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"

James Regimbal, Bronze Sculpture, Signed, Limited Edition, 26/50.

James Regimbal, Bronze sculpture 590. Description: James Regimbal, Bronze sculpture (b. 1949 | Media: Bronze | Signed: 'Front base: "Cowhands"; Rear base: Regimbal 1989 Ìâå© 26/50,'base. Dimensions: 15 by 22 by 12 inches You can find more of James work at https://www.etsy.com/your/shops/CulturalPatina/sections/16131018 Artist: James Regimbal strives to pass on the true story of our American heritage through his bronze sculpture. According to James: Only the best of my work is good enough to be cast in bronze...Perfection from me, is the first step. Regimbal creates very detailed, historically accurate bronzes. Taking his inspiration from true to life western books and western movies. Regimbal has detailed all aspects of the cowboy's life from the pre-1900. Subjects such as packers, Indians, warriors, hunters, story tellers, cavalrymen and bronco busters have all been accurately portrayed down to the minutest details by this talented sculptor. Regimbal researches every detail - buckles, pack items, saddles - all in an attempt to bring to life each scene in history as if the viewer were actually there. Regimbal's demand for excellence has resulted in hundreds of national and international collectors including the University of Montana Foundation, which has the complete collection of his works. The artist has received the George Phippen Award, and Southern Nevada Communications uses his bronzes for logos in their advertisements. It is Regimbal's desire that his sculptures will stand the test of time and keep alive a part of our romantic American history for many generations to come. (Source: May Gallery) You can find othe find art works at https://www.etsy.com/shop/CulturalPatina?ref=hdr_shop_menu, James Regimbal, Bronze sculpture, 590. Description: James Regimbal, Bronze sculpture (b. 1949 | Media: Bronze | Signed: 'Front base: "Cowhands"; Rear base: Regimbal 1989 Ìâå© 26/50,'base. Dimensions: 15 by 22 by 12 inches You can find more of James work at https://www.etsy.com/your/shops/CulturalPatina/sections/16131018 Artist: James Regimbal strives to pass on the true story of our American heritage through his bronze sculpture. According to James: Only the best of my work is good enough to be cast in bronze...Perfection from me, is the first step. Regimbal creates very detailed, historically accurate bronzes. Taking his inspiration from true to life western books and western movies. Regimbal has detailed all aspects of the cowboy's life from the pre-1900. Subjects such as packers, Indians, warriors, hunters, story tellers, cavalrymen and bronco busters have all been accurately portrayed down to the minutest details by this talented sculptor. Regimbal researches every detail - buckles, pack items, saddles - all in an attempt to bring to life each scene in history as if the viewer were actually there. Regimbal's demand for excellence has resulted in hundreds of national and international collectors including the University of Montana Foundation, which has the complete collection of his works. The artist has received the George Phippen Award, and Southern Nevada Communications uses his bronzes for logos in their advertisements. It is Regimbal's desire that his sculptures will stand the test of time and keep alive a part of our romantic American history for many generations to come. (Source: May Gallery) You can find othe find art works at https://www.etsy.com/shop/CulturalPatina?ref=hdr_shop_menuRead more

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Native American Navajo Wide Ruins Weaving by Marleen Begay, Ca 1970’s, #1041

