0911.12 This bridle has been very hard to photograph. How to show the shape of, and the engraving on, the bit shank connector bar, for instance? Or the top of the crown strap, with its many little silver spots? Those spots are custom-cut hot fixes, sunk as the jewels were sunk, (or at least I tried to sink them!) because I'm convinced that is a good way to prevent dislodging and loss by catching and snagging. The cheek strap buckles have stainless steel tongues and the keepers are braided buttons. The curbstrap is an entirely new design for us, comprised of two button-and-loop fixtures combined. The curb is an important design link between reins and headstall. It must have elements of both in its design. This curbstrap matches beautifully, although I think it is still a bit small and short -- more work to be done.
Since the owner requested this tack for a palomino horse, here it is, trying out its colors. I have always loved green and gold.
It is not easy to combine braidwork with silverwork. The apparent contradiction has bedeviled me for years. However, recent study of 1980s and 1990s California Arabian pictures reveals plenty of cases of bridles and romal reins carryng both. The Sergeant's Western World show halters are another good example. Now I'm stuck, in that everything I put this much energy into has got to have braidwork on it. :) This bridle was originally intended to follow the 'crystal' craze. I think it has drifted a few degrees silverward, however.
This horse is Matriarch, sculpted by Carol Williams. I haven't forgotten you Sue Peet!! -- here is another example of the results of your generosity... Tackmakers can't always afford to have every mold they need, so friends in the hobby, to swap and share with, are a good thing, and much appreciated.