Not actually jewelry 
Finishing up with engraving and background stippling, and getting ready to apply secret antiquing sauce.
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Perhaps not in the traditional sense, but no doubt performed by a master graver who has a keen eye for tasteful design, nonetheless. This is stunning, Mike! Beautiful work, thank you for sharing! 
Including your hours spent in design, would you be willing to share how much time you have vested in such a slide?
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Gorgeous, Mike! The design is so mesmerizing and graceful.
My dad is a gun collector. When I was a kid, I was fascinated by the ones that looked like “jewelry”, with engraving, inlay and pearl or ivory grips.
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@mmrogers Absolutely gorgeous. Your engraving work and design are masterful bar none. Any gun enthusiast would be proud to own that. (That’s my favorite model & caliber. Mine is a stainless steel Remington R1S, though, not a Colt.)
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Thanks @Ravenscry, @Stracci, @Patina!
Not quite done yet, Aaron. but so far I have around 45 or so hours in the design work and layout (both sides of the slide), and a total of 16 or so between the engraving bench and fiber laser.
This is actually the first 1911 slide I’ve done, and was created as an experimental work, merging traditional hand engraving design and technique with layered fiber laser fine art lithography to create the finished work, which after the first piece is done is re-produceable for limited edition works.
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Here’s an image of the process work for the LH side of the slide (shown in the photo), @Stracci . The completed scrollwork was transferred from the RH side, and new scrollwork, and elements integrated and woven in to create a contiguous design matching the other side. Different colors are used in the newly integrated scrollwork to define areas for interweaving, and fine shading.
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Absolutely beautiful, Mike! Your talented execution of engraving on the slide really compliments the lovely wear that’s present on the rest of the frame. This is a stunning piece.
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I’m oohing & ahhing over here!! You took a classic and iconic pistol to the next level with this beautiful engraving. Bravo! Those grips get a thumbs up, too. Thank you for sharing your finished work.
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Oh my gosh, that gun is a stunner!
Amazing work!
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It’s so gorgeous, Mike.
I could stare at this design all day.
It looks like acanthus leaves from a Corinthian column. I always assumed this was the origin of Western scrollwork, but I’ve never researched it to be sure.
Decorative arts certainly have crossed centuries and continents!
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@mmrogers Your engraving on the .45 enhances the beauty of the vintage patina. The furniture looks great too. Well done.
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Wonderful engraving Mike. How many hours? When I find the right 1873 Colt in .45 Colt I may be in touch.
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Thank you, Aaron. Now if I only had your knack for photographic composition!
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Appreciate it @Phoenix7!
I do like the grips. That’s something my client had done, along with a buttery smooth match trigger which is really sweet. I haven’t fired the gun, but plan to (with my client’s encouragement and permission) before I send the gun back to him.
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The scrollwork style is called Arabesque, @Stracci, and not surprisingly it was very popular in pre-renaissance Sicily and Spain during the reign of the Norman Hauteville dynasty. I don’t know the history of how it came to be so popular in the West but suspect it was introduced to Western culture through the influence of Spain, France, and Mexico.
ETA: I asked Grok AI about the history of Arabesque scrollwork in western design, and it responded with the following:
Arabesque scrollwork, characterized by intricate, flowing patterns of vines, leaves, and geometric forms, became a popular traditional motif in the American West through a blend of cultural influences, trade, and artistic adaptation during the 19th century. Its journey to prominence in Western design reflects the region’s diverse heritage and evolving aesthetic.
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Spanish and Mexican Influence: The roots of arabesque scrollwork in the American West trace back to Spanish colonial and Mexican artistic traditions. Spanish settlers brought Moorish-inspired designs, which featured arabesque patterns from Islamic art, to the New World. These motifs were prominent in architecture, textiles, and metalwork in regions like New Mexico, Texas, and California. Mexican artisans, particularly in the Southwest, incorporated similar flowing, curvilinear designs into leatherwork, silverwork, and furniture, which became foundational to Western decorative arts.
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Trade and Cultural Exchange: As the American West expanded, trade routes facilitated the exchange of goods and ideas. The Santa Fe Trail and other networks connected Anglo-American settlers with Mexican and Native American craftsmen. Arabesque-inspired designs appeared in saddles, spurs, and conchos (silver medallions), blending Mexican silverwork traditions with Anglo tastes. These items became status symbols among ranchers and cowboys, embedding the motif in Western material culture.
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Victorian Influence and Ornamentation: During the late 19th century, the Victorian era’s love for ornate decoration influenced Western design. Arabesque scrollwork, with its elegant and versatile patterns, aligned with the period’s aesthetic. It appeared in furniture, architecture (e.g., gingerbread trim on Victorian homes), and even firearms, where engraved scrollwork became a hallmark of high-end craftsmanship. This trend was amplified by Eastern manufacturers catering to Western markets, who incorporated arabesque motifs into catalog goods like saddles and buckles.
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Cowboy Culture and Symbolism: The romanticized cowboy culture of the late 19th and early 20th centuries elevated arabesque scrollwork as a symbol of Western identity. Artisans like G.S. Garcia and Edward H. Bohlin, renowned for their saddles and silverwork, used intricate scrollwork to create iconic pieces for rodeos, Wild West shows, and Hollywood Westerns. The motif’s association with luxury and craftsmanship made it a staple in cowboy attire and gear, reinforcing its place in Western tradition.
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Native American and Frontier Adaptation: Native American artisans, particularly in the Southwest, adopted and adapted arabesque-like patterns in their own work, such as in Navajo silver jewelry and textiles. The fluidity of scrollwork resonated with indigenous design sensibilities, creating a fusion that further popularized the motif in Western art.
By the early 20th century, arabesque scrollwork had become synonymous with the American West’s visual identity, appearing in everything from ranch architecture to rodeo trophies. Its appeal lay in its versatility, ability to convey sophistication, and deep roots in the region’s multicultural history. Today, it remains a hallmark of Western design, seen in modern cowboy boots, belt buckles, and Southwestern decor.
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I would enjoy hearing a range report on this handsome setup.
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Haha! Will do, @here4turquoise !
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It was a first effort on a 1911 slide @StevesTrail, so lots of iterations and revisions, all of which took longer than anticipated. Over 60 hours altogether with cutting and bench work (I can’t say I enjoyed all of it, lol).
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