1041. Description: Native American, Navajo Wide Ruins Weaving, Ca 1970’s, by Marleen Begay, Red Gray, Black and White, 100% wool, Dimensions: 66" x 44"; Approximate Weight: 2 Lbs; Provenance Colonel Park Shaw’s Estate and Gilbert Ortega's Fine Indian Arts, Az. Condition: Excellent Some history on Col Shaw: COL Shaw served as 1984-85 Rotary Club of Scottsdale Club President. The club placed on its website’s homepage (www.scottsdalerotary.org) a link to its “We Salute You – Col Park” photo album/slideshow. Rotary Club of Scottsdale members spent part of its recent luncheon gathering remembering WWII Veteran Col. Park Shaw, who passed away July 29. 92 years old. Members and guests shared deep sadness and heavy hearts while remembering their dear friend and fellow Rotarian. Col Park Shaw, was an active Rotarian with perfect attendance for the past 42 years. In 2006, COL Shaw was inducted into the Arizona Veterans Hall of Fame, an award presented by Gov. Janet Napolitano. Col Shaw was inducted into the Infantry Officer Candidate School Hall of Fame in 1991 — an honor bestowed upon only 1 percent of its graduates, according to a press release. Prior, he graduated from Kentucky Military Institute in 1942, the summer after Pearl Harbor, and immediately enlisted in the Army. At 19 years old, he was commissioned as a 2nd Lieutenant, infantry, at Ft. Benning, Ga. He served extensively in the Southwest Pacific during World War II and participated in the initial assault wave on Luzon, Philippines, in 1945 and in the initial occupation of Hokkaido, Japan. Following the war, Col. Shaw served as member of the General Staff at the 6th Army Headquarters at the Presidio in San Francisco. 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 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, Comanche’s, 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 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 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, 1041. Description: Native American, Navajo Wide Ruins Weaving, Ca 1970’s, by Marleen Begay, Red Gray, Black and White, 100% wool, Dimensions: 66" x 44"; Approximate Weight: 2 Lbs; Provenance Colonel Park Shaw’s Estate and Gilbert Ortega's Fine Indian Arts, Az. Condition: Excellent Some history on Col Shaw: COL Shaw served as 1984-85 Rotary Club of Scottsdale Club President. The club placed on its website’s homepage (www.scottsdalerotary.org) a link to its “We Salute You – Col Park” photo album/slideshow. Rotary Club of Scottsdale members spent part of its recent luncheon gathering remembering WWII Veteran Col. Park Shaw, who passed away July 29. 92 years old. Members and guests shared deep sadness and heavy hearts while remembering their dear friend and fellow Rotarian. Col Park Shaw, was an active Rotarian with perfect attendance for the past 42 years. In 2006, COL Shaw was inducted into the Arizona Veterans Hall of Fame, an award presented by Gov. Janet Napolitano. Col Shaw was inducted into the Infantry Officer Candidate School Hall of Fame in 1991 — an honor bestowed upon only 1 percent of its graduates, according to a press release. Prior, he graduated from Kentucky Military Institute in 1942, the summer after Pearl Harbor, and immediately enlisted in the Army. At 19 years old, he was commissioned as a 2nd Lieutenant, infantry, at Ft. Benning, Ga. He served extensively in the Southwest Pacific during World War II and participated in the initial assault wave on Luzon, Philippines, in 1945 and in the initial occupation of Hokkaido, Japan. Following the war, Col. Shaw served as member of the General Staff at the 6th Army Headquarters at the Presidio in San Francisco. 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 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, Comanche’s, 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 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 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 11Read more

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Vintage Konyak Naga Beaded Belt/Sash from North East India #540

Vintage Konyak Naga Beaded Belt 540. Konyak Naga Beaded Belt/Sash from North East India. Approximately 36" long and 5" at its widest point. Multi colored glass beads separated by bone spacers. The piece is in overall good condition for its age which could be early to mid 1900"s. This piece of attire was once the only item worn by the girls of the lower Konyak when the British first made contact. Provenance: A couple in London, England who received this piece as a wedding gift from highly placed members of the Brides family in Nagaland where they were married a number of years ago. 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 jewellery. 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), Vintage Konyak, Naga Beaded Belt, 540. Konyak Naga Beaded Belt/Sash from North East India. Approximately 36" long and 5" at its widest point. Multi colored glass beads separated by bone spacers. The piece is in overall good condition for its age which could be early to mid 1900"s. This piece of attire was once the only item worn by the girls of the lower Konyak when the British first made contact. Provenance: A couple in London, England who received this piece as a wedding gift from highly placed members of the Brides family in Nagaland where they were married a number of years ago. 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 jewellery. 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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Pottery : Very Nice Hopi Polychrome Bowl signed by "Fawn"-Eunice Navasie #352

Native American Hopi Pottery 352. Description: Native american HOPI POTTERY BOWL: Arizona, 2nd half-20th century. Signed "Fawn" for Eunice Navasie. Poly chrome design. 4.5"h. 9.5"d. The bowl is in very good overall condition, with only some minor discoloration at the shoulder. There is some minor sticker residue on the bottom above the signature, which looks like it would remove easily. Acquired from an estate out of Akron, Ohio. Eunice "First Fawn" Navasie was born in 1920 and was from Sichomovi on First Mesa on the Hopi Reservation in northern Arizona. She learned the art of pottery making from her mother Agnes and was active making pottery from 1940- 1990. She was the sister-in-law of noted potter Joy Navasie (Second Frog Woman) and the mother of potters Dawn Navasie, Dolly Joe (known as White Swan), and Fawn Garcia Navasie (formerly "Little Fawn"). She died in 1992. 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), Native American, Hopi Pottery, 352. Description: Native american HOPI POTTERY BOWL: Arizona, 2nd half-20th century. Signed "Fawn" for Eunice Navasie. Poly chrome design. 4.5"h. 9.5"d. The bowl is in very good overall condition, with only some minor discoloration at the shoulder. There is some minor sticker residue on the bottom above the signature, which looks like it would remove easily. Acquired from an estate out of Akron, Ohio. Eunice "First Fawn" Navasie was born in 1920 and was from Sichomovi on First Mesa on the Hopi Reservation in northern Arizona. She learned the art of pottery making from her mother Agnes and was active making pottery from 1940- 1990. She was the sister-in-law of noted potter Joy Navasie (Second Frog Woman) and the mother of potters Dawn Navasie, Dolly Joe (known as White Swan), and Fawn Garcia Navasie (formerly "Little Fawn"). She died in 1992. 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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Naga Small Red Multi-strand Glass Bead Necklace,#1060

