advancement and for the pleasure of royal patrons.
Throughout the Middle Ages and the Renaissance, European craftsmen and some artists (da Vinci and Vermeer among them) were organized into professional guilds that regulated their trades and ranked the skill levels of their members as they progressed from apprentice to journeyman to master. A journeyman would be permitted to make rough parts that were finished and completed by his master. He would be skilled in his field and capable of making the tools he needed to practice it. If his master permitted it, a journeyman might attempt to qualify for the highest rank of his profession by passing the last of numerous tests required of him during his training. Only upon completing his “master piece” would he be granted the status of master craftsman.
Armorers and gunsmiths were often required to produce a fully accurate miniature firearm as their master piece. The guild system trained craftsmen capable of breathtaking achievements in the art and craft of miniature firearm, but it also restricted ownership of these rare jewels to an exclusive few at the highest levels of European society.
American gunsmiths, working in a younger and less regulated market did not develop their skills in a system that required them to produce fine miniatures. In addition, the firearms marketplace of early America was oriented more toward utility and function than toward art and design. As a result, there are few historic American miniature firearms available to the collector.
Miniatures do figure in American history, though. In 1862, during the second year of the Civil War, Abraham Lincoln had a Union Army uniform made for his son Tad. This gift was followed by another—a fully functioning miniature cannon. Legend has it that Tad interrupted a presidential meeting by firing miniature cannon balls at the Cabinet Room door. However, while Lincoln, a doting father, undoubtedly wanted to please his son, the president had asked for a cannon “that (Tad) can not hurt himself with.”
Miniature cannons, unlike miniature handguns and rifles, were inherently simple and easy to manufacture. The creation of miniature small arms, on the other hand, required manual skills backed by decades of training and practice, and craftsmen who were utterly dedicated to excellence and quality. To the artist/craftsman of any era, mass production is unthinkable because it rejects the standards of the master and embraces the second rate, or worse. Now, more than ever, modern technology and manufacturing are squeezing out traditional craftsmanship of all types, and even threatening its future!
The existence of quality miniature firearms has always depended on three factors: a design to work from’; master craftsmen who possess a sense of beauty as well as technical brilliance; and a community of patrons and collectors who understand the artisan’s work. In our time, we have the entire history of firearm designs to draw from. The guild system has disappeared, but a few master craftsmen labor to keep the very idea of mastery alive. The royal patrons of the Old World have disappeared as well, but a new group of connoisseurs has replaced them. These are men and women who collect miniature firearms for their intrinsic beauty, for their astonishing workmanship and for their value.
The exquisitely crafted miniatures of masters such David Kucer are, in their distinct way, monumental, but easy to own and display. And, to echo Lincoln’s words, they can’t hurt a soul.
(The above copy on the history of miniature firearms is reproduced from a promotional booklet on David Kucer’s work.)
For more on David Kucer and his work you can visit his personal web site at: www.kucer.homestead.com/files/.
• To read an article on David Kucer in parcours ART & art de vivre (French) magazine, CLICK HERE.
• Article from Miniature Arms Newsletter, October, 2006 shows craftsmanship awards to Michel Lefever, Xu Yan and David Kucer.
• Article from Miniature Arms Newsletter, April, 2007 features a Queen Ann pistol by David Kucer.
It was announced in November, 2005 that David Kucer has been selected by Joe Martin as the 2006 Metalworking Craftsman of the Year. Mr. Kucer will attend the North American Model Engineering Society Exposition in Toledo, Ohio April 22 and 23 to show some of his work and to accept the award. Mr. Kucer is the 10th person to receive this award. More on the award and links to previous winners can be found on the Awards page. He will receive an award plaque, a gold medallion and a check for $1000.00 at the show.
(Click any photo to view a larger image.)
|This display in the Craftsmanship Museum in Vista, CA houses an 1854 Smith & Wesson "Volcanic" lever action pistol in 1/3 scale as well as a copper Remington powder horn.|
|Smith and Wesson were partners in the design of this
early cartridge firing repeater. They formed the "Volcanic Repeating Arms
Company" to produce it, but financial troubles eventually led to the
company being taken over by their chief investor, Winchester. Years later
the partners designed a revolver that sold in great numbers during the
Civil War under the Smith & Wesson name, assuring the company's success.
