What are Ranger Belts and Ranger Buckle Sets ?

In the mid 1800s, the Texas Rangers developed the Ranger Belt. It was designed so that they could carry a large, heavy sidearm, usually the Colt Walker, which had a holster that required a wide belt.

Texas Ranger Cpl. J. Walter Durbin (at right) said he had some 15 good men in Company D, though a few could be a “little fussy and dangerous” when drinking. Private Wood Saunders (at left) measured up splendidly—on both counts. This is one of my favorite photos because it shows how both Rangers carried their six-shooter Colts just forward of the hip, butt to the front, easily permitting a strong-hand cross draw. Courtesy Nita Stewart Haley Memorial Library & J. Evetts Haley History Center and True West Magazine

Prior to this, the Rangers carried long guns and belts were not commonly used.

From True West Magazine: “The six-gun’s heft made impractical the common practice of stuffing a pistol into the waistband of the bearer’s pants, or into a cloth sash tied around the waist or hips meant to secure pistols, knives and other means of self-defense. Belts were not in common use at the time as pants were high-waisted and tightened with a cinch at the back, or supported with suspenders over the wearer’s shoulders. Thus, these Colts were carried in holsters mounted on saddles.”

By making a wide stiff belt but with narrower, more flexible billet straps in the front, the holster and heavy gun would be supported but the fastening of the belt would be easier. Because of the wide belt underneath the billets, the belt could be tightened without pinching because of the protective underlayer.

The belt design employed the same technique used for tightening horse cinches without pinching.

There is an underlayer of heavy leather under each ring that the latigo passes through, therefore no pinching when cinching up !

 

A modern ranger belt ready to dress up with a Native American buckle set.

A more modern variation of the Ranger Belt is the Tapered Belt that starts with a standard belt and tapers the buckle end and the tip end to a narrower width, usually 3/4″

The Ranger Belt or Tapered Belt will allow easy change if they come with 3 sets of snaps, one to attach the buckle and one each for the two keepers.

Tapered belt with 3 sets of snaps for Ranger Buckle Set

Kingman Inlay Ranger Buckle set by Zuni artist Stanford Coochi – shown on a Tapered Belt

To set the tip, simply punch a hole in the leather in alignment with the position of the peg in the tip and slip the leather in, lock it in place. The 1-3 series below uses the scrap leather than comes with the set to show how it is done. Photo #4 below shows a finished belt tip.

1 – The backside of the tip showing the peg

2 – Punch a hole in the same position as the peg

3 – Slip the Leather tip into the sterling tip, locking the hole onto the peg

4 – Finished belt tip for the belt below, back side

Sterling Silver Ranger Buckle set by Navajo artist Lee Charley – shown on a Tapered Belt

Paula

Marcus Coochwykvia Hopi Silversmith

Eagle buckle by Marcus Coochwykvia

 

Marcus Coochwykvia

Marcus Coochwykvia has been working as a Silversmith since the 1970’s.  

Trained to make jewelry first by his brother-in-law Glen Lucas, then Roy Talahaftewa and through his association with Hopicrafts, Marcus appears in many books on Native American jewelry.

He lives in Mishongnovi and is a member of the Bear Clan.  Although some of Marcus’ pieces have a hallmark of a Bear Paw with Friendship Marks in the pad, some just have his initials MC.

My belt buckle has both marks.

Hallmark of Marcus Coochwykvia

 

 

Paula

What is a Shadowbox?

Recently a customer ordered a shadowbox item from our store and when she received it, she was shocked saying “but it is hollow, it is not solid !!” We used the term shadowbox in the description and showed all kinds of views revealing the construction but perhaps if  a person has never seen a shadowbox, he or she might not know what they are looking at and what to expect.

Shadowbox Belt Buckle - Wilbur Musket, Navajo

Shadowbox Belt Buckle – Wilbur Musket, Navajo

A common jewelry technique used by Navajo and other Native American silversmiths to add interest and layering to a piece is a shadowbox.

The shadowbox technique consists of a cutout top layer that is usually domed and that is soldered to a solid bottom layer.

Vintage Shadowbox Ring

Vintage Shadowbox Ring

The cutout design on the top can vary from paw prints to kokopelli to blanket designs – limited only by the designer’s imagination.

Shadowbox Bolo Tie with Paw Prints

Shadowbox Bolo Tie with Paw Print Cutouts

The bottom layer might be left bright silver or oxidized to give a dark contrast to the cutout design.

Shadowbox Bracelet by Pauline Benally, Navajo

Shadowbox Bracelet by Pauline Benally, Navajo —-the underlayer has a darkened (oxidized) background for a contrasting accent.

Stones are often set into the shadowbox – some artists let the stones protrude somewhat out of the top of the shadowbox and others use stones that when set are flush with the cutout layer.

Shadowbox ring showing one flush (turquoise) and one protruding (coral) piece

Shadowbox ring showing one flush (turquoise) and one protruding (coral) piece

Paula

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Navajo Silversmith Roland Dixson

Navajo silversmith and artist Roland Dixson produces traditional sterling silver pieces with excellent stampwork.

Roland Dixson Naja Pendant

Roland Dixson Naja Pendant

Characteristics of his style include scalloped edges with deeply domed centers.

Roland Dixson belt buckle with scalloped edges

Roland Dixson belt buckle with scalloped edges

The stamping is deep, intricate and not repetitive from piece to piece. He also incorporates repousse as evidenced in the photo showing the back of the buckle.

