Leather Artist Turns Tinkering Into Career

By Liisa Andreassen [gallery ids="1086,1085" type="rectangular"] He says he kind of stumbled into it, but now it’s become a full-time career. Sam Stuart, owner of Bar X Custom Leather in Lubbock, Texas, was recovering from a knee injury on his granddad’s couch, when he first started fooling around with some leather-making tools. “My granddad was a simple cowboy. He built tack and always had tools and stuff laying around. I

Barry King: Precision Tools for Precision Work

By Nick Pernokas Over by a wall at the Boot and Saddle Makers Roundup, in Wichita Falls, Texas, there is a crowd gathered. Hats and shopping bags obscure what they’re looking at. It looks like the free sample cart at the local supermarket as the crowd hovers. If you push your way closer though, you can see craftsmen bent over, stamping pieces of leather. They carefully scrutinize their work, before

Fenoglio Boot Co.

By Danna Burns-Shaw [gallery ids="1070,1076" type="rectangular"] Texas is known for many things: The Alamo, BBQ, Football, Black Gold-Texas Tea, Size (everything is bigger in Texas), Texas Longhorn, Texas Star, Chili, Hot Summers, and of course their slogan, “Don’t Mess with Texas.” Texas will claim that the first American cowboy boots were made in Texas, by H. J. “Daddy Joe” Justin in Spanish Fort, Texas.  Folks from Kansas will argue the

Building Saddles for the Working Cowboy

Oliver Saddle Shop is the oldest, family-owned saddle maker in Texas By Lynn Ascrizzi In these modern times, you might think that the iconic, working cowboy is fast becoming a rare breed. But, longtime saddle maker Richard Oliver, who owns and operates the Oliver Saddle Shop in Amarillo, Texas, has his own take on the subject. He and his small team specialize in building saddles for the working cowboy. “This

Remington and Russell

The "Titans of Western Art" By Gene Fowler "In the Wake of the Buffalo Runners," 1911, Charles M. Russel, oil on canvas, courtesy private collection Standing in front of Frederic Remington’s 1889 oil painting, A Dash for the Timber, at Fort Worth’s Amon Carter Museum of American Art, I am reminded of the words of a California friend. “You’ve got to see these things in person.” I’d written him about