The first photo shows the gun uncocked, while the second shows how the trigger guard became the cocking mechanism, a feature that Winchester would later successfully evolve into the design of their rifles.
|A Colt Double Action Frontier revolver made for presentation about 1880 and a miniature of it made about 90 years later in 1970 by David Kucer.|
|Three rifles in 1/3 scale:
Top: Colt Root Model 1855
percussion revolving rifle.
|End view of the barrels of a Frank Wesson derringer. At the top is the full size barrel and below it is the miniature copy. At the bottom is the specially ground milling cutter used to replicate the contour of the barrel. You can see the same contour repeated on all three items. Compare the U.S. nickel coin for size.|
|A 1/3 scale revolver with scale sized bullets to show that it loads and functions just like the real thing.|
|1/3 scale Baretta and clip in presentation case with a U.S. dime coin for comparison.|
|Borchart in 1/3 scale, cased with all functional accessories: stock with detachable cheekpiece, screwdriver, spare clip, oil can and cleaning rod. Over 100 items had to be reproduced in miniature in order to complete this project.|
|Colt .25 Automat in 1/3 scale. Completely functional. Nickle plated finish and mother-of-pearl grips with the rampant Colt logo.|
|1/3 scale Colt .25 Automatic, 1908 First Model.|
|Cased set of Colt Model 1860 Army percussion revolver, with detachable shoulder stock, and Colt Model 1851 Navy percussion revolver.|
|Colt Model 1873 Army model or "Peacemaker revolver, with ivory grips.|
|Colt New Century Model military revolver, with ivory grips.|
|A two-fifth scale Colt 1851 Army. Overall length is 5.25 inches, Engraved by Carlo Pasotti.|
|1/3 scale, 1862 Colt Police Model Cap and Ball pistol set with walnut grips. Includes powder flask, bullet mould, cap box and nipple wrench in walnut box.|
|Colt revolving rifle|
|Miniature Colt Root Model 1855 revolver.|
|Cased set of Colt pistols in 1/3rd scale. Engraved by
The 1860 Model Army revolver is provided with a detachable shoulder stock. The set is provided with a model copper and brass powder flask with decoration in low relief, bullet moulds, and a percussion cap canister with an accurate copy of the paper label of the full scale original. The Colt Model 1851 Navy revolver cylinder is only about 1.5 cm (or 5/8 inch)! Both pistols, the shoulder stock, and accessories are fitted into an exquisitely hand crafted wooden case less than 15.5 cm (6-13/16 inches) and 12.4 cm (4-7/8 inches) in length and width - about the size of a small paperback novel!
|A full size Derringer and the 1/3 scale model.|
|A fighting gun that folds up to form a pair of "steel
knuckles." The gun can also be used as a knife.
The second photo shows it in the folded position compared to a U.S. dime coin.
|1/3 scale 2 mm pinfire based on a French/Belgian single and double action pinfire revolver with a one piece barrel/blade.|
|9 mm Navy model Luger with holster and stock.|
|German P.08 Luger semi-automatic pistol with ivory grips.|
|Luger with detachable wooden ahoulder stock|
|Mauser with detachable wooden shoulder stock in display box|
|Mauser with detachable shoulder stock installed|
|1/3 scale, 1862 Colt Police Model Cap and Ball pistol set. Ivory grips. With powder flask, bullet mould cap box and nipple wrench, in walnut box|
|Ruger revolver in 1/3 scale|
Miniature late 18th century type hunting sword with combination flintlock pistol.
|1/3 scale Volcanic, lever-action pistol. Note U.S. dime for size comparison.|
|Walther P38 in 1/3 scale.|
|1866 Winchester carbine in 1/3 scale. Ovearall length is just over 12 inches.|
|Most of us just can't get enough of the old gangsters' favorite weapon, the Thompson machine gun. Developed for use in late WW I, it also saw service in WW II. Shown here with it's round clip removed, you can see some of the gun's detail. A straight clip could also be fitted. It was used by both the military and by many police departments and was quite a new concept when first introduced.|
|Designed and built by David Kucer, this small milling machine made it possible for him to make the small, precise parts needed for his miniature guns. Sometimes, being a craftsman means making the tools you need before you can make the parts you need.|
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