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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Native American Historic Acoma Poly chrome Pottery Olla #387

Native American Historic Acoma Poly chrome Pottery Olla 387. Description: Acoma Poly chrome Olla, design incorporates parrots perched on foliage and are surrounded by two-tone rainbows, height 10.5 in. x diameter 12.5 in.ca 1900: Condition: Has been black-lit and appears okay. Excellent condition for its age. 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 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) ---------- 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 Bichrome Rattle-Human Form, Ca 1000 to 1470 CE, # 954

Pre-Columbian Chancay Bichrome Rattle 954. Description: Pre-Columbian, Chancay,Bichrome Rattle, Human Form, modern day Peru, ca. 1000 to 1470 CE. This is a hollow pottery rattle in the shape of a person -- it may be female -- lying on a pallet with arms outstretched. It is done in the distinctive Chancay style of black on white pottery. The palleted figure is a common image throughout the pre-Columbian world, known, for example, from the West Mexican shaft tomb cultural tradition. It calls to mind someone who probably dead, being carried to a burial site or ceremony. Although relatively little is known about the Chancay culture, their neighbors, the Inca, had a strong tradition of mummification and veneration of the mummified dead, including bringing the mummies of emperors to special events. The body on the pallet might represent the moving of a revered ancestor. Dimensions: Size: 2" L x 4.9" W x 5.6" H (5.1 cm x 12.4 cm x 14.2 cm) Provenance: Ex-Private Young collection, Colorado Springs, CO Condition Report: Intact, with painted artwork very clear. Very slight damage to one small corner of pallet. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. Some background on the Chancay: History: Not much is known about the Chancay civilization which developed in the later part of the Inca empire. This culture emerged after the fall of the Wari civilization. Parts of the southern Chancay area were conquered by the Chimú in the early fifteenth century and in about 1450 A.D. the Incas were occupying both areas. [1] It is believed that the Chancay had a centralized political structure, forming a small regional state. [3] Thus the Chancay culture declined in the fifteenth century to make way for the territorial expansion of the Inca Empire. Occupying the central coast coastal region of Peru, the Chancay were centered mostly in the Chancay and Chillón valleys, although they also occupied other areas such as the Rimac and Lurin valley areas. [2] The center of the Chancay culture was located 80 kilometers north of Lima. It is a desert region but has fertile valleys bathed by rivers and is rich in resources that allowed for, among other things, extensive agricultural development. The Chancay developed intense trade relations with other regions, allowing them to interract with other cultures and settlements in a wide area. Economy: The Chancay culture based its economy on agriculture, fishing and trade. Water reservoirs and irrigation canals were built by engineers in order to develop agriculture. As the culture was geographically located on the oceanfront, they were involved in traditional fishing both from the shore as well as further out to sea from their caballitos de totora, an ancient type of watercraft unique to Peru. The Chancay also traded with other regions either by land towards the Peruvian highlands and jungle or by sea to the north and south of their borders. The settlements in Lauri, Lumbra, Tambo Blanco, Handrail, Pisquillo Chico and Tronconal focused mainly on artisans producing large-scale ceramics and textiles. The Chancay culture is the first of the Peruvian cultures that had mass production of ceramics, textiles and metals such as gold and silver which were ritualistic and domestic goods. They were also noted for their wood carved items. [1] The curacas, political leaders, regulated the production of artisans, farmers and ranchers as well as oversaw festive activities. Textiles: The most well-known Chancay artefacts are the textiles which ranged from embroidered pieces, different types of fabrics decorated with paint. A variety of techniques, colours and themes were used in the making of textiles.[2] They used an array of colours including yellows, browns, scarlet, white, blues and greens.[1] types of fabric used included: llama wool, cotton, chiffon and feathers.[2] Their technique involved were decorated open weave, brocade, embroidery, and painting.[2] Brushes were used to paint anthropomorphic, zoomorphic, geometric and other creative designs directly on the canvases. The Chancay are known for the quality of their painted tapestries. The typically geometric designs also included drawings of plants, animals such as fish, cats, birds, monkeys and dogs (most notably the hairless Peruvian dog [4]) as well as human figures.[3] Birds and deities wearing crescent-like headdresses were one of the more common decorative features.[1] They produced a variety of goods such as clothing, bags, and funeral masks.