Cultural Patina

Cultural Patina provides a platform for people to access global high quality art, easily. Since their establishment in 2014 owner Dennis has managed to collect a plethora of pottery, sculptures, textiles, jewellery from across the globe and the second largest accumulation of original Naga Indian art in US.

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Objects "Cultural Patina"

Western Artist Ron Stewart, Water Color Painting, "Lone Trapper"

Western Artist Ron Stewart Water Color Painting " Mountain Man with Horses" 815. Description: Artist: Ron Stewart, Title: "Lone Trapper", Medium: Watercolor, Media: Paper, Year or Era Produced: Early 1970's, Signature: Lower left. Ron painted this on a piece of scrap watercolor board which contributes to its odd size. The piece has been re-framed from the original that Ron used, but it is nicely done and really helps show off the painting. Dimensions: Sight Area Approximate Measurement: 3" x 4", Frame Approximate Measurement: 10.75" x 11.75" x 1" (under glass), Weight: 1 lb. Condition: Very Good. Additional Ron Stewart Paintings can be found at:https://www.etsy.com/your/shops/CulturalPatina/sections/16492699 and his Bronze work can be found at:https://www.etsy.com/your/shops/CulturalPatina/sections/16131018 Ron Stewart is a painter and sculptor of western, historical, wildlife, and animal subjects. He was born in Brooklyn, NY. In the over-crowded field of contemporary western artists, Ron Stewart’s professional achievements have made his work familiar to a wide range of discriminating collectors. Ron is among those who is tied hard and fast to the quality of painting and the historical fidelity of the Old West Masters. The refined artistic abilities, in watercolor, oil, and bronze, are truly distinguished, but Ron brings more to his work than just the technical competence of a western illustrator. The Ron Stewart hallmark is the representation of the mood and the atmosphere appropriate to whatever he approaches. His paintings breathe life into the dusty pages of western history, be it the bawl of longhorn cattle, the war whoop of the red men, or the mountain man in his wilderness solitude. Ron has received awards multiple times at the competitive Death Valley Invitational (5), the George Phippen Memorial (3), and Best of Show, and Best Watercolor at the Pikes Peak National Invitational Show (2), and he also received numerous awards at the Western Artist of America, including three gold medals in Watercolor, two Silver medals in Watercolor, and one Silver medal in Oil, and one Silver medal in Bronze. His work can be seen at Mountain Trail Galleries in Jackson, Wyoming; Signature Gallery, Scottsdale, Arizona, and Santa Fe, NM; Long coat Gallery, Ruidoso, NM; Sanders Gallery, Tucson: and the Culturalpatina Gallery in Fairfax, VA , AZ. His life was chronicled in Artists of the Rockies and the Golden West in winter of 1979, Ron and his wife Sharon have resided in Arizona for the last 45 years. Stewart has exhibited throughout the West in juried and group shows, collecting a variety of top awards for his works, including numerous gold and silver medals in oil, watercolor, bronze and drawing. International collections include locations in England, France, Germany, Italy, Denmark, Spain, the Philippines, and Japan. View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnavDescription:, Western Artist Ron Stewart, Water Color Painting " Mountain Man with Horses", 815. Description: Artist: Ron Stewart, Title: "Lone Trapper", Medium: Watercolor, Media: Paper, Year or Era Produced: Early 1970's, Signature: Lower left. Ron painted this on a piece of scrap watercolor board which contributes to its odd size. The piece has been re-framed from the original that Ron used, but it is nicely done and really helps show off the painting. Dimensions: Sight Area Approximate Measurement: 3" x 4", Frame Approximate Measurement: 10.75" x 11.75" x 1" (under glass), Weight: 1 lb. Condition: Very Good. , Additional Ron Stewart Paintings can be found at:https://www.etsy.com/your/shops/CulturalPatina/sections/16492699 and his Bronze work can be found at:https://www.etsy.com/your/shops/CulturalPatina/sections/16131018, , Ron Stewart is a painter and sculptor of western, historical, wildlife, and animal subjects. He was born in Brooklyn, NY. In the over-crowded field of contemporary western artists, Ron Stewart’s professional achievements have made his work familiar to a wide range of discriminating collectors. Ron is among those who is tied hard and fast to the quality of painting and the historical fidelity of the Old West Masters. The refined artistic abilities, in watercolor, oil, and bronze, are truly distinguished, but Ron brings more to his work than just the technical competence of a western illustrator. The Ron Stewart hallmark is the representation of the mood and the atmosphere appropriate to whatever he approaches. His paintings breathe life into the dusty pages of western history, be it the bawl of longhorn cattle, the war whoop of the red men, or the mountain man in his wilderness solitude. Ron has received awards multiple times at the competitive Death Valley Invitational (5), the George Phippen Memorial (3), and Best of Show, and Best Watercolor at the Pikes Peak National Invitational Show (2), and he also received numerous awards at the Western Artist of America, including three gold medals in Watercolor, two Silver medals in Watercolor, and one Silver medal in Oil, and one Silver medal in Bronze. His work can be seen at Mountain Trail Galleries in Jackson, Wyoming; Signature Gallery, Scottsdale, Arizona, and Santa Fe, NM; Long coat Gallery, Ruidoso, NM; Sanders Gallery, Tucson: and the Culturalpatina Gallery in Fairfax, VA , AZ. His life was chronicled in Artists of the Rockies and the Golden West in winter of 1979, Ron and his wife Sharon have resided in Arizona for the last 45 years. Stewart has exhibited throughout the West in juried and group shows, collecting a variety of top awards for his works, including numerous gold and silver medals in oil, watercolor, bronze and drawing. International collections include locations in England, France, Germany, Italy, Denmark, Spain, the Philippines, and Japan. View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnavDescription:, His work can be seen at Mountain Trail Galleries in Jackson, Wyoming; Signature Gallery, Scottsdale, Arizona, and Santa Fe, NM; Long coat Gallery, Ruidoso, NM; Sanders Gallery, Tucson: and the Culturalpatina Gallery in Fairfax, VA , AZ. His life was chronicled in Artists of the Rockies and the Golden West in winter of 1979, Ron and his wife Sharon have resided in Arizona for the last 45 years. Stewart has exhibited throughout the West in juried and group shows, collecting a variety of top awards for his works, including numerous gold and silver medals in oil, watercolor, bronze and drawing. International collections include locations in England, France, Germany, Italy, Denmark, Spain, the Philippines, and Japan. , View the other items in my shop:, http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnavDescription:Read more

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Naga Medium Red Multi-strand Glass Bead Necklace, #1063

