Saddle ID

[bruce johnson]

As some who know me form other lists are aware, I have an appreciation for the past. I picked up this little cutie last winter, and have some impressions on it, but nothing concrete. The "provenance trail" is cold. I would appreciate any advice on who might have made it, there is no maker's mark to be found. The tooling pattern was not uncommon although many suggest Porters. I have another Porters saddle, but it is maker stamped about everywhere you could stamp one. The front ring riggings hung off the skirts were a Porter deal for a while, but most did not have the small rear dee. Could have been, but that was common for some of the San Francisco shops in the 30s and 40s too.

A few have commented that the silver is probably older than the saddle and was either scabbed on after it was made, or provided to the maker at the time of ordering. The pattern of the conchos with the pico points and crowsfoot pattern was common for a long time from early Garcia to ?? The stirrup conchos are rounded, no points like the string conchos. I see that on some of the Garcias, and old Keystons. Whether that is by intention (the points catch brush or tear things up) or these are replacement stirrups -??

The puzzler, and attraction for me, are the swell plates. They are definitely hand-done. I can see side to side subtle differences. The stemwork coming out of the 5 petal flower on the top front and rear is interesting. Many of the pieces engraved by the silversmiths of the day had a similar pattern but their leaves had rounded points, and what we would call decorative cuts in leather, did not reach the center of the stem. I have a Gutierrez bit, and although it has been suggested the swells are reminiscent, there are the differences. There is no makers stamp on the back of the string conchos. I tried to remove one swell plate. After popping the head off a nail, called it good and pulled it enough to peen down and look original.

Any thoughts, impressions, or referrals for information on either the saddle itself or silver would be appreciated.

[mulefool]

Well, I can't help you out on identifying the saddle, but it sure looks like the silver was just an add-on. the carving doesn't appear to have been done with the placement of silver in mind. I do like that swellplate.

[Art]

Hi Bruce,

There are a lot more experts here than me, but the overall lines and the carving look like Al Nolte or maybe Kelly Rowell or John Olsen or Walt Goldsmith. Of those I think Rowell or Goldsmith are your best bets.

Art

As some who know me form other lists are aware, I have an appreciation for the past. I picked up this little cutie last winter, and have some impressions on it, but nothing concrete. The "provenance trail" is cold. I would appreciate any advice on who might have made it, there is no maker's mark to be found. The tooling pattern was not uncommon although many suggest Porters. I have another Porters saddle, but it is maker stamped about everywhere you could stamp one. The front ring riggings hung off the skirts were a Porter deal for a while, but most did not have the small rear dee. Could have been, but that was common for some of the San Francisco shops in the 30s and 40s too.

A few have commented that the silver is probably older than the saddle and was either scabbed on after it was made, or provided to the maker at the time of ordering. The pattern of the conchos with the pico points and crowsfoot pattern was common for a long time from early Garcia to ?? The stirrup conchos are rounded, no points like the string conchos. I see that on some of the Garcias, and old Keystons. Whether that is by intention (the points catch brush or tear things up) or these are replacement stirrups -??

The puzzler, and attraction for me, are the swell plates. They are definitely hand-done. I can see side to side subtle differences. The stemwork coming out of the 5 petal flower on the top front and rear is interesting. Many of the pieces engraved by the silversmiths of the day had a similar pattern but their leaves had rounded points, and what we would call decorative cuts in leather, did not reach the center of the stem. I have a Gutierrez bit, and although it has been suggested the swells are reminiscent, there are the differences. There is no makers stamp on the back of the string conchos. I tried to remove one swell plate. After popping the head off a nail, called it good and pulled it enough to peen down and look original.

Any thoughts, impressions, or referrals for information on either the saddle itself or silver would be appreciated.

[bruce johnson]

Art,

Interesting the "short-list" of names you came up with. Walt Goldsmith has been mentioned before, but I am striking out finding many examples of his work. Also interested that you mentioned Rowells. Hayward is one valley away from me, and the names of Earl Naninga and Bob (?) Bentley have come up too. They both worked at Rowell's at one time. Would be cool if it was an Olsen-Nolte.

A supposition has been put forth that would make a pretty good story. Why is there no maker's mark on this saddle? Most all the shops marked their work. This is a pretty good saddle, not a Sears catalog model. Looks like a shop's catalog model. Someone who knew what they were doing did it. Two possibilities. Someone did it on their own for pocket money. Either at night in a home shop, or someone between shop jobs. Wouldn't be the first time that raw materials left a shop a piece at a time.

Any more referneces or info on Walt Goldsmsith would be appreciated. Thanks,

Bruce

[Art]

Hi Bruce,

Walt Goldsmith did most of the production for Olsen-Nolte after Al passed. I think Olsen-Nolte still exists although in San Carlos as opposed to the Opera House in San Francisco (on Third, about 4701 in the Bayview district), they are the same company so maybe they have an archive?

Attached is a Walt Goldsmith (not Olsen-Nolte)

My Campbell is from the Olsen-Nolte shop when they were in San Fran.

Art

Art,

Interesting the "short-list" of names you came up with. Walt Goldsmith has been mentioned before, but I am striking out finding many examples of his work. Also interested that you mentioned Rowells. Hayward is one valley away from me, and the names of Earl Naninga and Bob (?) Bentley have come up too. They both worked at Rowell's at one time. Would be cool if it was an Olsen-Nolte.

A supposition has been put forth that would make a pretty good story. Why is there no maker's mark on this saddle? Most all the shops marked their work. This is a pretty good saddle, not a Sears catalog model. Looks like a shop's catalog model. Someone who knew what they were doing did it. Two possibilities. Someone did it on their own for pocket money. Either at night in a home shop, or someone between shop jobs. Wouldn't be the first time that raw materials left a shop a piece at a time.

Any more referneces or info on Walt Goldsmsith would be appreciated. Thanks,

Bruce