When a person is busy selling saddles during BreyerFest, it is not easy to get out and go shopping for tack for herself. That was particularly true this year: Of two saddles recently purchased for myself, only one was gotten at BFest, and that on the last day, Sunday --- practically the last hour. The second was purchased a week after I got home from BreyerFest. Some things just take time.
For the record, my shopping list of 3 horses didn't get filled either; I came home with only 1 of them (below). But I got 8 other horses, so I'm not complaining!
This post will be a thorough look at those two Western saddles. One is a Donna Hutchins (above) and the other is a Darleen Stoddard (top). Neither artist has been represented in my collection before this, yet both are important saddlemakers I have long wanted -- Stoddard in particular. My Western saddle collection is all about tackmakers I admire and wish I had pieces from: pieces I can afford and can acquire when circumstances allow (in other words, can find for sale at all!).
The Hutchins was a surprise, an impulse purchase at the very tail end of BreyerFest and my last big plump for the event. It was, in fact, the last thing I got, all the sweeter for being unexpected.
I had never seen anything like it. Even knowing Donna's work, fanciful with curlicues and nail art, almost Art Nouveau in feel and execution, this seemed a one of a kind. Those black lines are drawn on the leather.
At a guess, Micron pens to the fore!! There are exhaustively delicate strips of handcut, stamped silver tape around the borders, plus a wealth of roses, rose leaves and white dot rows: nail art that gives this saddle a candy Rococo flavor. It is a gem of near-elven elaboration.
The bridle cheeks have matching roses set in shaped cheekpieces. The braided floss reins even have their own buckles. This is amazing and delicate detail.
My collection of pictures of Donna's work starts in 2011 and tapers off after 2018, with one in 2019. Most of her saddles are very pretty in design and amazingly detailed, full of restrained flourishes and elaborate, if fragile, decor. They often have strong contrast. Here's a shot of the breastcollar, showing the central rose, which is repeated on the saddle conchos and bridle rounds.
Here's a close-up I'm using to show the cinch: It was drawn on too. I don't know what to call this kind of tooling: Not tattooing because it doesn't pierce, but dang, that sure is ink...
The saddle is signed "La Rosa Espinosa ScS 2012" in the same ink under the fender. This stands for "Shadow Cat Stables," Donna's stable name.
Fragile, yes. The tape was lifting, and I glued it down in several places. No doubt the blanket (dark grey felt, see 2nd, 3rd and 4th photos) was chosen not to detract from the saddle. I found it invisible on a dark horse, and not at all up to the standard set by the saddle. I think a one- or two-color simple cross stitch blanket would be a help here.
The Hutchins saddle is a work of art I would hesitate to use for anything but photos. The Stoddard set is an equal work of art with very different bones.
This was the auction no. 21 saddle for C. Partee's Colette Robertson dispersal sale. I think it was the original piece which got me thinking Darleen was really good and that I wanted one of hers! Darleen's style was well set by the time this saddle was made, in 2003. Imagine my delight when I found that, contrary to what the auction photos showed, the crosses in the plates were gold!! Having recently failed to win a fabulous Stoddard Parade set in silver and gold during the July 11 Colette auction,
I was all the more desperate to obtain a Stoddard. Even so it was a close thing. I've learned so much about auctions this year, from both ends!, but they are no more perfect than they ever were in distributing goods to the deserving. The hard part about holding auctions like these is seeing friends you wish could win a piece having to bow out. If they (if I) must lose let it be with grace.
On this saddle there can be no criticism of the blanket!! The whole style was strong, heavy and well made. I am reminded of the Sergeant's catalog saddles: angled skirts, large plates, plenty of silver, and elegantly simple complete tooling, in this case basketweave with a theme of crosses.
I did, however, have criticism of one part of the bridle. Darleen had used a rare but effective way to make the cheekstrap adjustable, relying on friction through the buckle on an attached wire ring. The friction was so tight it was nearly impossible to move the strap. There were silver tape strap tips, and there was no earthly way those tips were ever going through the rings. To adjust them was to destroy them, so, slowly, carefully, I wound up gently taking them off, to stow safely elsewhere until called for. Strap tips are the very devil to execute in model tack, and silver tape -- however useful overall -- just isn't a good material for them.
That said, there was something else about this saddle I loved. It had a second unexpected beauty: Jewel concho points!
So hard to photograph! In desperation I shut off the lights and pulled out my pocket flashlight. Shooting Mink pins has taught me this. With the Stoddard saddle it resulted in the jewel looking very green,... you'll just have to take my word for it!
That's not corrosion, that's reflection and my camera's exaggerating the flash of aurora borealis bling on crystal.
I'd rather not PhotoShop it better. I'm already struggling with the right color on these saddles. Dang shop has got one incandescent and one LED and it results in some weird colors... These dark background shots are actually the most realistic ones of the saddle's color.
I am so happy and relieved to finally acquire these two saddles. My collection is richer for having these artists. Thank you Christie and 'someone in the 300s.'