Glass Bead Necklace Naga Small Medium Multi-strand Glass Bead Necklace, with Macrame Closure #1063 1063 Authentic Naga small red Multi-strand Glass Bead Necklace with Macrame closure and old coin. The piece is 25 inches long, has 34 strands of beads and is in good condition given its use and age which is estimated to be mid 1900’s. An old coin serves as the clasp. Nagaland has a rich diversity of ethnic groups, languages and religions. More than 80% of the population lives in small, isolated villages and practice their own rituals and traditions that have been existing since centuries. The Nagas are said to belong to the Indo-Mongoloid stock, a race whose presence was first noted ten centuries before Christ, at the time of the compilation of the Vedas. The Nagas are mostly Christians. Naga Features: The Nagas are usually medium sized. The nose is flat, eyes curved, complexion fair, and hair straight. Men are muscular and women are usually short. One unique feature of the Nagas is that they wear conical red headgear decorated with wild boar canine teeth and white black Hornbill feathers, the spear with the shaft decorated with red black hairs and the unique dao with broad blade and long handle. Both men and women wear traditional Naga jewelry. Naga shawls are very famous among the tribes. Tattooing is customary among the tribes. Nagaland Culture. The tribes of Nagaland are unique in their culture and traditions. The tribes are excellent and skilled craftsmen. Naga tribes are known for being hard working and laborious. They are known for making exquisite bamboo and cane products, weaving and wood carving. The Nagas are expert in basketry, weaving, woodcarving, pottery and metal work. Agriculture is the main occupation of the people. Rice, millet and Taro potato are grown by the people. The tribes of Nagaland are very fond of dance and music. Music forms an essential parts of their lives. There are different traditional dances and music of the different tribes. The music of is characterized by folk songs and music accentuated by traditional instruments. People of Nagaland are also famous for celebrating numerous seasonal fairs and festivals. All the tribes celebrate their own distinct festivals with dance and music. The most important festivals celebrated by the tribes include Sekrenyi, Moatsu Mong, Suhkruhnye, Bushu, Yemshe, and Metumniu among others. The food of the Naga tribe consist of rice, millet, vegetables, fish, meat, Naga chilly and chutney. Nagaland Village System: The tribes live mainly in villages. For the Nagas family is the most important institution. Women are treated equally with men. Nagas are traditionally and tribally organized with a strong warrior tradition. Head hunting is an important aspect of the people. Most of the houses of the Nagas have skull displaying their warrior qualities. Different Tribes of Nagaland: Nagaland is home to some 16 different kinds of tribes with distinct and fascinating cultures. Each of the Naga tribe is divided into as many as twenty clans. The Nagas speak 60 different dialects. The prominent tribes are Angami, Ao, Chakhesang, Chang, Khiamniungan, Konyak, Lotha, Pochury, Phom, Poumai, Rongmei Naga, Rengma, Sangtam, Sema, Mao and Zeliang among many others. The languages of the Nagas may vary from Angami-Pochury, Ao, Kukish, Sal, Tangkhul and Zeme branches of Tibeto Burman. Some important tribes are: Angami Naga: The Angami Nagas are one of the major tribes of Nagaland. The Angamis mainly celebrate the Sekrenyi festival. They are basically hill people and depend on agriculture for their mode of livelihood. 98 % of the Angamis are Christians. Ao Naga: Ao Nagas are another major tribes in Nagaland. They reside mainly in Tsula to Tsurang in Mokokchung district. The Ao Nagas are known for the celebration of different harvest festivals. The Aos are primarily Christians. Chang: Changs are one of the recognized Scheduled Tribes in India. The traditional territory of the Chang lies in the Central Tuensang district. About 99 % of the Changs are Christians. They speak the Chang language and the Chang people are very fond of music and dance. They celebrate Christmas, Naknyu Lem, Poang Lem, Jeinyu Leam and so many other festivals with fanfare and gaiety. Konyak: Konyak have the largest populations among the Nagas. They are found in the Mon district of Nagaland. They are famous for their tattoos all over their faces and hands. Lotha: Lotha is also a major Naga tribe and reside in the Wokha district. They are popular for traditional dance and folk songs. Sumi: Sumi Nagas are one of the major Naga tribes. They mainly inhabit in the Zunheboto district. 99 % of the Sumis are Christians. Tuluni and Ahuna are the most important festivals of the Sumis. Yimchunger: Yimchunger is a minor Naga group. Metmneo festival is celebrated by the Yimchunge people. Khiamniungan: Khiamniungan is comparatively a minor Naga group. They mainly reside in the Tuensang district in Nagaland. Miu festival and Tsokum festival are the most important festivals celebrated by this tribal group. (Source: India on line) Tangkhul: Tangkhul is a Naga tribe living in the Indo-Burma border area occupying the Ukhrul district in Manipur, India and the Somra Tangkhul hills (Somra tract) in Upper Burma. Despite this international border, many Tangkhul have continued to regard themselves as "one nation".[1] Further reading Stirn, Aglaja & Peter van Ham. The Hidden world of the Naga: Living Traditions in Northeast India. London: Prestel. Oppitz, Michael, Thomas Kaiser, Alban von Stockhausen & Marion Wettstein. 2008. Naga Identities: Changing Local Cultures in the Northeast of India. Gent: Snoeck Publishers. Kunz, Richard & Vibha Joshi. 2008. Naga – A Forgotten Mountain Region Rediscovered. Basel: Merian. Alban von Stockhausen: Imag (in) ing the Nagas: The Pictorial Ethnography of Hans-Eberhard Kauffmann and Christoph von Fürer-Haimendorf. Arnoldsche, Glass Bead Necklace, Naga Small Medium Multi-strand Glass Bead Necklace, with Macrame Closure #1063, 1063 Authentic Naga small red Multi-strand Glass Bead Necklace with Macrame closure and old coin. The piece is 25 inches long, has 34 strands of beads and is in good condition given its use and age which is estimated to be mid 1900’s. An old coin serves as the clasp. Nagaland has a rich diversity of ethnic groups, languages and religions. More than 80% of the population lives in small, isolated villages and practice their own rituals and traditions that have been existing since centuries. The Nagas are said to belong to the Indo-Mongoloid stock, a race whose presence was first noted ten centuries before Christ, at the time of the compilation of the Vedas. The Nagas are mostly Christians. Naga Features: The Nagas are usually medium sized. The nose is flat, eyes curved, complexion fair, and hair straight. Men are muscular and women are usually short. One unique feature of the Nagas is that they wear conical red headgear decorated with wild boar canine teeth and white black Hornbill feathers, the spear with the shaft decorated with red black hairs and the unique dao with broad blade and long handle. Both men and women wear traditional Naga jewelry. Naga shawls are very famous among the tribes. Tattooing is customary among the tribes. Nagaland Culture. The tribes of Nagaland are unique in their culture and traditions. The tribes are excellent and skilled craftsmen. Naga tribes are known for being hard working and laborious. They are known for making exquisite bamboo and cane products, weaving and wood carving. The Nagas are expert in basketry, weaving, woodcarving, pottery and metal work. Agriculture is the main occupation of the people. Rice, millet and Taro potato are grown by the people. The tribes of Nagaland are very fond of dance and music. Music forms an essential parts of their lives. There are different traditional dances and music of the different tribes. The music of is characterized by folk songs and music accentuated by traditional instruments. People of Nagaland are also famous for celebrating numerous seasonal fairs and festivals. All the tribes celebrate their own distinct festivals with dance and music. The most important festivals celebrated by the tribes include Sekrenyi, Moatsu Mong, Suhkruhnye, Bushu, Yemshe, and Metumniu among others. The food of the Naga tribe consist of rice, millet, vegetables, fish, meat, Naga chilly and chutney. Nagaland Village System: The tribes live mainly in villages. For the Nagas family is the most important institution. Women are treated equally with men. Nagas are traditionally and tribally organized with a strong warrior tradition. Head hunting is an important aspect of the people. Most of the houses of the Nagas have skull displaying their warrior qualities. Different Tribes of Nagaland: Nagaland is home to some 16 different kinds of tribes with distinct and fascinating cultures. Each of the Naga tribe is divided into as many as twenty clans. The Nagas speak 60 different dialects. The prominent tribes are Angami, Ao, Chakhesang, Chang, Khiamniungan, Konyak, Lotha, Pochury, Phom, Poumai, Rongmei Naga, Rengma, Sangtam, Sema, Mao and Zeliang among many others. The languages of the Nagas may vary from Angami-Pochury, Ao, Kukish, Sal, Tangkhul and Zeme branches of Tibeto Burman. Some important tribes are: Angami Naga: The Angami Nagas are one of the major tribes of Nagaland. The Angamis mainly celebrate the Sekrenyi festival. They are basically hill people and depend on agriculture for their mode of livelihood. 98 % of the Angamis are Christians. Ao Naga: Ao Nagas are another major tribes in Nagaland. They reside mainly in Tsula to Tsurang in Mokokchung district. The Ao Nagas are known for the celebration of different harvest festivals. The Aos are primarily Christians. Chang: Changs are one of the recognized Scheduled Tribes in India. The traditional territory of the Chang lies in the Central Tuensang district. About 99 % of the Changs are Christians. They speak the Chang language and the Chang people are very fond of music and dance. They celebrate Christmas, Naknyu Lem, Poang Lem, Jeinyu Leam and so many other festivals with fanfare and gaiety. Konyak: Konyak have the largest populations among the Nagas. They are found in the Mon district of Nagaland. They are famous for their tattoos all over their faces and hands. Lotha: Lotha is also a major Naga tribe and reside in the Wokha district. They are popular for traditional dance and folk songs. Sumi: Sumi Nagas are one of the major Naga tribes. They mainly inhabit in the Zunheboto district. 99 % of the Sumis are Christians. Tuluni and Ahuna are the most important festivals of the Sumis. Yimchunger: Yimchunger is a minor Naga group. Metmneo festival is celebrated by the Yimchunge people. Khiamniungan: Khiamniungan is comparatively a minor Naga group. They mainly reside in the Tuensang district in Nagaland. Miu festival and Tsokum festival are the most important festivals celebrated by this tribal group. (Source: India on line), Tangkhul: Tangkhul is a Naga tribe living in the Indo-Burma border area occupying the Ukhrul district in Manipur, India and the Somra Tangkhul hills (Somra tract) in Upper Burma. Despite this international border, many Tangkhul have continued to regard themselves as "one nation".[1] Further reading Stirn, Aglaja & Peter van Ham. The Hidden world of the Naga: Living Traditions in Northeast India. London: Prestel. Oppitz, Michael, Thomas Kaiser, Alban von Stockhausen & Marion Wettstein. 2008. Naga Identities: Changing Local Cultures in the Northeast of India. Gent: Snoeck Publishers. Kunz, Richard & Vibha Joshi. 2008. Naga – A Forgotten Mountain Region Rediscovered. Basel: Merian. Alban von Stockhausen: Imag (in) ing the Nagas: The Pictorial Ethnography of Hans-Eberhard Kauffmann and Christoph von Fürer-Haimendorf. ArnoldscheRead more

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Native American, Vintage Cochiti Pottery Bowl, Ca. 1960's, #1203

Native American, Vintage Cochiti Pottery Bowl, Ca. 1960's, #1203 Description: #1203 Native American, Vintage Cochiti Pottery Bowl, Ca. 1960's, with Ceremonial Paint- Dimensions: 5" H X 9" W Condition: Very good for age “Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clays gathered from each pueblo’s local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated—most frequently with paint and occasionally with appliqué. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo’s pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and polychrome—a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce undecorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art.” (Source: Museum of Northern Arizona), Native American, Vintage Cochiti Pottery Bowl, Ca. 1960's, #1203, Description: #1203 Native American, Vintage Cochiti Pottery Bowl, Ca. 1960's, with Ceremonial Paint-, Dimensions: 5" H X 9" W, Condition: Very good for age, “Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clays gathered from each pueblo’s local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated—most frequently with paint and occasionally with appliqué. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo’s pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and polychrome—a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce undecorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art.” (Source: Museum of Northern Arizona)Read more

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Ron Stewart Original Water Color Painting, "Cry of the Wind" #166

Indian Chief 166. Description: This extraordinary water color painting by Listed Artist Ron Stewart (1941-) entitled Cry of the Wind Signed lower left: Ron Stewart @ (cyphers). Verso: titled. It also has a very detailed remarque in the lower right hand corner that adds to the overall composition of the piece. Note: This piece was a silver medal winner water solubles at the Western Artists of America 2005 Annual Exhibition the Hubbard Museum of the American West Dimensions: Size is 36 x 48 inches. Condition: Excellent Condition for its age. The piece was painted in 2005. Additional Ron Stewart Paintings can be found at:https://www.etsy.com/your/shops/CulturalPatina/sections/16492699 and his Bronze work can be found at:https://www.etsy.com/your/shops/CulturalPatina/sections/16131018 Ron Stewart is a painter and sculptor of western, historical, wildlife, and animal subjects. He was born in Brooklyn, NY. In the over-crowded field of contemporary western artists, Ron Stewarts professional achievements have made his work familiar to a wide range of discriminating collectors. Ron is among those who is tied hard and fast to the quality of painting and the historical fidelity of the Old West Masters. The refined artistic abilities, in watercolor, oil, and bronze, are truly distinguished, but Ron brings more to his work than just the technical competence of a western illustrator. The Ron Stewart hallmark is the representation of the mood and the atmosphere appropriate to whatever he approaches. His paintings breathe life into the dusty pages of western history, be it the bawl of longhorn cattle, the war whoop of the red men, or the mountain man in his wilderness solitude. Ron has received awards multiple times at the competitive Death Valley Invitational (5), the George Phippen Memorial (3), and Best of Show, and Best Watercolor at the Pikes Peak National Invitational Show (2), and he also received numerous awards at the Western Artist of America, including three gold medals in Watercolor, two Silver medals in Watercolor, and one Silver medal in Oil, and one Silver medal in Bronze. His work can be seen at Mountain Trail Galleries in Jackson, Wyoming; Signature Gallery, Scottsdale, Arizona, and Santa Fe, NM; Long coat Gallery, Ruidoso, NM; Sanders Gallery, Tucson, AZ; and the Culturalpatina Gallery in Fairfax, VA. His life was chronicled in Artists of the Rockies and the Golden West in winter of 1979, Ron and his wife Sharon have resided in Arizona for the last 45 years. Stewart has exhibited throughout the West in juried and group shows, collecting a variety of top awards for his works, including numerous gold and silver medals in oil, watercolor, bronze and drawing. International collections include locations in England, France, Germany, Italy, Denmark, Spain, the Philippines, and Japan. View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnavDescription:, Indian Chief, 166. Description: This extraordinary water color painting by Listed Artist Ron Stewart (1941-) entitled Cry of the Wind Signed lower left: Ron Stewart @ (cyphers). Verso: titled. It also has a very detailed remarque in the lower right hand corner that adds to the overall composition of the piece. Note: This piece was a silver medal winner water solubles at the Western Artists of America 2005 Annual Exhibition the Hubbard Museum of the American West, Dimensions: Size is 36 x 48 inches. Condition: Excellent Condition for its age. The piece was painted in 2005. Additional Ron Stewart Paintings can be found at:https://www.etsy.com/your/shops/CulturalPatina/sections/16492699 and his Bronze work can be found at:https://www.etsy.com/your/shops/CulturalPatina/sections/16131018 Ron Stewart is a painter and sculptor of western, historical, wildlife, and animal subjects. He was born in Brooklyn, NY. In the over-crowded field of contemporary western artists, Ron Stewarts professional achievements have made his work familiar to a wide range of discriminating collectors. Ron is among those who is tied hard and fast to the quality of painting and the historical fidelity of the Old West Masters. The refined artistic abilities, in watercolor, oil, and bronze, are truly distinguished, but Ron brings more to his work than just the technical competence of a western illustrator. The Ron Stewart hallmark is the representation of the mood and the atmosphere appropriate to whatever he approaches. His paintings breathe life into the dusty pages of western history, be it the bawl of longhorn cattle, the war whoop of the red men, or the mountain man in his wilderness solitude. Ron has received awards multiple times at the competitive Death Valley Invitational (5), the George Phippen Memorial (3), and Best of Show, and Best Watercolor at the Pikes Peak National Invitational Show (2), and he also received numerous awards at the Western Artist of America, including three gold medals in Watercolor, two Silver medals in Watercolor, and one Silver medal in Oil, and one Silver medal in Bronze. His work can be seen at Mountain Trail Galleries in Jackson, Wyoming; Signature Gallery, Scottsdale, Arizona, and Santa Fe, NM; Long coat Gallery, Ruidoso, NM; Sanders Gallery, Tucson, AZ; and the Culturalpatina Gallery in Fairfax, VA. His life was chronicled in Artists of the Rockies and the Golden West in winter of 1979, Ron and his wife Sharon have resided in Arizona for the last 45 years. Stewart has exhibited throughout the West in juried and group shows, collecting a variety of top awards for his works, including numerous gold and silver medals in oil, watercolor, bronze and drawing. International collections include locations in England, France, Germany, Italy, Denmark, Spain, the Philippines, and Japan. View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnavDescription:Read more