Roland Dixson buckle back showing evidence of repousse

Roland Dixson buckle back showing evidence of repousse

Repousse is a technique whereby metal is hammered into relief from the reverse side.

From the pieces that have come through our store, it appears that Roland Dixson uses only natural, untreated turquoise. Here is his hallmark.

Roland Dixson hallmark

Roland Dixson hallmark

I don’t know much about this artist so if anyone has any biographical information, I’d love to hear it.

Paula

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To Polish or Not to Polish, That is the Question……….

We sell many used and vintage pieces that have from light to heavy patina and tarnish on them. We leave the choice of whether to polish or not to the customer.

Patina is the overall uniform darkening that occurs from aging. Patina adds a richness to vintage pieces. How much patina you like is personal preference, there is no right or wrong.

Tarnish, on the other hand, is a thin dirty film that appears on silver as it oxidizes. Tarnish, in my opinion, should be remove regularly using a mild method, such as with a buffing cloth.  Each of these pieces took about one minute to fully polish with a cloth.

Here is one of my favorite contemporary Hopi Man in a Maze bracelets (by Cyrus Josytewa) before buffing. Basically a dirty bracelet !

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BEFORE

30 seconds later - half done

30 seconds later – half done

DONE One minute of polishing

DONE One minute of polishing

Tarnish on polishing cloth

Tarnish on polishing cloth

Hubby’s favorite buckle (Stanley Gene, Navajo) has some nice patina and also has tarnish. I’m on the fence with this piece – I actually think I prefer the overall patina but he volunteered it for an example. A buckle makes contact with a lot of surfaces so even after the tarnish is removed, the buckles still has its character scratches.

BEFORE

BEFORE

Midway

Midway

AFTER

AFTER

Here are some more articles related to jewelry care:

Are you supposed to polish Navajo Pearls?

Cleaning Vintage Native American Jewelry

A reminder about jewelry polishing cloths

Paula

Robert and Bernice Leekya – Nugget Jewelry since 1953

Zuni husband and wife Robert and Bernice Leekya are known for their bold turquoise (usually Kingman) nugget jewelry. They have been making it since 1953.

Here I will showcase some examples of their work……….

Zuni Cluster bracelet by Robert and Bernice Leekya

NBT483-634-turq-cluster-leekya-3NBT483-634-turq-cluster-leekya-4 Zuni Cluster bracelet by Robert and Bernice Leekya

Born in 1934, Robert was taught by his father, a master Zuni jeweler Leekya Deyuse.  Here are some examples of Leekya Deyuse’s work – he is often just referred to as Leekya. Born in 1889, he remained active in his craft until his passing in 1966.

Leekya Deyuse 1 Leekya Deyuse 2Bernice Leekya, born in the 1930s, was formerly a maker of cluster work.

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NR472-712-petit-turq-leekya-1NR472-712-petit-turq-leekya-2 Cluster Ring by Robert and Bernice Leekya

After her marriage to Robert, she worked with him on the nugget jewelry also. WL-398-turq-leekya-4

NR507-11-nugget-turq-leekya-1

WL-399-turq-leekya-3

NR508-1114-nugget-turq-leekya-1

WM180-turq-leekya-3

NR509-11-nugget-turq-leekya-1

WM-189-turq-leekya-5

S421-turq-buckle-bolo-watch-4A

S421-turq-buckle-bolo-watch-4A-2 Leekya bolo tie detailsS421-turq-buckle-bolo-watch-4B

BU132-WB-turq-leekya-1 CB50-kingman-leekya-13

Robert shares the RLB stamp with his wife Bernice Leekya. The larger L extends below the B.

Paula

Lawrence Saufkie carried on the Hopi Tradition of Overlay

Lawrence Saufkie (1935-2011), Hopi Pueblo, Bear Clan, was the son of Paul Saufkie Sr. and Ruby Saufkie and brother of Andrew Saufkie, Paul Saufkie, Jr., Vaughn Saufkie; husband of Griselda Saufkie; father of Wilmer Saufkie Lomayaoma; uncle of Bob Sekakuku.

Lawrence_SaufkieLawrence learned silverwork, particularly overlay, from his father Paul Saufkie Sr. His father and Fred Kaboutie began perfecting this style in the 1930s and when Hopi soldiers returned from World War II, they began teaching them the method.

What is Overlay?

With silver overlay, there are two layers of silver. The top layer is a scene, figures, or symbols meticulously cut out and then place on a solid silver layer.

The bottom layer is the background behind the cutouts and is traditionally darkened (oxidized) for contrast. In addition the same areas are usually etched with hashmarks.

The two layers are “sweated” together – that is, the silver is heated so that the two layers meld.

The result is a 3-D picture with great depth and interest.

BU129-BG-bearpaw-saufkie-2

Throughout his life, Lawrence was a great ambassador of Hopi jewelry and a teacher to many.

His hallmark is a bear and SAUFKIE like this

Hallmark of Lawrence Saufkie, Hopi

Hallmark of Lawrence Saufkie, Hopi

Lawrence Saufkie was a Hopi silversmith for more than 60 years. In 1998, he was recognized by the American Museum of Natural History for his contributions to this art form and was the recipient of the Southwestern Association for Indian Arts Lifetime Achievement Award.

Lawrence Saufkie was designated an Arizona Living Treasure in 2002. He has been featured in numerous magazines and books and his work has been collected by museums such as the Heard Museum, the Museum of Northern Arizona, the Peabody Museum, and Harvard University.

BU129-BG-bearpaw-saufkie-1Paula