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RICHARD BLACK
In the early seventies, Richard Black was one of the more successful stockbrokers in the Houston area. He was also a fan of billiards. In his home, he regularly held black-tie pool tournaments for his business associates. These tournaments became so well-known that a story, "The Fanciest Game in Town," was written in Texas Magazine, and a picture from one of the tournaments was featured on the cover. At one of these tournaments, Richard gave away a Joss Cue, made by Dan Janes. Richard was so fascinated with the artistry of this cue that he decided to try to make one himself. That was 1974. This first attempt was not up to Richard's personal standards, but his persistence would not let him quit until he could make a cue of which he was proud. By 1976, he loved
cuemaking so much that he decided to give up stockbrokering to pursue making
cues full-time. Although Richard is self-taught, he has been inspired by the
work of the late George Balabushka. Richard's cues are the same length, same
taper, and most have used the same joint screw as Balabushka cues. The
exceptions were made from 1980 to 1983, when Richard used a 5/16-18 joint screw.
Other changes in Richard Black cues include the following. Cues made before 1980
were not signed, but had these characteristics: the first cues made in 1975 were
four-point,
Since most of the early cues were not signed, sometimes
identification of these cues can be difficult. With Balabushka dimensions, many
having Szamboti blanks, some of these cues have been misrepresented as
Balabushkas by unscrupulous individuals. The fact that some of these cues were
purchased as Balabushkas by fairly knowledgeable collectors is a testament to
the quality of Richard's work. If there is doubt, Richard is the best person to
contact, as he can identify all of his early cues. Almost all Richard Black cues
have been signed on the forearm since 1980. If Richard knew that he was
custom-making a cue for a specific individual, he would sign the cue and also
include the date that the cue was finished on the forearm. If he knew or sensed
that the cue was being purchased for resale, he would sign the cue but not date
it. Of course, he was not always correct in his assessment of the situation, so
this rule does not hold true 100% of the time He refers to cues as "functional art,"
which may be the most appropriate term for what he makes. Richard has won
awards, including "Best of Show" for his "Ambassador" cue at the 1993 American
Cuemakers Association Show. His cues have received quite a bit of publicity. For
example, the cue "Ewa Mataya" held on the cover of the New York Times Magazine
was a Black cue. Richard is one of ten cue makers who have donated a cue to the
National Museum of American History-Smithsonian Institution, Washington, D.C. at
the curator's request. |
four
veneer cues with flat-faced, stainless steel joints. These cues had a maple band
in the joint rings with four ebony checks. In 1976, the same rings were used,
but the joint was changed to the piloted type that Richard has used ever since.
In 1977, the number of ebony checks in the joint rings was increased to six. In
1980, this number was increased again to eight. In mid-1983, Richard went back
to the 5/16-14 joint pin and started using the nickel silver joint rings that
have appeared on most Richard Black cues made since. Richard has also made
joints of ivory (piloted and flat faced), brass, micarta, water buffalo horn,
and phenolic. He has also used 3/8-10 and a few 3/8-8 joint screws. One of the
unique features on a Richard Black cue is the tip. He has them custom made and
they are not offered for sale (he will only put them on the cues he makes).