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Native American, Vintage Very Large Maricopa Pottery Bowl, Ca 1940's, #1267

Native American, Vintage Very Large Maricopa Pottery Bowl, Ca 1940's, #1267 Description: #1267 Native American, Vintage Very Large Maricopa Pottery Bowl, Ca 1940's, wotj polished red surface with black pendants and inverted wave design. Dimensions: Measures 5.5 X 9 inches. Condition: Very good condition for its age. In 1937 to 1940, Maricopa Pottery experienced a revival due to the encouragement of Elizabeth Hart. Elizabeth Hart was a United States Home Extension Agent that noted that the previous pottery pieces (1912 to 1937) showed a decline in craftsmanship. The vessels were poor quality, lopsided and/or lumpy clay, with unevenly spaced designs. The pieces of this time period were a product of tourism, a demand for a cheap low-quality souvenir. On Elizabeth Hart's urging and by the leadership of one of the top potters of the time: Ida Redbird, Maricopa pottery started receiving publicity and support from local museums. The improved product, thin walled and symmetrical allowed the potters to increase their earnings. Through this revival the "Maricopa Pottery Cooperative" developed, with Ida Redbird as the president of 17 to 19 other Maricopa potters. At Hart's urging, it was at this time that the potters also started signing their wares for individual recognition and credit. So, any Maricopa pottery piece that has a signature and/or hallmark was made somewhere between 1937 to present. A vessel that has no signature and/or hallmark was either made prior to 1937 OR the potter forgot to sign the piece. Swastikas were a common design used in Maricopa pottery until 1941. The swastika symbol, for the Maricopa's, represents the four sacred directions, coordinates of the universe, the wheel of life, the supreme deity. Due to World War II the symbol lost its popularity with the tourists so the design was no longer used. When Mary Fernald inquired as to the meaning of other designs used, both Mabel Sunn and Ida Redbird agreed that there is no meaning behind most all of the decorations. However, frogs may have symbolized rain. All the Maricopa potters had their favorite designs and symbols, but all were free to borrow from someone else's designs. Despite the borrowing and combination of styles, many times the artist's hand is still individual enough for identification without signature. Some vessels have a whitish film on them, this has been linked to salty clay usage. If the slip is flaking off it probably is due to the slip being applied to heavily all at once. The slip adheres better to the clay if applied in layers to the desired thickness. The slip can also flake if it had been rubbed to hard with a stone. Maricopa pottery is Paddle and Anvil made. There is no temper in their decorated pots, however they did add temper to cook wares. Cook wares were made from a different clay source, they were longer fired and had sand temper added for durability. (Source: rare pottery.info)Read more

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Shell Necklace : Authentic Konyak Tribe Woman's Large Slice Shell Necklace #546