[2] Many Chancay textiles survive to date. It is believed that their production was quite extensive, due to the quantities that have been preserved. The quality of the textile material appears to be good as they were carefully made. [1] Canvases or gauzes were used primarily for religious and magical purposes. They were made for covering the head of the dead in the form of a headdresses. According to the beliefs of the time, the threads on these fabrics had to be spun in the form of an "S" in an anticlockwise direction. This thread, which had a magical character, was called lloque and, according to legend, the garments were infused with supernatural powers and served as protection in the afterlife. Feathers were inserted into a main thread which was then sewn onto the fabric. The Chancay also manufactured dolls and other objects covered with pieces of woven fabric and various threads. Ceramics: Ceramics are also a very common feature of the Chancay culture. This pottery has been found mainly in the cemeteries of the Ancon and Chancay valleys. The Chancay civilization produced ceramics on a large scale using moulds. However, open vessels with more than 400 different types of drawings that have yet to be decrypted, uniquely created by artisans, have been found. The technique used in creating ceramics was with a rough matt surface that was later painted with a dark colour, usually black or brown, on top of a lighter cream or white background. This dark on light characteristic is known as black on white. Vessels are often large and quaintly shaped. Egg-shaped jars are some of the more common. Ceramic dolls or female figurines were also created. These were usually large, female-looking dolls made from clay. The faces and sometimes the upper sections of the body are covered with ornaments of different geometric shapes.[1] The eyes were accentuated with a line on each side and the arms were usually short.[3] These geometric ornamentations are very common on Chancay ceramics.[1] Other common ceramic vessels were oblong jars with narrow necks and wide mouths, with designs in the form of human faces and geometric shapes painted in the black on cream technique. Other common animal shapes are birds or llamas. [3] There were also miniature sized idols called cuchimilcos which were anthropomorphic shapes representative of human figures, having prominent jaws and eyes painted in black. These cuchimilcos figures usually had their arms extended as if they were ready to fly or inviting a hug. It is believed that they were used to turn away bad energies. This is perhaps why they have been mostly found in the tombs of the Chancay nobility. Woodwork: The wood carvings done by the Chancay are characterized by their simplicity, sobriety [2] and use of shapes from nature, quite opposed to the sophistication of their textile art. From wood they produced implements of daily use, statues and items for decoration, some of which they painted.[2] Using the wood from their coastal desert the Chancay carved large and small objects, finely engraved with motifs reflecting the marine environment, such as seabirds and boats. They also manufactured tools for use in the textile work, in farming and fishing operations, as well as a variety of objects for worship and to distinguish the social status of the populace. Human heads carved in wood were common. They were used to crown the mummies of important dignitaries, as a mark of their status as deity or mythical ancestor, which they acquired after death. The human images in wood could also be indicators of political power, especially when they were carved into sticks or batons of command. Architecture and social organization: With respect to architecture, this civilization is noted for creating large urban centres with pyramid-shaped mounds and complex buildings. It was organized by different types of settlements or ayllus and controlled by leaders or curacas. The urban centres had typical constructions for civic-religious purposes which also included residential palaces. These urban centers were quite large, perhaps due to the mass production of goods. [2] Their culture was marked by social stratification, which was also present in the small towns. The constructions were mostly made of adobe bricks, were organized in clusters and were also similarly designed according to a specific pattern. Sometimes the most prominent constructions were mixed or combined with stones. Its inhabitants were settled based on their trade so that they could massify the production of goods. Access to the pyramids was through ramps, i.e. from top to bottom. Their hydraulic engineering works such as reservoirs and irrigation canals were also of great notoriety. [2] (Source: Wikipedia) References 1 "The Chancay Culture". Retrieved 18 February 2013. 2. "Central Andes". Museo Chileno de Arte Precolombino. Retrieved 18 February 2013. 3. "Featured Artifacts: Chancay Culture, AD 1000-1400". SFU Museum of Archaeology and Ethnology. Retrieved 18 February 2013. 4. "Perú celebra 24 años de reconocimiento mundial a perro sin pelo". El Universal. 14 June 2009. Retrieved 19 February 2013. 5. WikipediaRead more

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Glass Bead Necklace : Naga Medium Red Multi-strand Glass Bead Necklace

Glass Bead Necklace Naga Medium Red Multi-strand Glass Bead Necklace, with Macrame Closure with old coin #1063 1063 Authentic Naga Medium red Multi-strand Glass Bead Necklace with Macrame closure and old coin. The piece is 25 inches long, has 35 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, Stuttgart 2014, ISBN 978-3-89790-412-5.Read more