Glass Bead Necklace Naga Small Red Multi-strand Glass Bead Necklace, with Macrame Closure #1060 1060 Authentic Naga small red Multistrand Glass Bead Necklace with Macrame closure. The piece is 22 inches long, has 24 strands of beads and is in good condition given its use and age which is estimated to be mid 1900’s. A shell 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. Glass Bead Necklace, Naga Small Red Multi-strand Glass Bead Necklace, with Macrame Closure #1060, 1060 Authentic Naga small red Multistrand Glass Bead Necklace with Macrame closure. The piece is 22 inches long, has 24 strands of beads and is in good condition given its use and age which is estimated to be mid 1900’s. A shell 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 978-3-89790-412-5Read more

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Ron Stewart, Bronze Sculpture, "Dog Tired" Signed Limited Edition 35, #218

Western Artist 218. Description: Listed Western Artist Ron Stewart (1941 - ). ‰ÛÏDog Tired" bronze. Inscribed: Ron Stewart å© API 13/35. This is the Artist Proof of a limited edition run of 35 copies. The Casting was done by NAC, Northwesst Art Casting in Bozeman Montana. Dimensions: 13" x 12" x 10. Condition: Excellent Condition for its age and has a very nice patina and was made in 1999. 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_leftnav, Western Artist, 218. Description: Listed Western Artist Ron Stewart (1941 - ). ‰ÛÏDog Tired" bronze. Inscribed: Ron Stewart å© API 13/35. This is the Artist Proof of a limited edition run of 35 copies. The Casting was done by NAC, Northwesst Art Casting in Bozeman Montana. Dimensions: 13" x 12" x 10. Condition: Excellent Condition for its age and has a very nice patina and was made in 1999. 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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Pre-Columbian, Chancay Pottery Storage Vessel, ca. 800 to 1300 CE #1395

Pre-Columbian, Chancay Pottery Storage Vessel, ca. 800 to 1300 CE #1395 Description: #1395 Pre-Columbian, North Coast Peru, Chancay, ca. 800 to 1300 CE. A sizable, hand-built pottery vessel with a rounded base, a globular body with a rounded shoulder, a bulging neck, a cupped rim, and a pair of applied ring handles. The entire composition is covered in creamy-white pigment, with applied black pigment in thick swaths over the neck and rim as well as a register of diagonal linear bands, each with several undulating waves. The handles and upper rim are adorned with dense geometric motifs in triangular and stepped forms. Lucite display stand for photography purposes only. Dimensions Size: 10.25" W x 14.625" H (26 cm x 37.1 cm). Provenance: private Allison collection, Kent, Washington, USA, inherited in the mid-1970's 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. Condition Report: Minor abrasions and nicks to body, handles, and rim, with fading to some areas of original pigmentation, and light encrustations, otherwise intact and very good. Light earthen deposits throughout. 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 colors 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. Source: WikipediaRead more

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Native American, Navajo Corn Yei Rug by Mary Marshall, Ca, 1970, #1143

Native American, Navajo Corn Yei Rug by Mary Marshall, Ca, 1970, #1143 Description: #1143 Native American, Navajo Corn Yei Rug by Mary Marshall, Ca, 1970, with original tag from Shiprock Trading Post, NM Dimensions: Measures 30" x 39". Condition: Excellent condition. 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 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, Comanche’s, 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 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 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 - VolumeRead more

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Ron Stewart Oil, "Ponies for Warriors" #162

Wild Horses 162. Description: This extraordinary Oil painting by Listed Artist Ron Stewart (1941-) entitled 'Ponies for Warriors'. Signed lower left: Ron Stewart @ (cyphers). Verso: titled. Dimensions: Size is 18 x 30 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 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:, Wild Horses, 162. Description: This extraordinary Oil painting by Listed Artist Ron Stewart (1941-) entitled 'Ponies for Warriors'. Signed lower left: Ron Stewart @ (cyphers). Verso: titled. Dimensions: Size is 18 x 30 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 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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Navajo Chief's Trade Blanket, Ca 1970's, Attributable to Annie Roanhorse, #1073