Naga Shell Necklace Authentic Konyak Tribe Woman's Large Slice Shell Necklace 546. Authentic Konyak Tribe Woman's large slice Shell Necklace. Collection of well matched shells in completely original condition as worn by a very wealthy Konyak man's wife or woman in the chief's clan. The piece is 14 inches long and in excellent condition given its use and age which is estimated to be mid 19th century. Please note that the designation Authentic means that the piece was made by the Nagas and used by them in their actual ceremonies and not made for tourists. The Konyak are a Naga people, and are recognised among other Naga by their tattoos, which they have all over their face and hands; facial tattoos were earned for taking an enemy's head. They are called the land of Angh's. They have the largest population among the Nagas. The Konyaks can be found in Myanmar, in the Tirap and Changlang districts of Arunachal, and in the Mon district of Nagaland, India. They are known in Arunachal as Wancho Konyak. The Konyak language belongs to the Northern Naga subbranch of the Sal subfamily of Sino-Tibetan. Known as head hunters of North East India. In the recent past, they were known as war loving and often attacked nearby villages of other tribes taking the heads of opposing warriors as trophies to hang in the Morong (a communal house). The number of heads indicated the power of a warrior and the tribe and becomes a collective totem. With the exception of these behaviors, the tribal members maintain a much disciplined community life with strict duties and responsibilities for every individual. Nagaland has a rich diversity of ethnic groups, languages and religions. More than 80% of the population lives in small, isolated villages and practice their own rituals and traditions that have been existing since centuries. The Nagas are said to belong to the Indo-Mongoloid stock, a race whose presence was first noted ten centuries before Christ, at the time of the compilation of the Vedas. The Nagas are mostly Christians. Naga Features: The Nagas are usually medium sized. The nose is flat, eyes curved, complexion fair, and hair straight. Men are muscular and women are usually short. One unique feature of the Nagas is that they wear conical red headgear decorated with wild boar canine teeth and white black Hornbill feathers, the spear with the shaft decorated with red black hairs and the unique dao with broad blade and long handle. Both men and women wear traditional Naga jewelry. Naga shawls are very famous among the tribes. Tattooing is customary among the tribes. Nagaland Culture The tribes of Nagaland are unique in their culture and traditions. The tribes are excellent and skilled craftsmen. Naga tribes are known for being hard working and laborious. They are known for making exquisite bamboo and cane products, weaving and wood carving. The Nagas are expert in basketry, weaving, woodcarving, pottery and metal work. Agriculture is the main occupation of the people. Rice, millet and Taro potato are grown by the people. The tribes of Nagaland are very fond of dance and music. Music forms an essential parts of their lives. There are different traditional dances and music of the different tribes. The music of is characterized by folk songs and music accentuated by traditional instruments. People of Nagaland are also famous for celebrating numerous seasonal fairs and festivals. All the tribes celebrate their own distinct festivals with dance and music. The most important festivals celebrated by the tribes include Sekrenyi, Moatsu Mong, Suhkruhnye, Bushu, Yemshe, and Metumniu among others. The food of the Naga tribe consist of rice, millet, vegetables, fish, meat, Naga chilly and chutney. Nagaland Village System: The tribes live mainly in villages. For the Nagas family is the most important institution. Women are treated equally with men. Nagas are traditionally and tribally organized with a strong warrior tradition. Head hunting is an important aspect of the people. Most of the houses of the Nagas have skull displaying their warrior qualities. Different Tribes of Nagaland: Nagaland is home to some 16 different kinds of tribes with distinct and fascinating cultures. Each of the Naga tribe is divided into as many as twenty clans. The Nagas speak 60 different dialects. The prominent tribes are Angami, Ao, Chakhesang, Chang, Khiamniungan, Konyak, Lotha, Pochury, Phom, Poumai, Rongmei Naga, Rengma, Sangtam, Sema, Mao and Zeliang among many others. The languages of the Nagas may vary from Angami-Pochury, Ao, Kukish, Sal, Tangkhul and Zeme branches of Tibeto Burman. Some important tribes are: Angami Naga: The Angami Nagas are one of the major tribes of Nagaland. The Angamis mainly celebrate the Sekrenyi festival. They are basically hill people and depend on agriculture for their mode of livelihood. 98 % of the Angamis are Christians. Ao Naga: Ao Nagas are another major tribes in Nagaland. They reside mainly in Tsula to Tsurang in Mokokchung district. The Ao Nagas are known for the celebration of different harvest festivals. The Aos are primarily Christians. Chang: Changs are one of the recognized Scheduled Tribes in India. The traditional territory of the Chang lies in the Central Tuensang district. About 99 % of the Changs are Christians. They speak the Chang language and the Chang people are very fond of music and dance. They celebrate Christmas, Naknyu Lem, Poang Lem, Jeinyu Leam and so many other festivals with fanfare and gaiety. Konyak: Konyak have the largest populations among the Nagas. They are found in the Mon district of Nagaland. They are famous for their tattoos all over their faces and hands. Lotha: Lotha is also a major Naga tribe and reside in the Wokha district. They are popular for traditional dance and folk songs. Sumi: Sumi Nagas are one of the major Naga tribes. They mainly inhabit in the Zunheboto district. 99 % of the Sumis are Christians. Tuluni and Ahuna are the most important festivals of the Sumis. Yimchunger: Yimchunger is a minor Naga group. Metmneo festival is celebrated by the Yimchunge people. Khiamniungan: Khiamniungan is comparatively a minor Naga group. They mainly reside in the Tuensang district in Nagaland. Miu festival and Tsokum festival are the most important festivals celebrated by this tribal group. (Source: India on line) Tangkhul: Tangkhul is a Naga tribe living in the Indo-Burma border area occupying the Ukhrul district in Manipur, India and the Somra Tangkhul hills (Somra tract) in Upper Burma. Despite this international border, many Tangkhul have continued to regard themselves as "one nation".[1] Further reading Stirn, Aglaja & Peter van Ham. The Hidden world of the Naga: Living Traditions in Northeast India. London: Prestel. Oppitz, Michael, Thomas Kaiser, Alban von Stockhausen & Marion Wettstein. 2008. Naga Identities: Changing Local Cultures in the Northeast of India. Gent: Snoeck Publishers. Kunz, Richard & Vibha Joshi. 2008. Naga A Forgotten Mountain Region Rediscovered. Basel: Merian. Alban von Stockhausen: Imag (in) ing the Nagas: The Pictorial Ethnography of Hans-Eberhard Kauffmann and Christoph von FÌ_rer-Haimendorf. Arnoldsche, Stuttgart 2014, ISBN 978-3-89790-412-5. (Source: Times of India), Naga Shell Necklace, Authentic Konyak Tribe Woman's Large Slice Shell Necklace, 546. Authentic Konyak Tribe Woman's large slice Shell Necklace. Collection of well matched shells in completely original condition as worn by a very wealthy Konyak man's wife or woman in the chief's clan. The piece is 14 inches long and in excellent condition given its use and age which is estimated to be mid 19th century. Please note that the designation Authentic means that the piece was made by the Nagas and used by them in their actual ceremonies and not made for tourists. The Konyak are a Naga people, and are recognised among other Naga by their tattoos, which they have all over their face and hands; facial tattoos were earned for taking an enemy's head. They are called the land of Angh's. They have the largest population among the Nagas. The Konyaks can be found in Myanmar, in the Tirap and Changlang districts of Arunachal, and in the Mon district of Nagaland, India. They are known in Arunachal as Wancho Konyak. The Konyak language belongs to the Northern Naga subbranch of the Sal subfamily of Sino-Tibetan. Known as head hunters of North East India. In the recent past, they were known as war loving and often attacked nearby villages of other tribes taking the heads of opposing warriors as trophies to hang in the Morong (a communal house). The number of heads indicated the power of a warrior and the tribe and becomes a collective totem. With the exception of these behaviors, the tribal members maintain a much disciplined community life with strict duties and responsibilities for every individual. Nagaland has a rich diversity of ethnic groups, languages and religions. More than 80% of the population lives in small, isolated villages and practice their own rituals and traditions that have been existing since centuries. The Nagas are said to belong to the Indo-Mongoloid stock, a race whose presence was first noted ten centuries before Christ, at the time of the compilation of the Vedas. The Nagas are mostly Christians. Naga Features: The Nagas are usually medium sized. The nose is flat, eyes curved, complexion fair, and hair straight. Men are muscular and women are usually short. One unique feature of the Nagas is that they wear conical red headgear decorated with wild boar canine teeth and white black Hornbill feathers, the spear with the shaft decorated with red black hairs and the unique dao with broad blade and long handle. Both men and women wear traditional Naga jewelry. Naga shawls are very famous among the tribes. Tattooing is customary among the tribes. Nagaland Culture, The tribes of Nagaland are unique in their culture and traditions. The tribes are excellent and skilled craftsmen. Naga tribes are known for being hard working and laborious. They are known for making exquisite bamboo and cane products, weaving and wood carving. The Nagas are expert in basketry, weaving, woodcarving, pottery and metal work. Agriculture is the main occupation of the people. Rice, millet and Taro potato are grown by the people. The tribes of Nagaland are very fond of dance and music. Music forms an essential parts of their lives. There are different traditional dances and music of the different tribes. The music of is characterized by folk songs and music accentuated by traditional instruments. People of Nagaland are also famous for celebrating numerous seasonal fairs and festivals. All the tribes celebrate their own distinct festivals with dance and music. The most important festivals celebrated by the tribes include Sekrenyi, Moatsu Mong, Suhkruhnye, Bushu, Yemshe, and Metumniu among others. The food of the Naga tribe consist of rice, millet, vegetables, fish, meat, Naga chilly and chutney. Nagaland Village System: The tribes live mainly in villages. For the Nagas family is the most important institution. Women are treated equally with men. Nagas are traditionally and tribally organized with a strong warrior tradition. Head hunting is an important aspect of the people. Most of the houses of the Nagas have skull displaying their warrior qualities. Different Tribes of Nagaland: Nagaland is home to some 16 different kinds of tribes with distinct and fascinating cultures. Each of the Naga tribe is divided into as many as twenty clans. The Nagas speak 60 different dialects. The prominent tribes are Angami, Ao, Chakhesang, Chang, Khiamniungan, Konyak, Lotha, Pochury, Phom, Poumai, Rongmei Naga, Rengma, Sangtam, Sema, Mao and Zeliang among many others. The languages of the Nagas may vary from Angami-Pochury, Ao, Kukish, Sal, Tangkhul and Zeme branches of Tibeto Burman. Some important tribes are:, Angami Naga: The Angami Nagas are one of the major tribes of Nagaland. The Angamis mainly celebrate the Sekrenyi festival. They are basically hill people and depend on agriculture for their mode of livelihood. 98 % of the Angamis are Christians. Ao Naga: Ao Nagas are another major tribes in Nagaland. They reside mainly in Tsula to Tsurang in Mokokchung district. The Ao Nagas are known for the celebration of different harvest festivals. The Aos are primarily Christians. Chang: Changs are one of the recognized Scheduled Tribes in India. The traditional territory of the Chang lies in the Central Tuensang district. About 99 % of the Changs are Christians. They speak the Chang language and the Chang people are very fond of music and dance. They celebrate Christmas, Naknyu Lem, Poang Lem, Jeinyu Leam and so many other festivals with fanfare and gaiety. Konyak: Konyak have the largest populations among the Nagas. They are found in the Mon district of Nagaland. They are famous for their tattoos all over their faces and hands. Lotha: Lotha is also a major Naga tribe and reside in the Wokha district. They are popular for traditional dance and folk songs. Sumi: Sumi Nagas are one of the major Naga tribes. They mainly inhabit in the Zunheboto district. 99 % of the Sumis are Christians. Tuluni and Ahuna are the most important festivals of the Sumis. Yimchunger: Yimchunger is a minor Naga group. Metmneo festival is celebrated by the Yimchunge people. Khiamniungan: Khiamniungan is comparatively a minor Naga group. They mainly reside in the Tuensang district in Nagaland. Miu festival and Tsokum festival are the most important festivals celebrated by this tribal group. (Source: India on line), Tangkhul: Tangkhul is a Naga tribe living in the Indo-Burma border area occupying the Ukhrul district in Manipur, India and the Somra Tangkhul hills (Somra tract) in Upper Burma. Despite this international border, many Tangkhul have continued to regard themselves as "one nation".[1], Further reading, Stirn, Aglaja & Peter van Ham. The Hidden world of the Naga: Living Traditions in Northeast India. London: Prestel. Oppitz, Michael, Thomas Kaiser, Alban von Stockhausen & Marion Wettstein. 2008. Naga Identities: Changing Local Cultures in the Northeast of India. Gent: Snoeck Publishers. Kunz, Richard & Vibha Joshi. 2008. Naga A Forgotten Mountain Region Rediscovered. Basel: Merian. Alban von Stockhausen: Imag (in) ing the Nagas: The Pictorial Ethnography of Hans-Eberhard Kauffmann and Christoph von FÌ_rer-Haimendorf. Arnoldsche, Stuttgart 2014, ISBN 978-3-89790-412-5. (Source: Times of India)Read more

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Native American, Vintage Yei Weaving, Ca 1970's#1136

