The traditional longbow and recurve bow are, for me, sources of enjoyment and relaxation. There are few things that feel as natural, especially at the range or while on a hunt.
The first string slap I sustained on my forearm as a young boy provided me with an appreciation for the arm guard. Fast forward a number of years, and that appreciation has evolved from favoring the guard’s pure utility, to acquiring an admiration for the historic design and execution of the ketoh. The Navajo’s progression of this particular element of adornment is awe-inspiring and, I feel, enjoyable. From it’s humble beginnings as a simple leather wrap, to the exquisitely stamped examples showcasing lovely reppoussé work, and the timeless cast designs, many lovely a ketoh grace dedicated exhibits and fine, private collections.
Below are two ketohs that I recently crossed paths with, and are the first examples of this form that I’ve collected.
I know @StevesTrail has an awesome example crafted by Orville Tsinnie, that he recently outfitted with new leather. It would be a welcome addition to this topic!
Let this thread be a venue dedicated to the ketoh. Whether owned or not, feel free to share what you’ve collected, stumbled across or simply find enjoyable!
Oh my, @Ravenscry, these are spectacular! Although I don’t have any ketoh’s, one can’t help but appreciate both the beauty and artistry, along with the history, of the form. Thanks for sharing your awesome pieces and your thoughts!
And @StevesTrail, your ketoh by Orville Tsinnie is also wonderful. I have several pieces by Orville and certainly recognize his circular stamping on your piece.
Great stuff guys!! Thanks
I’ve just one, which I purchased about a year ago. I’ve wound up wearing it much more frequently than I anticipated, which was a nice surprise, but only after carving (hacking, really) at the leather to substantially narrow it and create a kind of “dip” near my wrist, as it was just too bulky for me ahead of that. A leatherworker I am absolutely not! Haha. But it’s wearable now, if extraordinarily heavy.
I don’t know who made it, though I imagine it might be hallmarked on its backside. I assume it’s contemporary (though I picked it up from a vintage reseller). It was already-mounted to the leather and I haven’t wanted to remove it to check for a hallmark, as it’s mounted by prongs (likely because of the weight—it is VERY thick silver) and I’d hate to break one off in the process.
I love the stamping, though the design certainly seems unusual for a ketoh, aside from the “four” quality (not sure how to describe this). At first I thought maybe the design had to do with corn? Now I see something more textile-related, but I’m pretty stumped on how to put this into words, which is unusual for me! Many of you are more skilled with iconography and might be able to point me toward a better formal analysis!
I’ve assumed the turquoise is Kingman, but who can say? I’ve included a photo indoors alongside those in the daylight to show how different it looks in either lighting.
@Ravenscry, I really love yours with the heart design and silver “buttons.” Everyone’s are really cool, however I think I would find them too heavy for me.
@riobravo, your ketoh is beautiful, and presents with many similarities to the link belt below crafted by Navajo silversmith Jefferson Brown. Total weight on this belt is 1316 grams! No doubt yours is a hefty example and provides you with a workout when you do wear it!
@Ziacat, thanks again, I really enjoy the buttons on the cast ketoh as well, and I agree, the casting of @riobravo’s certainly reminds one of Navajo weavings!
Oh wow, @Ravenscry ! That belt is a dead ringer for the ketoh! Even the subtle doming (term? the subtle north-to-south curving is what I mean) is so similar. This forum never ceases to amaze me. Finally a lead on attributing it. Thank you so much for the tip!
@Ziacat : that lovely rug was a nice thing to look at for a while tonight. I’m almost embarrassed that for several months I thought it might be some kind of corn before realizing it was probably a textile motif. Doubly embarrassed because my art history emphasis in undergrad was textiles! And completely off-topic, but: the longer I look at the ketoh, the more it is also reminds me of mud architecture in the Maghreb or Mali (though obviously there is convergent evolution in similar climates worldwide, like Yemen or the American Southwest).
In fact, when I wear it here in Paris I am often asked by people with Algerian or Moroccan ancestry if it is Maghrébin, as the scale and motifs tend to remind them of Amazigh or Tuareg jewelry (the latter of which I also collect and wear a lot of, sometimes at the same time as the ketoh, which only confuses things more I’m sure!).
There are lots of North African/ Middle Eastern influences in Navajo textiles, which copied designs and patterns from middle eastern rugs and weavings early on. Really a lovely piece, @riobravo.
Our associate pastor is a native South African, and last week he wore a couple of his native bead necklaces. When I wore my Santo Domingo depression necklace to Church, he asked me if it was African. Now after seeing his stuff I understand why! His beadwork also really had a sioux look to it. So interesting.
Looking at other works by Jefferson Brown has provided much insight into his style. His pieces appear rather weighty, evoke heavy stampwork, and showcase lovely settings. There seems to be a certain heavy-duty quality prevalent throughout, and the design elements inherent in his works are recognizable. I would be interested to see what @mmrogers has to say concerning the technical and constructive aspects of your lovely ketoh, @riobravo.
@mmrogers, @Ziacat and @riobravo, the multi-cultured influences are fascinating to ponder and discuss. Thank you guys for bringing these particulars to attention. I’ve seen silver adornment at a museum in Chicago from one of the greatest horse nations in our history, the Mongols, that didn’t appear all that different than the German silver concho’d, tailed belts and hair adornment of the southern plains Natives, similar to the following.
Concha belt, Southern Plains, German silver, ca. late 1800’s
Horse culture is the fabric of life in Mongolia, though now mostly as revered heritage vs. everyday living. The image of horseheads is everywhere–currency, the tops of electrified street poles, their unique instrument the horsehead fiddle, tourist souvenirs. In Inner Mongolia (far north China, home of Genghis Khan, on the Russian border) I visited and spent time with several different ethnic groups, one of which was the last surviving group of reindeer herders. Their ceremonial costumes have essentially concho belts with metal/silver appliques, and they wear cowboy hats. The historic Mongolian saddle for high-status people had rounds of beautifully chased domed silver attached very much like conchos but definitely of their own culture; I bought a vintage/antique one to wear as a pendant.
Incredible stuff @chicfarmer, what an experience that must have been! Thank you for sharing all of this. I would very much like to see your historic pendant!
@riobravo’s Ketoh, and @Ravenscry’s belt are both beautiful pieces, which combine traditional layered overlay, and stampwork designs with a less traditional reticulated background to emphasize depth and contrast. Both are beautifully made examples of expertly crafted technical silver work, and thoughtfully applied artistic composition by a master craftsman.
Will add that there is one notable difference in the background treatment between the Ketoh and belt. The Ketoh has a reticulated background created by fusing silver filings to the backplate with very high heat, whereas the background of the belt uses a similar texture created with a vibratory electric engraver applied directionally side to side.
Thank you for chiming in Mike, it’s always a pleasure reading your thoughts on construction and technique.
I should clarify that the Jefferson Brown link belt I shared is not mine, it was one I had seen at auction. Upon realizing it resembled @riobravo’s ketoh, I thought it pertinent to our discussion.
The difference in background treatment between the belt and ketoh is interesting, thank you for pointing that out @mmrogers!
@mmrogers - I’d read somewhere else on the forum one of your explanations of the reticulation process. The somewhat brutalist effect it lends is really attractive to me. I hadn’t realized that the same process could create the “dusted” effect of the ketoh. I’d just assumed it was a product of casting or something. Very cool stuff!
I always learn so much from your insightful comments—thank you for your knowledge/experience and for sharing it with all of us!
Thank you, @riobravo. Happy to help where I can. We used this technique quite a bit in our Albuquerque workshop to create contrasting backgrounds in some of the higher end work we did for various clients.