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Navajo Rug, Teec Nos Pos Weaving, Wool Rugs, native American Rug

676. Description: Navajo Contemporary Teec Nos Pos weaving, hand woven wool, southwestern Native American rug. With elaborate multicolored central panel. Condition: Excellent condition. Size: 45" x 30". --------------- Find more rugs and pottery from the American Southwest here: http://www.etsy.com/shop/CulturalPatina?section_id=15777760&ref=shopsection_leftnav_1 --------------- A Brief Social History of Navajo Weaving and a bit of 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 1700's 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 1700s 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, 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 aggression 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 weaving's 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 pinon 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 1880's, 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_leftnavRead more

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Native American Zuni Pottery Olla #33

Native American Zuni Pottery 33. NATIVE AMERICAN ZUNI POTTERY OLLA, polychrome on white, decorated with a wide geometric border, the body painted with multiple "deer house" motifs alternating with stylized blossoms. Condition Report: Very good condition, with typical wear. Provenance: Collection of the late John and Lil Palmer, Purcellville, VA. Ex-collection of Leonard Landis, Harman, WV. Dimensions: 7" H, 9" DOA. Date: Circa 1920. The following is a direct quote from an appraisal done by Ramona Morris of Delaplane, VA on May 29, 2002. "Two large floral medallions with two "deer house" medallions per side. The "deer houses" each have two heart-line deer separated by a horizontal line. In one instance, the bottom deer is upside down, all others are upright. Painted in red and black on white background, black stripe inside mouth rim. Fine condition." Historical notes found with the piece indicate that Leonard Landis told the Palmer's that this pot had been in the collection of Lowell Thomas (the famous broadcaster) known as the "Melrose Museum" He further noted that the collection was liquidated some years ago thru an auction held in Winchester, VA by the Headley family. Leonard said that he purchased this jar from the widow of a Mr. Hamilton who had purchased it at the Headley sale. There is a very old and faded label attached to this jar that is impossible to read. 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 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) ---------- View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnavRead more

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Acoma Pottery : Outstanding Acoma Polychrome Pottery Olla with Interior

Acoma Pottery 258. Description: Classic black-on-white designs dominate the field, orange band circles the interior just below the rim. Dimensions: 6 & 1/4 in. high x 7 & 3/4 in. diameter. Condition: Minor surface wear, but overall condition is very good given it's 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 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)Read more

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Fine Art :Rare, Original, Ron Stewart, Bronze Sculpture, "Brother

Fine Art 325.Description: Ron Stewart (1941 - ). Brother to the Wolf. " bronze. Inscribed: Ron Stewart © 3/45. According to Ron, there were only 4 of these made as the mold was destroyed and could no longer be used. He reportedly will reissue this piece later this year given a renewed request for this piece. Dimensions: 13" x 20" x 9". Condition: Excellent Condition for its age and has a very nice patina. Provenance: Golden Eagle Trading Co. ----------- Additional Ron Stewart Paintings and Bronze 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; and Sanders Gallery, Tucson, AZ. His life was chronicled in Artists of the Rockies and the Golden West in winter of 1979, 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. Please note that my collection of Ron Stewart Art is one of the largest in the United States, as a result I do have 24 more extraordinary paintings and bronze that are not old enough to put up by Etsy standards. If you are interested in seeing these additional pieces, please let me know directly. ----------------- View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnavRead more

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Choker : Authentic Konyak Naga Patterned Bead #609

Choker Authentic Konyak Naga patterned bead choker 609. Authentic Konyak Naga patterned bead choker. Festival choker of less common light mustard beads with interesting z shaped patterning of bead work in center sections. Bone separators provide structure to the unique piece. The piece is 16 inches long, has 15 strands 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. (Source: Times of India)Read more

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Oil Painting : Ron Stewart Oil Painting, Original Ron Stewart Oil

Oil Painting 165. Description: This extraordinary Oil painting by Listed Artist Ron Stewart (1941-) entitled Morning Silence. Signed lower left: Ron Stewart @ (cyphers). Verso: titled. Dimensions: Size is 20 x 24 inches. Condition: Excellent Condition for its age. The piece was painted in 2014. ----------- 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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Vintage Purse : Large Vintage Akha Purse from Northern Thailand, ca 1960 #415