Native American, Vintage Yei Weaving, Ca 1970's #1136 Discription: #1136 Native American, Vintage Yei Weaving, Ca 1970's Dimensions: 52" x 82" Condition: Excellent for age. The piece has just been cleaned. Provance: A Maryland Collector. A Brief Social History of Navajo Weaving and a Historical Context for a Popular Contemporary Collectible There is an ageless beauty to Navajo weaving. Navajo weaving's are many things to people. Above all else, Navajo weaving's are masterworks, regardless of whose criteria of art is used to judge them. They are evocative, timeless portraits which, like all good art, transcend time and space. Navajo weaving has captured the imagination of many not only because they are beautiful, well-woven textiles but also because they so accurately mirror the social and economic history of Navajo people. Succinctly, Navajo women wove their life experiences into the pieces. Navajo people tell us they learned to weave from Spider Woman and that the first loom was of sky and earth cords, with weaving tools of sunlight, lightning, white shell, and crystal. Anthropologists speculate Navajos learned to weave from Pueblo people by 1650. There is little doubt Pueblo weaving was already influenced by the Spanish by the time they shared their weaving skills with Navajo people. Spanish influence includes the substitution of wool for cotton, the introduction of indigo (blue) dye, and simple stripe patterning. Besides the "manta" (a wider-than-long wearing blanket), Navajo weavers also made a tunic-like dress, belts, garters, hair ties, men's shirts, breech cloths, and a "serape-style" wearing blanket. These blankets were longer-than-wide and were patterned in brown, blue and white stripes and terraced lines. For more than a century, the products of Navajo looms were probably identical to those of their Pueblo teachers, but by the end of the 1700s Navajo weaving began its divergence. While Pueblo weavers remained conservative, Navajo weavers learned that wefts did not need to be passed through all the warps each time, but rather, by stopping at whatever point they wished they could create patterning other than horizontal bands. These "pauses" in Navajo weaving are often seen as "lazy-lines" (diagonal lines across the horizontal wefts) in finished pieces. By 1800, weavers were using this technique to create terraced lines and discrete design elements. Navajo weavers also demonstrated more willingness to use color than their Pueblo teachers. Spanish documents describing the Southwest in the early 18th century mention Navajo weaving skills. By the 1700's Navajo weaving was an important trade item to the Pueblos and Plains Indian people. In 1844, Santa Fe Trail traveler Josiah Gregg reported, "a singular species of blanket, known as the Serape Navajo which is of so close and dense a texture that it will frequently hold water almost equal to gum-elastic cloth. It is therefore highly prized for protection against the rains. Some of the finer qualities are often sold among the Mexicans as high as fifty or sixty dollars each." Blankets were traded great distances as evidenced by their appearance in Karl Bodmer's 1833 painting of a Piegan Blackfoot man (Montana) wearing what appears to be a first-phase Chief's blanket or an 1845 sketch of Cheyenne at Bent's Fort (Colorado) wearing striped blankets. Historic photographs illustrate that the desirability of blankets increased with the 19th century. Closer and more frequent trading partners included the Utes, Apaches, Comanches, and Pueblos. The Spanish or Mexicans had never been able to reach a lasting peace with the Navajo. When Mexico ceded the Southwest to the United States in 1848, the "Navajo Problem" was also inherited. With a pronounced resolve, Kit Carson led a "Scorched Earth" campaign in 1863–4, destroying food caches, herds and orchards, ending in 8000 Navajo people surrendering. They were marched hundreds of miles to an arid, barren reservation, Bosque Redondo, at Fort Sumner in eastern NM. For five years the people endured incarceration with shortages of supplies, food, and water. Their culture changed dramatically during this period, not least in weaving. To substitute for their lost flocks, annuities were paid which included cotton string, commercially-manufactured natural- and aniline-dyed yarns as well as manufactured cloth and blankets. These lessened the Navajo people's reliance on their own loom products. In 1867, four thousand Spanish-made blankets were distributed to the Navajos as part of their annuity payment. The combination of widespread availability of yarns and cloth and the influence of the Spanish Saltillo designs were probably a direct inspiration in the dramatic shift in weaving during the Bosque Redondo years, from the stripes and terraced patterns of the Classic period to the serrate or diamond style of the Transitional period. It is testimony to the resiliency of Navajo culture that a period of internment could produce a robust period of change and continuity in weaving. In 1868, the Navajo were allowed to return to their beloved mesas and canyons. In exchange for their return they promised to cease aggressions against neighboring peoples, and to settle and become farmers. Reservation life brought further dramatic changes to Navajo culture, including a growing reliance on American civilization and its products. The sale of weavings in the next thirty years would provide an essential vehicle for economic change from barter to cash. Annuity goods included yarns, wool cards, indigo dye, aniline dyes, and various kinds of factory woven cloth. Skirts and blouses made of manufactured cloth replaced the woven two-piece blanket dress. Manufactured Pendleton blankets displaced hand-woven mantas and shoulder blankets so that by the 1890's, there was relatively little need for loom products in Navajo society. US government-licensed traders began to establish themselves on the new Navajo Reservation. Whatever their motivation, adventure or commerce, the traders became the chief link between the Navajo and the non-Indian world. Trading posts exchanged goods for Navajo products such as piñon nuts, wool, sheep, jewelry, baskets, and rugs. While wool and sheep were important to Navajo people for weaving and meat, they were also important to the economy beyond the Reservation. Wool was in great demand in the industrialized eastern US for coats, upholstery, and other products. Traders bought wool by the pound and sold it to wool brokers in Albuquerque and Las Vegas, New Mexico. The sheep purchased by traders were herded to the nearest rail'head and on to the slaughterhouses. The herds grew substantially and it became more profitable for Navajo people to sell wool rather than utilize it in weaving. The railroad reached Gallup, NM in 1882, establishing a tangible connection between the Navajos and the wider market, with the traders acting as middlemen. The completion of the railroad signaled the closing of the American Frontier which, in turn, stimulated a nationwide interest in collecting American Indian art. The railroad made travel to the vast reaches of the west easier and thus opened the area for tourists. The traders recognized these new markets and began to influence weaving by paying better prices for weaving;s they thought more attractive to non-Indian buyers. This new market, coupled with the Navajo's decline in use of their hand woven products, infused new life into Navajo textile arts. By the 1880s, trading posts were well established on the Navajo Reservation, and traders encouraged weaving of floor rugs and patterns using more muted colors which they thought would appeal to the non-Indian market. By 1920, many regional styles of Navajo weaving developed around trading posts. These rugs are often known by the area's trading post's name. The history of Navajo weaving continues; over the past century, Navajo weaving has flourished, maintaining its importance as a vital native art to the present day. Virtually all the nineteenth and twentieth-century styles of blankets and rugs are still woven, and new styles continue to appear. Thanks to Bruce Bernstein, former director, Museum of Indian Arts and Culture, Museum of New Mexico, Santa Fe Originally appeared in The Collector’s Guide to Santa Fe and Taos - Volume 11 View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnav, Native American, Vintage Yei Weaving, Ca 1970's #1136, Discription: #1136 Native American, Vintage Yei Weaving, Ca 1970's, #1136 Native American, Vintage Yei Weaving, Ca 1970's, Dimensions: 52" x 82", Condition: Excellent for age. The piece has just been cleaned. Provance: A Maryland Collector. A Brief Social History of Navajo Weaving and a Historical Context for a Popular Contemporary Collectible There is an ageless beauty to Navajo weaving. Navajo weaving's are many things to people. Above all else, Navajo weaving's are masterworks, regardless of whose criteria of art is used to judge them. They are evocative, timeless portraits which, like all good art, transcend time and space. Navajo weaving has captured the imagination of many not only because they are beautiful, well-woven textiles but also because they so accurately mirror the social and economic history of Navajo people. Succinctly, Navajo women wove their life experiences into the pieces. Navajo people tell us they learned to weave from Spider Woman and that the first loom was of sky and earth cords, with weaving tools of sunlight, lightning, white shell, and crystal. Anthropologists speculate Navajos learned to weave from Pueblo people by 1650. There is little doubt Pueblo weaving was already influenced by the Spanish by the time they shared their weaving skills with Navajo people. Spanish influence includes the substitution of wool for cotton, the introduction of indigo (blue) dye, and simple stripe patterning. Besides the "manta" (a wider-than-long wearing blanket), Navajo weavers also made a tunic-like dress, belts, garters, hair ties, men's shirts, breech cloths, and a "serape-style" wearing blanket. These blankets were longer-than-wide and were patterned in brown, blue and white stripes and terraced lines. For more than a century, the products of Navajo looms were probably identical to those of their Pueblo teachers, but by the end of the 1700s Navajo weaving began its divergence. While Pueblo weavers remained conservative, Navajo weavers learned that wefts did not need to be passed through all the warps each time, but rather, by stopping at whatever point they wished they could create patterning other than horizontal bands. These "pauses" in Navajo weaving are often seen as "lazy-lines" (diagonal lines across the horizontal wefts) in finished pieces. By 1800, weavers were using this technique to create terraced lines and discrete design elements. Navajo weavers also demonstrated more willingness to use color than their Pueblo teachers. Spanish documents describing the Southwest in the early 18th century mention Navajo weaving skills. By the 1700's Navajo weaving was an important trade item to the Pueblos and Plains Indian people. In 1844, Santa Fe Trail traveler Josiah Gregg reported, "a singular species of blanket, known as the Serape Navajo which is of so close and dense a texture that it will frequently hold water almost equal to gum-elastic cloth. It is therefore highly prized for protection against the rains. Some of the finer qualities are often sold among the Mexicans as high as fifty or sixty dollars each.", Blankets were traded great distances as evidenced by their appearance in Karl Bodmer's 1833 painting of a Piegan Blackfoot man (Montana) wearing what appears to be a first-phase Chief's blanket or an 1845 sketch of Cheyenne at Bent's Fort (Colorado) wearing striped blankets. Historic photographs illustrate that the desirability of blankets increased with the 19th century. Closer and more frequent trading partners included the Utes, Apaches, Comanches, and Pueblos. The Spanish or Mexicans had never been able to reach a lasting peace with the Navajo. When Mexico ceded the Southwest to the United States in 1848, the "Navajo Problem" was also inherited. With a pronounced resolve, Kit Carson led a "Scorched Earth" campaign in 1863–4, destroying food caches, herds and orchards, ending in 8000 Navajo people surrendering. They were marched hundreds of miles to an arid, barren reservation, Bosque Redondo, at Fort Sumner in eastern NM. For five years the people endured incarceration with shortages of supplies, food, and water. Their culture changed dramatically during this period, not least in weaving. To substitute for their lost flocks, annuities were paid which included cotton string, commercially-manufactured natural- and aniline-dyed yarns as well as manufactured cloth and blankets. These lessened the Navajo people's reliance on their own loom products. In 1867, four thousand Spanish-made blankets were distributed to the Navajos as part of their annuity payment. The combination of widespread availability of yarns and cloth and the influence of the Spanish Saltillo designs were probably a direct inspiration in the dramatic shift in weaving during the Bosque Redondo years, from the stripes and terraced patterns of the Classic period to the serrate or diamond style of the Transitional period. It is testimony to the resiliency of Navajo culture that a period of internment could produce a robust period of change and continuity in weaving. In 1868, the Navajo were allowed to return to their beloved mesas and canyons. In exchange for their return they promised to cease aggressions against neighboring peoples, and to settle and become farmers. Reservation life brought further dramatic changes to Navajo culture, including a growing reliance on American civilization and its products. The sale of weavings in the next thirty years would provide an essential vehicle for economic change from barter to cash. Annuity goods included yarns, wool cards, indigo dye, aniline dyes, and various kinds of factory woven cloth. Skirts and blouses made of manufactured cloth replaced the woven two-piece blanket dress. Manufactured Pendleton blankets displaced hand-woven mantas and shoulder blankets so that by the 1890's, there was relatively little need for loom products in Navajo society. US government-licensed traders began to establish themselves on the new Navajo Reservation. Whatever their motivation, adventure or commerce, the traders became the chief link between the Navajo and the non-Indian world. Trading posts exchanged goods for Navajo products such as piñon nuts, wool, sheep, jewelry, baskets, and rugs. While wool and sheep were important to Navajo people for weaving and meat, they were also important to the economy beyond the Reservation. Wool was in great demand in the industrialized eastern US for coats, upholstery, and other products. Traders bought wool by the pound and sold it to wool brokers in Albuquerque and Las Vegas, New Mexico. The sheep purchased by traders were herded to the nearest rail'head and on to the slaughterhouses. The herds grew substantially and it became more profitable for Navajo people to sell wool rather than utilize it in weaving. The railroad reached Gallup, NM in 1882, establishing a tangible connection between the Navajos and the wider market, with the traders acting as middlemen. The completion of the railroad signaled the closing of the American Frontier which, in turn, stimulated a nationwide interest in collecting American Indian art. The railroad made travel to the vast reaches of the west easier and thus opened the area for tourists. The traders recognized these new markets and began to influence weaving by paying better prices for weaving;s they thought more attractive to non-Indian buyers. This new market, coupled with the Navajo's decline in use of their hand woven products, infused new life into Navajo textile arts. By the 1880s, trading posts were well established on the Navajo Reservation, and traders encouraged weaving of floor rugs and patterns using more muted colors which they thought would appeal to the non-Indian market. By 1920, many regional styles of Navajo weaving developed around trading posts. These rugs are often known by the area's trading post's name. The history of Navajo weaving continues; over the past century, Navajo weaving has flourished, maintaining its importance as a vital native art to the present day. Virtually all the nineteenth and twentieth-century styles of blankets and rugs are still woven, and new styles continue to appear. Thanks to Bruce Bernstein, former director, Museum of Indian Arts and Culture, Museum of New Mexico, Santa Fe Originally appeared in The Collector’s Guide to Santa Fe and Taos - Volume 11 View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnav, http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnavRead more

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Native American, Vintage Hopi Poly Chrome Vase, by Rachel Sahmie Nampeyo

Native American, Vintage Hopi Poly Chrome Vase, by Rachel Sahmie Nampeyo, Ca 1970's, #1332 Discription: #1332 Native American, Vintage Hopi Poly Chrome Vase, by Rachel Sahmie Nampeyo, Ca 1970's, Dimensions: 3.5"H x 8" Apex Diameter Condition: excellent. No cracks or physical damage visible. Some minor spots of the paint coming off of the piece and fading is present. Rachel Sahmie Nampeyo, Hopi Pueblo, is a daughter of Priscilla Namingha Nampeyo and has been an active potter since around 1970. She has seven siblings, all of whom are potters or Katsina doll carvers. Her brothers and sisters are Nyla Sahmie, Jean Sahme, Bonnie Chapella, Randy Sahmie, Andrew Sahmie, Foster Sahmie and Finkle Sahmie. Rachel has been actively potting from about 1970 to the present. Her specialties are Sikyatki Revival shapes and designs brought back into popularity by her great grandmother, Nampeyo of Hano. She is an accomplished potter as is evident by her success in creating flattop seed jars. Photo reference: Fourteen Families In Pueblo Pottery by Rick Dillingham. Source Adobe Gallery. “Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clay's gathered from each pueblo’s local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated—most frequently with paint and occasionally with appliqué. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo’s pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and polychrome—a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce undecorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art.” (Source: Museum of Northern Arizona)Read more

