bh_shank_01

Note the fit and connection lines

I have been building and collecting saddles, spurs and bits since the 1970s and have been a full time bit and spur maker since 1988. Most of my work is California style bits and spurs. I do restoration work on higher quality items for a very few collectors and I work as a consultant to individuals who are just starting or have large collections and have questions. I have done a lot of research on bits and spurs and have a large collection of books that have come out through the years since I was able to purchase was ‘Old West Antiques and Collectibles’ back in 1979. Books have helped very much but I feel that restoration has helped more than anything. When trying to match the work, tools had to be made to reproduce the marks of the piece. In doing this, I have discovered many things in the construction of the old work. It differs from what we do now because we have so many tools that they did not have which allows us to take our work to new levels. Collecting high quality contemporary work is gaining in popularity. This is primarily due to groups that p

Note the fit and connection lines

Note the fit and connection lines

romote high quality contemporary work such as the Traditional Cowboy Arts Association (TCAA) and the Texas Spur Makers Association. The TCAA also focuses on the education of makers, collectors and public so that they can identify quality work.

Some of my most asked questions are: “How do I know if a spur is contemporary or an original old piece?” “Is this an original G. S. Garcia?” “Is this a Mexican spur?” G.S. Garcia is being marked on contemporary pieces coming out of Mexico for the J. M. Capriola Company in Elko, Nevada. Capriola legally has the right to mark the pieces which makes it harder to identify if the piece is old or contemporary. With just a little practice and education, learning what to look for is easy. I will attempt to give you a little advice in what to look for but remember, there are exceptions to every rule.

Note the radius at the base of shank

Note the radius at the base of shank

First thing to look for is how the shank is connected to the band. This is one of the easiest ways to identify the work. If the work is an old California piece it will most likely have a riveted shank. That means the shank has been riveted on the band by filing a square hole in the band to fit the square end of the shank. The square end of the shank and hole in the band is made that way to keep the shank from twisting. The shank should fit the band well with a visible line around the point where the shank meets the band. If the piece is contemporary or from Mexico it will most likely have been welded where the shank meets the band and have a shoulder that is visible.

Note silver on top of steel-not in cavity

Note silver on top of steel-not in cavity

Some of the California pieces and contemporary pieces are forged from one piece of steel and the shank on those spurs will be a crisp 90′ angle where it meets the band with no dividing line and in most cases will not have a shoulder as a welded shank. Mike Morales made one piece spurs as did Phillips and Gutierrez. There are a very few makers out there now that make ‘one piece’ spurs. Another thing to look for is the way the piece was inlaid. Most of the old California and U.S. contemporary makers chisel out their silver cavities and set their silver by undercutting the edge of the cavity and hammering the silver into the cavity, while in Mexico they use a very thin piece of silver and just undercut the steel for the edges of the silver with no cavity and burnish the silver in place causing it to spread smoothly and look like an inlay. They use tools to engrave that do not dig as the old gravers did so that it does not cut through the silver. The way to tell the difference is to look at the stripes on the edge if there are any and the inlay itself. On an old piece, the silver inlay will be flush with the steel (if it has not yet rusted under the silver) and the stripes will also be flush with the steel and you may be able to see the undercut. On a Mexican piece, the silver inlay will be very slightly above the steel and on the stripes you will see a chisel cut on each side with the silver again slightly above the steel.
The engraving will also tell a lot about the spur but engraving is easy to copy. The old California engraving was usually done with the same tools that were used to cut the cavities. Most of the engraving on the old pieces looked something like this. Note the chisel marks are done with a flat chisel leaving a long cut to the outside.

Bright cut: note use of linear single point and note use of point graver

Bright cut: note use of linear single point and note use of point graver

Now on most of the Mexican, and a good part of contemporary work, the engraving is done bright-cut style using modern tools. One of the easiest ways to tell old engraving from Contemporary is the use of a liner. A liner is a graver that makes uniform side-by-side lines on the piece engraved. The liner is used for shading in bright cut engraving, remember, the old engraving was done with what tools they used to cut the silver cavity. Old work will not have a liner because they were not readily available. Some of the master level makers now are going to single point or firearms style engraving which is different than the old way as only a square graver is used and not the flat graver or chisels. The difference is in the way the gravers cut the material.

Chisel marks are done with a flat chisel leaving along cut to the outside

Chisel marks are done with a flat chisel leaving along cut to the outside

Chisel marks are done with a flat chisel

Chisel marks are done with a flat chisel

With these few pointers you should be able to tell the difference but nothing takes the place of experience. I suggest those interested take the time to buy a few books, look at as many different pieces of work as possible and ask questions of the makers working now. Times have changed and makers are now more willing to answer questions and explain the differences in work. Ask someone trustworthy what they think before buying a piece you are not sure of. Do not be in a hurry to buy that G. S. Garcia from the old cowboy that has had them since the teens if they just don’t look right. It takes a while to get an ‘eye’ for engraving patterns and such but it is better to wait until you are sure than to just buy a piece because it might get away if you do not buy it right now. There are too many people out there who are more than willing to sell something they know is not right and once you buy it, it is yours. There are also a lot of people out there who would be glad to help and answer questions. Be careful, study as much as you can, and do not be afraid to ask lots of questions. That is how we learn.