Vintage Purse 415. Made with hand woven cloth, hand embroidered in detail and adorned with silver coins and various colored glass beads. Collected some 50 years ago from the Akha in hills around Chaing Mai, Thailand. Excellent condition. Villages of these colorful people are to be found in the mountains of China, Laos Myanmar (Burma) and northern Thailand. There are approximately 20,000 Akha living in Thailand's Northern provinces of Chiang Rai and Chiang Mai at high altitudes. This tribe originated in Tibet. Every Akha village is distinguished by their carved wooden gates, presided over by guardian spirits. They life in raised houses on low stilts, with a large porch leading into a square living area with a stove at the back. The roof is steeply pitched. They live on marginal land and find it difficult to eke out a living through their slash and burn method of agriculture. In order to supplement their income, many Akha are now selling handicrafts, employing the traditional skills used in making their own clothing and cultural items. Akha women spin cotton into thread with a hand spindle, then leave it on a foot-treadle loom. The cloth is dyed with indigo, then sewed into clothing for the family. The women wear broad leggings, a short black skirt with a white beaded sporran, a loose fitting black jacket with heavily embroidered cuffs and lapels. The black caps are covered with silver coins. Akha men and women produce various decorative items of bamboo and seeds. The men make crossbows, musical instruments, a variety of baskets, and other items of wood, bamboo and rattan. The Akha are deeply superstitious, their religion prescribing exactly how each action should be performed. This tribe is the poorest of the hill tribes, but well known for their extraordinary costumes and exotic appearance. (Source: Thailand online)Read more

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Naga Cowrie Shells : Authentic Chang Warrior Sash with Six Double

Naga Cowrie Shells Authentic Chang Warrior Sash with Six Double Cowrie Shell Circles 616. Authentic Chang Warrior Sash with six Double Cowrie Shell Circles. Finely woven sash with stitched cowrie shells. This would have been part of a pair worn in crisscross fashion across a Chang warrior's chest. Weaving and supplemental weaving, sometimes with red dyed dog's hair, are extremely fine. The sash is 68 inches long and 4.5 inches wide. All the cowrie shells are in tack and the piece is in extremely good condition for 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. 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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Painting : Ron Stewart Oil Painting, Original Ron Stewart Oil, "Canyon

Native American Painting 329. Description: Oil painting by Listed Artist Ron Stewart (1941-) entitled "Canyon Shadows". Signed lower left: Ron Stewart @ (cyphers). Verso: titled. Dimensions: Size is 12 x 24 inches Condition: Excellent Condition for its age. The piece was painted in 2004. Provenance: Estate of Ken Holm, Denver, CO. ----------- 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, 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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Horse Painting : Ron Stewart Oil Painting, Original Oil, "Through

Horse Painting 443. Description: Oil painting by Listed Artist Ron Stewart (1941-) entitled "Through The Silence". Signed lower left: Ron Stewart @ (cyphers). Verso: titled. Dimensions: Size is 20 x 24 inches. Condition: Excellent Condition for its age. The piece was painted in 2012. ----------- 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, 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 Acoma or Laguna Pottery Olla #32

Native American Acoma Or Laguna Pottery Olla 82. NATIVE AMERICAN ACOMA OR LAGUNA POTTERY OLLA, poly chrome on white, stylized geometric decoration with a band of birds and undulating vine below shoulder. Condition Report: Fine condition with light wear. Provenance: Collection of the late John and Lil Palmer, Purcellville, VA. Ex-collection of Leonard Landis, Harman, WV. Dimensions: 9" H, 11" DOA. The following is a direct quote from an appraisal done by Ramona Morris of Delaplane, VA on May 29, 2002. " It is very difficult to determine if a vessel was made at Acoma or Laguna during this period. This vessel shows characteristics in the painting of the floral elements and birds that closely resemble those done by a man woman potter from Laguna named Arroh-ah-och whose work is in the collections of the School of American Research, and Taylor Museum. Orange, red and black on white designs are primarily geometric, but a band of alternately sitting and standing birds, (some with unfinished details) and floral elements, circles the center of the jar. A similar jar attributed to the same artist sold at Cowan's Auction in Cincinnati, OH on September 14th, 2003 for $25,875. including a 15% buyer's premium. The form was identical although the decoration was quite different." 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 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) ---------- View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnavRead more

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