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Western Artist, Lee Rommel “Spirit” Water Color Painting, Ca 1985, #962

Western Artist Lee Rommel, "Spirit" 962. Description: Lee Rommel “Spirit” Water Color Painting, Ca 1985 Condition: Excellent condition for age Dimensions: 16” x 21” Provenance: Savage Gallery, Santa Fe, NM Background Information on Artist Lee Rommel: Taken from her web site: Taken from her web site: Lee Rommel has lived and taught art in Santa Fe since 1973. She conducts weekly classes and summer plein air workshops in Santa Fe, as well as workshops for art groups in other parts of the country. Lee instructs oil painting, watercolor, pastel and acrylic as well as beginner/intermediate sculpting in clay. Before residing in Santa Fe, Lee lived in Puerto Rico, for four years. Her art career began in New York City, where she lived for 9 years. She was born and educated in Maine. Lee started her teaching career in Puerto Rico. She is a self-taught artist who feels teaching has become an education in itself for her. She has taken informal instruction from other well-known artists to hone her craft of painting, sculpting and pastel painting. Some of the artists she has studied with are, Charles Reid, Wilson Hurley, George Lundeen, George Carlson, and Glenna Goodacre. She has exhibited and won awards in many national juried and invitational shows throughout the United States and Puerto Rico. Her work has appeared in Southwest Art, The Santa Fean, Southern Living, Focus and numerous other publications and can be found in numerous private and corporate collections throughout the U.S. and Europe. Ongoing studying is very important for the serious artist." Every painting is a learning experience and a problem to be solved." Rommel travels and paints on locations rendering small oil canvases and fills watercolor journals on each trip. She uses her small paintings as studies for larger studio work. Her painting trips have taken her to Australia, New Zealand, Polynesia, Mexico and many trips to France and Italy, as well as locations close to New Mexico, and she journeys back to her birth state of Maine as well. Lee continues her passion for painting by offering private classes in her studio, painting classes at Valdes Art School (Santa Fe), and plein air classes from her studio as well. For information on these classes, see "workshops" on main menu. Lee is currently working on producing a small whimsical story book about “sheep”, including 15 watercolors inspired by her trip to New Zealand. She is working on a small photo book of her paintings as well. Western Artist, Lee Rommel, "Spirit", 962. Description: Lee Rommel “Spirit” Water Color Painting, Ca 1985, Condition: Excellent condition for age, Dimensions: 16” x 21”, Provenance: Savage Gallery, Santa Fe, NM, Background Information on Artist Lee Rommel:, Taken from her web site: Taken from her web site: Lee Rommel has lived and taught art in Santa Fe since 1973. She conducts weekly classes and summer plein air workshops in Santa Fe, as well as workshops for art groups in other parts of the country. Lee instructs oil painting, watercolor, pastel and acrylic as well as beginner/intermediate sculpting in clay. Before residing in Santa Fe, Lee lived in Puerto Rico, for four years. Her art career began in New York City, where she lived for 9 years. She was born and educated in Maine. Lee started her teaching career in Puerto Rico. She is a self-taught artist who feels teaching has become an education in itself for her. She has taken informal instruction from other well-known artists to hone her craft of painting, sculpting and pastel painting. Some of the artists she has studied with are, Charles Reid, Wilson Hurley, George Lundeen, George Carlson, and Glenna Goodacre. She has exhibited and won awards in many national juried and invitational shows throughout the United States and Puerto Rico. Her work has appeared in Southwest Art, The Santa Fean, Southern Living, Focus and numerous other publications and can be found in numerous private and corporate collections throughout the U.S. and Europe. Ongoing studying is very important for the serious artist." Every painting is a learning experience and a problem to be solved." Rommel travels and paints on locations rendering small oil canvases and fills watercolor journals on each trip. She uses her small paintings as studies for larger studio work. Her painting trips have taken her to Australia, New Zealand, Polynesia, Mexico and many trips to France and Italy, as well as locations close to New Mexico, and she journeys back to her birth state of Maine as well. Lee continues her passion for painting by offering private classes in her studio, painting classes at Valdes Art School (Santa Fe), and plein air classes from her studio as well. For information on these classes, see "workshops" on main menu. Lee is currently working on producing a small whimsical story book about “sheep”, including 15 watercolors inspired by her trip to New Zealand. She is working on a small photo book of her paintings as well. Rommel travels and paints on locations rendering small oil canvases and fills watercolor journals on each trip. She uses her small paintings as studies for larger studio work. Her painting trips have taken her to Australia, New Zealand, Polynesia, Mexico and many trips to France and Italy, as well as locations close to New Mexico, and she journeys back to her birth state of Maine as well. Lee continues her passion for painting by offering private classes in her studio, painting classes at Valdes Art School (Santa Fe), and plein air classes from her studio as well. For information on these classes, see "workshops" on main menu. Lee is currently working on producing a small whimsical story book about “sheep”, including 15 watercolors inspired by her trip to New Zealand. She is working on a small photo book of her paintings as wellRead more

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Beaded Skirt : Authentic Rare Konyak Naga Woman's Beaded Skirt #613

Beaded Skirt Authentic rare Konyak Naga woman's beaded skirt. 613. Authentic rare Konyak Naga woman's beaded skirt. Fine, rare beaded cloth skirt worn by Konyak Naga chief's clan young women only. Rare blue and green glass seed beads mixed with mustard beads over one half, with bead and bell attachment at one corner, unadorned cloth is the other half. Plastic buttons probably added later when they became available and popular as something new and different. One of the buttons has red thread and it looks like a little smiley face. The piece is 31 inches long, 5 inches wide and has 8 rows of beads, and is in excellent condition for its use and age which is the early to mid 19th century. Please note that the designation Authentic means that the piece was made by the Nagas and used by them in their actual ceremonies and not made for tourists. Nagaland has a rich diversity of ethnic groups, languages and religions. More than 80% of the population lives in small, isolated villages and practice their own rituals and traditions that have been existing since centuries. The Nagas are said to belong to the Indo-Mongoloid stock, a race whose presence was first noted ten centuries before Christ, at the time of the compilation of the Vedas. The Nagas are mostly Christians. Naga Features: The Nagas are usually medium sized. The nose is flat, eyes curved, complexion fair, and hair straight. Men are muscular and women are usually short. One unique feature of the Nagas is that they wear conical red headgear decorated with wild boar canine teeth and white black Hornbill feathers, the spear with the shaft decorated with red black hairs and the unique dao with broad blade and long handle. Both men and women wear traditional Naga jewelry. Naga shawls are very famous among the tribes. Tattooing is customary among the tribes. Nagaland Culture The tribes of Nagaland are unique in their culture and traditions. The tribes are excellent and skilled craftsmen. Naga tribes are known for being hard working and laborious. They are known for making exquisite bamboo and cane products, weaving and wood carving. The Nagas are expert in basketry, weaving, woodcarving, pottery and metal work. Agriculture is the main occupation of the people. Rice, millet and Taro potato are grown by the people. The tribes of Nagaland are very fond of dance and music. Music forms an essential parts of their lives. There are different traditional dances and music of the different tribes. The music of is characterized by folk songs and music accentuated by traditional instruments. People of Nagaland are also famous for celebrating numerous seasonal fairs and festivals. All the tribes celebrate their own distinct festivals with dance and music. The most important festivals celebrated by the tribes include Sekrenyi, Moatsu Mong, Suhkruhnye, Bushu, Yemshe, and Metumniu among others. The food of the Naga tribe consist of rice, millet, vegetables, fish, meat, Naga chilly and chutney. Nagaland Village System: The tribes live mainly in villages. For the Nagas family is the most important institution. Women are treated equally with men. Nagas are traditionally and tribally organized with a strong warrior tradition. Head hunting is an important aspect of the people. Most of the houses of the Nagas have skull displaying their warrior qualities. Different Tribes of Nagaland: Nagaland is home to some 16 different kinds of tribes with distinct and fascinating cultures. Each of the Naga tribe is divided into as many as twenty clans. The Nagas speak 60 different dialects. The prominent tribes are Angami, Ao, Chakhesang, Chang, Khiamniungan, Konyak, Lotha, Pochury, Phom, Poumai, Rongmei Naga, Rengma, Sangtam, Sema, Mao and Zeliang among many others. The languages of the Nagas may vary from Angami-Pochury, Ao, Kukish, Sal, Tangkhul and Zeme branches of Tibeto Burman. Some important tribes are: Angami Naga: The Angami Nagas are one of the major tribes of Nagaland. The Angamis mainly celebrate the Sekrenyi festival. They are basically hill people and depend on agriculture for their mode of livelihood. 98 % of the Angamis are Christians. Ao Naga: Ao Nagas are another major tribes in Nagaland. They reside mainly in Tsula to Tsurang in Mokokchung district. The Ao Nagas are known for the celebration of different harvest festivals. The Aos are primarily Christians. Chang: Changs are one of the recognized Scheduled Tribes in India. The traditional territory of the Chang lies in the Central Tuensang district. About 99 % of the Changs are Christians. They speak the Chang language and the Chang people are very fond of music and dance. They celebrate Christmas, Naknyu Lem, Poang Lem, Jeinyu Leam and so many other festivals with fanfare and gaiety. Konyak: Konyak have the largest populations among the Nagas. They are found in the Mon district of Nagaland. They are famous for their tattoos all over their faces and hands. Lotha: Lotha is also a major Naga tribe and reside in the Wokha district. They are popular for traditional dance and folk songs. Sumi: Sumi Nagas are one of the major Naga tribes. They mainly inhabit in the Zunheboto district. 99 % of the Sumis are Christians. Tuluni and Ahuna are the most important festivals of the Sumis. Yimchunger: Yimchunger is a minor Naga group. Metmneo festival is celebrated by the Yimchunge people. Khiamniungan: Khiamniungan is comparatively a minor Naga group. They mainly reside in the Tuensang district in Nagaland. Miu festival and Tsokum festival are the most important festivals celebrated by this tribal group. (Source: India on line) Tangkhul: Tangkhul is a Naga tribe living in the Indo-Burma border area occupying the Ukhrul district in Manipur, India and the Somra Tangkhul hills (Somra tract) in Upper Burma. Despite this international border, many Tangkhul have continued to regard themselves as "one nation".[1] Further reading Stirn, Aglaja & Peter van Ham. The Hidden world of the Naga: Living Traditions in Northeast India. London: Prestel. Oppitz, Michael, Thomas Kaiser, Alban von Stockhausen & Marion Wettstein. 2008. Naga Identities: Changing Local Cultures in the Northeast of India. Gent: Snoeck Publishers. Kunz, Richard & Vibha Joshi. 2008. Naga A Forgotten Mountain Region Rediscovered. Basel: Merian. Alban von Stockhausen: Imag (in) ing the Nagas: The Pictorial Ethnography of Hans-Eberhard Kauffmann and Christoph von FÌ_rer-Haimendorf. Arnoldsche, Stuttgart 2014, ISBN 978-3-89790-412-5. (Times of India), Beaded Skirt, Authentic rare Konyak Naga woman's beaded skirt. 613. Authentic rare Konyak Naga woman's beaded skirt. Fine, rare beaded cloth skirt worn by Konyak Naga chief's clan young women only. Rare blue and green glass seed beads mixed with mustard beads over one half, with bead and bell attachment at one corner, unadorned cloth is the other half. Plastic buttons probably added later when they became available and popular as something new and different. One of the buttons has red thread and it looks like a little smiley face. The piece is 31 inches long, 5 inches wide and has 8 rows of beads, and is in excellent condition for its use and age which is the early to mid 19th century. Please note that the designation Authentic means that the piece was made by the Nagas and used by them in their actual ceremonies and not made for tourists. Nagaland has a rich diversity of ethnic groups, languages and religions. More than 80% of the population lives in small, isolated villages and practice their own rituals and traditions that have been existing since centuries. The Nagas are said to belong to the Indo-Mongoloid stock, a race whose presence was first noted ten centuries before Christ, at the time of the compilation of the Vedas. The Nagas are mostly Christians. Naga Features: The Nagas are usually medium sized. The nose is flat, eyes curved, complexion fair, and hair straight. Men are muscular and women are usually short. One unique feature of the Nagas is that they wear conical red headgear decorated with wild boar canine teeth and white black Hornbill feathers, the spear with the shaft decorated with red black hairs and the unique dao with broad blade and long handle. Both men and women wear traditional Naga jewelry. Naga shawls are very famous among the tribes. Tattooing is customary among the tribes. Nagaland Culture, The tribes of Nagaland are unique in their culture and traditions. The tribes are excellent and skilled craftsmen. Naga tribes are known for being hard working and laborious. They are known for making exquisite bamboo and cane products, weaving and wood carving. The Nagas are expert in basketry, weaving, woodcarving, pottery and metal work. Agriculture is the main occupation of the people. Rice, millet and Taro potato are grown by the people. The tribes of Nagaland are very fond of dance and music. Music forms an essential parts of their lives. There are different traditional dances and music of the different tribes. The music of is characterized by folk songs and music accentuated by traditional instruments. People of Nagaland are also famous for celebrating numerous seasonal fairs and festivals. All the tribes celebrate their own distinct festivals with dance and music. The most important festivals celebrated by the tribes include Sekrenyi, Moatsu Mong, Suhkruhnye, Bushu, Yemshe, and Metumniu among others. The food of the Naga tribe consist of rice, millet, vegetables, fish, meat, Naga chilly and chutney. Nagaland Village System: The tribes live mainly in villages. For the Nagas family is the most important institution. Women are treated equally with men. Nagas are traditionally and tribally organized with a strong warrior tradition. Head hunting is an important aspect of the people. Most of the houses of the Nagas have skull displaying their warrior qualities. Different Tribes of Nagaland: Nagaland is home to some 16 different kinds of tribes with distinct and fascinating cultures. Each of the Naga tribe is divided into as many as twenty clans. The Nagas speak 60 different dialects. The prominent tribes are Angami, Ao, Chakhesang, Chang, Khiamniungan, Konyak, Lotha, Pochury, Phom, Poumai, Rongmei Naga, Rengma, Sangtam, Sema, Mao and Zeliang among many others. The languages of the Nagas may vary from Angami-Pochury, Ao, Kukish, Sal, Tangkhul and Zeme branches of Tibeto Burman. Some important tribes are:, Angami Naga: The Angami Nagas are one of the major tribes of Nagaland. The Angamis mainly celebrate the Sekrenyi festival. They are basically hill people and depend on agriculture for their mode of livelihood. 98 % of the Angamis are Christians. Ao Naga: Ao Nagas are another major tribes in Nagaland. They reside mainly in Tsula to Tsurang in Mokokchung district. The Ao Nagas are known for the celebration of different harvest festivals. The Aos are primarily Christians. Chang: Changs are one of the recognized Scheduled Tribes in India. The traditional territory of the Chang lies in the Central Tuensang district. About 99 % of the Changs are Christians. They speak the Chang language and the Chang people are very fond of music and dance. They celebrate Christmas, Naknyu Lem, Poang Lem, Jeinyu Leam and so many other festivals with fanfare and gaiety. Konyak: Konyak have the largest populations among the Nagas. They are found in the Mon district of Nagaland. They are famous for their tattoos all over their faces and hands. Lotha: Lotha is also a major Naga tribe and reside in the Wokha district. They are popular for traditional dance and folk songs. Sumi: Sumi Nagas are one of the major Naga tribes. They mainly inhabit in the Zunheboto district. 99 % of the Sumis are Christians. Tuluni and Ahuna are the most important festivals of the Sumis. Yimchunger: Yimchunger is a minor Naga group. Metmneo festival is celebrated by the Yimchunge people. Khiamniungan: Khiamniungan is comparatively a minor Naga group. They mainly reside in the Tuensang district in Nagaland. Miu festival and Tsokum festival are the most important festivals celebrated by this tribal group. (Source: India on line), Tangkhul: Tangkhul is a Naga tribe living in the Indo-Burma border area occupying the Ukhrul district in Manipur, India and the Somra Tangkhul hills (Somra tract) in Upper Burma. Despite this international border, many Tangkhul have continued to regard themselves as "one nation".[1], Further reading, Stirn, Aglaja & Peter van Ham. The Hidden world of the Naga: Living Traditions in Northeast India. London: Prestel. Oppitz, Michael, Thomas Kaiser, Alban von Stockhausen & Marion Wettstein. 2008. Naga Identities: Changing Local Cultures in the Northeast of India. Gent: Snoeck Publishers. Kunz, Richard & Vibha Joshi. 2008. Naga A Forgotten Mountain Region Rediscovered. Basel: Merian. Alban von Stockhausen: Imag (in) ing the Nagas: The Pictorial Ethnography of Hans-Eberhard Kauffmann and Christoph von FÌ_rer-Haimendorf. Arnoldsche, Stuttgart 2014, ISBN 978-3-89790-412-5. (Times of India)Read more

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Vintage Pojoaque Pueblo Pottery by Virginia Gutierrez, Ca 1960's, #1278

Vintage Pojoaque Pueblo Pottery by Virginia Gutierrez, Ca 1960's, #1278 Discription: #1278 Vintage Pojoaque Pueblo Pottery by Virginia Gutierrez, Ca 1960's, By V. ( Virginia ) Gutierrez born 1941 of the Nambe-Pojoaque Pueblo. She exhibited her work at the Santa Fe Indian Market, now it is hard to find her work on the open market. All her work was hand coiled, pit fired and hand painted with natural pigments.Virginia Gutierrez has not produced much pottery since the 1990s. Dimensions: 7.0" x 6.5" Condition: Very good for age. Pojoaque (/pəˈwɑːkiː/; Tewa: P'osuwaege Owingeh [p’òhsũ̀wæ̃̀gè ʔówîŋgè]) is a census-designated place (CDP) in Santa Fe County, New Mexico, United States. It is part of the Santa Fe, New Mexico Metropolitan Statistical Area. The population was 1,907 at the 2010 census. Pojoaque Pueblo, a neighboring community, is an Indian Reservation, and the town of Pojoaque is a collection of communities near the Pueblo with people from various ethnic backgrounds. The area of Pojoaque includes the neighborhoods of Cuyamungue, Jacona, Jaconita, Nambé and El Rancho. In the early 17th century the first Spanish mission San Francisco de Pojoaque was founded. During the Pueblo Revolt of 1680, Pojoaque was abandoned, and was not resettled until about 1706. By 1712 the population had reached 79. During the revolt of 1837, New Mexico native Manuel Armijo defeated of the rebels at Puertocito Pojoaque, east of Santa Cruz de la Cañada. In the early 1900s the Pojoaque Valley School District was established to serve the educational needs of the valley. Pojoaque Pueblo is one of the six Tewa-speaking Rio Grande Pueblos, and a member of the Eight Northern Pueblos. The Pueblo was settled around 500 AD, with the population peaking in the 15th and 16th centuries. In about 1900, a severe smallpox epidemic caused the pueblo to be abandoned once again by 1912. In 1934, Pojoaque Pueblo was reoccupied, and became a federally recognized Indian Reservation in 1936.[2] Pojoaque Pueblo remains a major employer in the region, owning several business enterprises, including the gaming operations of three casino locations, Buffalo Thunder Resort, Cities of Gold Casino and Jakes's Casino. Prior to 2017, the New Mexico state gaming compacts signed by the pueblo expired, but the pueblo has continued gaming operations and resumed negotiations with the state of New Mexico. Pojoaque is located at 35°53′26″N 106°11′34″W (35.890581, -106.009511).[3] According to the United States Census Bureau, the CDP has a total area of 2.9 square miles (7.5 km²), all land. The Pojoaque River flows from the Sangre de Cristo Mountains from Nambé Lake westward where it flows into the Rio Grande. As of the census[4] of 2000, there were 1,261 people, 493 households, and 332 families residing in the CDP. The population density was 437.3 people per square mile (169.1/km²). There were 533 housing units at an average density of 184.8 per square mile (71.5/km²). The racial makeup of the CDP was 52.10% White, 0.56% African American, 17.37% Native American, 26.57% from other races, and 3.41% from two or more races. Hispanic or Latino of any race were 62.17% of the population. There were 493 households out of which 38.3% had children under the age of 18 living with them, 46.7% were married couples living together, 13.0% had a female householder with no husband present, and 32.5% were non-families. 26.6% of all households were made up of individuals and 6.9% had someone living alone who was 65 years of age or older. The average household size was 2.56 and the average family size was 3.10. In the CDP, the population was spread out with 28.9% under the age of 18, 9.3% from 18 to 24, 30.4% from 25 to 44, 23.3% from 45 to 64, and 8.1% who were 65 years of age or older. The median age was 34 years. For every 100 females there were 103.1 males. For every 100 females age 18 and over, there were 101.3 malesRead more

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Hopi Vase : Very Nice Vintage Hopi Tulip Vase #281 b.

Hopi Vase 281 b Description: Hopi pottery vessel. Tulip Vase, is 8" tall and signed LA, no visible chips or cracks, except the vase shows some chips in the slip around the inner rim, and a fire cloud below on one side. Other than this, it is in good condition for its age and use. A History of Pueblo Pottery: Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clay's gathered from each pueblo's local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated most frequently with paint and occasionally with applique. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo's pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and poly chrome a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce un-decorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art. (Source: Museum of Northern Arizona) View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnav, Hopi Vase, 281 b Description: Hopi pottery vessel. Tulip Vase, is 8" tall and signed LA, no visible chips or cracks, except the vase shows some chips in the slip around the inner rim, and a fire cloud below on one side. Other than this, it is in good condition for its age and use. A History of Pueblo Pottery:, Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clay's gathered from each pueblo's local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated most frequently with paint and occasionally with applique. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo's pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and poly chrome a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce un-decorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art. (Source: Museum of Northern Arizona), View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnavRead more

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Native American Rare Historic Tohono O'odham Pot, Ca early 1900's. #1139

Native American Rare Historic Tohono O'odham Wine Pot, Ca early 1900's. #1139 Description: #1139 Native American Rare Historic Tohono O'odham Wine Pot, Ca early 1900's. Out of all my years of collecting this is the first like this, I have found. Dimensions: 9.5" x 9,5" Condition: Excellent for its age and use. Historically, the O’odham inhabited an enormous area of land in the southwest, extending South to Sonora, Mexico, north to Central Arizona (just north of Phoenix, Arizona), west to the Gulf of California, and east to the San Pedro River. This land base was known as the Papagueria and it had been home to the O’odham for thousands of years. From the early 18th Century through to the present, the O’odham land was occupied by foreign governments. With the independence of Republic of Mexico, O’odham fell under Mexican rule. Then, in 1853, through the Gadsden Purchase or Treaty of La Mesilla, O’odham land was divided almost in half, between the United States of America and Mexico. According to the terms of the Gadsden Purchase, the United States agreed to honor all land rights of the area held by Mexican citizens, which included the O’odham, and O’odham would have the same constitutional rights as any other United States citizen. However, the demand for land for settlement escalated with the development of mining and the transcontinental railroad. That demand resulted in the loss of O’odham land on both sides of the border. Following the Plan de Iguala, O’odham lands in Mexico continued to decrease at a rapid rate. In 1927, reserves of lands for indigenous peoples, were established by Mexico. Today, approximately nine O’odham communities in Mexico lie proximate to the southern edge of the Tohono O’odham Nation, a number of which are separated only by the United States/Mexico border. On the U.S. side of the border, the Gadsden Purchase had little effect on the O’odham initially because they were not informed that a purchase of their land had been made, and the new border between the United States and Mexico was not strictly enforced. In recent years, however, the border has come to affect the O’odham in many ways, because immigration laws prevent the O’odham from crossing it freely. In fact, the U.S.-Mexico border has become “an artificial barrier to the freedom of the Tohono O’odham. . . to traverse their lands, impairing their ability to collect foods and materials needed to sustain their culture and to visit family members and traditional sacred sites.” O’odham members must produce passports and border identification cards to enter into the United States. On countless occasions, the U.S. Border Patrol has detained and deported members of the Tohono O’odham Nation who were simply traveling through their own traditional lands, practicing migratory traditions essential to their religion, economy and culture. Similarly, on many occasions U.S. Customs have prevented Tohono O’odham from transporting raw materials and goods essential for their spirituality, economy and traditional culture. Border officials are also reported to have confiscated cultural and religious items, such as feathers of common birds, pine leaves or sweet grass. The division of O’odham lands has resulted in an artificial division of O’odham society. O’odham bands are now broken up into 4 federally recognized tribes: the Tohono O’odham Nation, the Gila River Indian Community, the Ak-Chin Indian Community and the Salt River (Pima Maricopa) Indian community. Each band is now politically and geographically distinct and separate. The remaining band, the Hia-C’ed O’odham, are not federally recognized, but reside throughout southwestern Arizona. All of the groups still speak the O’odham language, which derives from the Uto-Aztecan language group, although each group has varying dialects. (Source Tohono O'odham Nation), Native American, Rare Historic Tohono O'odham Wine Pot, Ca early 1900's. #1139, Description: #1139 Native American Rare Historic Tohono O'odham Wine Pot, Ca early 1900's. Out of all my years of collecting this is the first like this, I have found. Dimensions: 9.5" x 9,5", Condition: Excellent for its age and use. Historically, the O’odham inhabited an enormous area of land in the southwest, extending South to Sonora, Mexico, north to Central Arizona (just north of Phoenix, Arizona), west to the Gulf of California, and east to the San Pedro River. This land base was known as the Papagueria and it had been home to the O’odham for thousands of years. From the early 18th Century through to the present, the O’odham land was occupied by foreign governments. With the independence of Republic of Mexico, O’odham fell under Mexican rule. Then, in 1853, through the Gadsden Purchase or Treaty of La Mesilla, O’odham land was divided almost in half, between the United States of America and Mexico. According to the terms of the Gadsden Purchase, the United States agreed to honor all land rights of the area held by Mexican citizens, which included the O’odham, and O’odham would have the same constitutional rights as any other United States citizen. However, the demand for land for settlement escalated with the development of mining and the transcontinental railroad. That demand resulted in the loss of O’odham land on both sides of the border. Following the Plan de Iguala, O’odham lands in Mexico continued to decrease at a rapid rate. In 1927, reserves of lands for indigenous peoples, were established by Mexico. Today, approximately nine O’odham communities in Mexico lie proximate to the southern edge of the Tohono O’odham Nation, a number of which are separated only by the United States/Mexico border. On the U.S. side of the border, the Gadsden Purchase had little effect on the O’odham initially because they were not informed that a purchase of their land had been made, and the new border between the United States and Mexico was not strictly enforced. In recent years, however, the border has come to affect the O’odham in many ways, because immigration laws prevent the O’odham from crossing it freely. In fact, the U.S.-Mexico border has become “an artificial barrier to the freedom of the Tohono O’odham. . . to traverse their lands, impairing their ability to collect foods and materials needed to sustain their culture and to visit family members and traditional sacred sites.” O’odham members must produce passports and border identification cards to enter into the United States. On countless occasions, the U.S. Border Patrol has detained and deported members of the Tohono O’odham Nation who were simply traveling through their own traditional lands, practicing migratory traditions essential to their religion, economy and culture. Similarly, on many occasions U.S. Customs have prevented Tohono O’odham from transporting raw materials and goods essential for their spirituality, economy and traditional culture. Border officials are also reported to have confiscated cultural and religious items, such as feathers of common birds, pine leaves or sweet grass. The division of O’odham lands has resulted in an artificial division of O’odham society. O’odham bands are now broken up into 4 federally recognized tribes: the Tohono O’odham Nation, the Gila River Indian Community, the Ak-Chin Indian Community and the Salt River (Pima Maricopa) Indian community. Each band is now politically and geographically distinct and separate. The remaining band, the Hia-C’ed O’odham, are not federally recognized, but reside throughout southwestern Arizona. All of the groups still speak the O’odham language, which derives from the Uto-Aztecan language group, although each group has varying dialects. (Source Tohono O'odham Nation)Read more

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Native American Bowl : Excellent 1950's Hopi Traditional Black on

Native American Bowl 252. Description: From a Southwestern Americana Collection Scottsdale AZ, Estate. A 1950s 1st Mesa Hopi-Tewa Traditional Black on Red Bowl by Ethel Youvella 1919-2006 Polacca, Arizona, measures 8''W x 5.25''H, signed on bottom by artist, abstract and geometric shapes and lines. Overall is in very good condition, but has a small chip out of the lip. Artist Bio: ''Ethel was from the village of Hano at First Mesa. She was a niece of famous Hopi-Tewa potter Grace Chapella. Youvella specialized in making smaller pieces. She also made pottery tiles, cylinder vases and ash trays. She relied on her pottery as a supplemental income, but maintained a traditional life in the Hopi sense. The bold patterns and designs are reminiscent of the Nampeyo era, and pay homage to the woman who has been credited with reviving Pueblo pottery as an art form in the last decade.'' (Source: Desert West Auction) Excellent Condition. A History of Pueblo Pottery: Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clay's gathered from each pueblo's local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated most frequently with paint and occasionally with applique. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo's pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and poly chrome a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce un-decorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art. (Source: Museum of Northern Arizona) View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnav, Native American Bowl, 252. Description: From a Southwestern Americana Collection Scottsdale AZ, Estate. A 1950s 1st Mesa Hopi-Tewa Traditional Black on Red Bowl by Ethel Youvella 1919-2006 Polacca, Arizona, measures 8''W x 5.25''H, signed on bottom by artist, abstract and geometric shapes and lines. Overall is in very good condition, but has a small chip out of the lip. Artist Bio: ''Ethel was from the village of Hano at First Mesa. She was a niece of famous Hopi-Tewa potter Grace Chapella. Youvella specialized in making smaller pieces. She also made pottery tiles, cylinder vases and ash trays. She relied on her pottery as a supplemental income, but maintained a traditional life in the Hopi sense. The bold patterns and designs are reminiscent of the Nampeyo era, and pay homage to the woman who has been credited with reviving Pueblo pottery as an art form in the last decade.'' (Source: Desert West Auction) Excellent Condition. A History of Pueblo Pottery:, Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clay's gathered from each pueblo's local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated most frequently with paint and occasionally with applique. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo's pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and poly chrome a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce un-decorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art. (Source: Museum of Northern Arizona), View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnavRead more

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Pre Colombian Chancay Female Modeled Hollow Figure: Ex Sotheby’s
Chancay Female Modelled Hollow Figure Peru, C 1100-1440 AD. The standing female figure with arms upraised, cream slip, with black painted decorations.  Cultural Patina
oyal Necklace : Authentic Naga Long Maroon ?Royal? Glass Bead Necklace
Authentic Konyak Naga Long Maroon ?Royal? Glass bead Necklace, a very fine example in perfect condition. Rare unusual color, made with special beads in the center typical of chief clan ownership. The piece is 18 inches long, has 46 strands of fine maroon colored seed beads and has a old shell as a closure. It is in excellent condition considering its use and age which is estimated to be early to mid 19th century. Please note that the designation ?Authentic? means that the piece was made by the Nagas and used by them in their actual ceremonies and not made for tourists. Cultural Patina
Vintage Pottery Bowl : Very Nice Small Vintage Hopi Pottery Bowl
Hopi pottery vessel – the small bowl measures 5.5" diameter. and 2.5" tall and is marked CE or CEZ over a line with no visible chips or cracks. Overall, in very good condition for its age and use. Cultural Patina
Native American, Navajo Pine Springs Weaving/Textile/Rug, attributed
935. Native American, Navajo Pine Springs Weaving/Textile/Rug, attributed to Anna Clyde . Beautiful hand made wool weaving using all natural dyes, in a banded pattern. Cultural Patina
Maricopa Pottery Bowl
Maricopa Pottery Bowl Cultural Patina

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