Native American Navajo Chief's Style Trade Blanket, Attributable to Annie Roanhorse, Ca 1970's, #1072 Description: This is a tightly hand woven and hand dyed Navajo Native American Indian Chief Blanket Pattern. Attributable to Annie Roanhorse. Chief's blankets typically show large cross like motifs with a strong pattern and would have been displayed in the Chief's Tent or worn on a Chief's shoulders. Other 19th century examples of the Chiefs Blanket can been seen in early photographs showing the rugs draped around such great Indians as Chief Joseph, Sitting Bull and others. The rug shows great condition. This is truly a wonderful 20th century Navajo creation and shows exceptional quality. Dimensions: Measures: 36 1/4" W x 42 1/2" L Condition: Very good condition 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, Native American, Navajo Chief's Style Trade Blanket, Attributable to Annie Roanhorse, Ca 1970's, #1072 Description: This is a tightly hand woven and hand dyed Navajo Native American Indian Chief Blanket Pattern. Attributable to Annie Roanhorse. Chief's blankets typically show large cross like motifs with a strong pattern and would have been displayed in the Chief's Tent or worn on a Chief's shoulders. Other 19th century examples of the Chiefs Blanket can been seen in early photographs showing the rugs draped around such great Indians as Chief Joseph, Sitting Bull and others. The rug shows great condition. This is truly a wonderful 20th century Navajo creation and shows exceptional quality. Dimensions: Measures: 36 1/4" W x 42 1/2" L, Condition: Very good condition, 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 11Read more

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Native American, Chemehuevi Tray, Ca 1920-30, #1028

1027: Description: Native American, Chemehuevi Tray, Ca 1920-30, Provenance: and came from Margaret Taylor Estate: Margaret Taylor was a teacher for many years near the Hopi and Navajo reservations around Flagstaff, Arizona. She greatly enjoyed meeting weavers and purchasing their wares, thereby helping support their families. A collector for decades, she filled her home with baskets, rugs and other items, adorning it throughout with items on display from her collection. Items offered in this auction – mostly contemporary and post-World War II works – include Navajo and Hopi basketry, rugs, jewelry and pottery. This collection showcases the width and breadth of recent Hopi and Navajo art, stretching its design vocabulary, and reinforcing that this is not a dying art, but one that is vibrant and alive. Dimensions: 11.5 inches diameter, 2.5 inches high. Condition: Very good for age. Has small nail hole in the bottom, and a light spot of dirt along the side. Some back ground on the Chemehuevi Indians THE CHEMEHUEVI INDIAN TRIBE: Nüw (The People) were very civilized, not prone to human or animal sacrifice. All things, particularly those in nature, were revered as gifts from the Creator, the Ocean Woman. All Her creatures and even inanimate objects were endowed with supernatural powers, particularly the Animals (The First People). Mouse and Wood rat, for example, were able to extract diseases from a person. There were three ages of Nüw civilization though some non-Indian “experts” say there were two. When the Earth Was Covered with Water speaks of Creation, When the Animals Were People was the time of myth and magic, and When Wolf & Coyote Went Away began the age of man. In story-telling, a winter pastime, one always precedes his story with the appropriate phrase. After Wolf & Coyote Went Away, man was on his own. The Creator’s two helpers left us with everything we needed to survive and rose to the sky to become the rainbow. Their colorful capes drape the earth after a rain. Religion was in no way ritualistic but more a personal and individual relationship between a person and the Creator. The gods are called Huivarum Karur, which means “those who sit here” and, when said, the space beside one is always indicated. It was not until modern times that Chemehuevi accepted the Christian notion that the Creator was male and became known as a “he”. Prayers were said only to the Ocean Woman in times of trouble. When a child lost its first baby tooth, the tooth was thrown away with a prayer to Her that she replace it with a bigger and better one. Prayers to the departed (Spirits) were necessary to protect the living, especially children. Religion and daily living were one and the same, so no aspect of life was dichotomized. Our nomadic forebears traveled in family groups and very often settled near relatives and became a virtual village. Chieftainancy was inherited, handed down from father to the eldest son, and these Clan Chiefs were outranked by the High Chiefs, who were revered almost as much as the shamans. Black- eyed beans were said to be the food of the High Chiefs as its properties gave them wisdom and courage. Male and female children were treated the same. All learned to make weapons and tools, and hunt and prepare food because survival skills were paramount. As they neared puberty, they would begin to learn the differences between men and women, which, to the old ones, were few. The roles of men and women were never defined or delineated because both had to do the same kind of work at some point. While parents were initially responsible for them, it was incumbent on sundry aunts and uncles to keep children in check; “it takes a village” certainly applied then. The sense of right and wrong began at an early age and usually came from stories (fables, if you will). Bad behavior invited unbearable gossip and public ridicule. The most extreme punishments were banishment or death. Death was perhaps the more preferred because a banished person could never return or claim to be of the people who had driven him away. As in a death, his name could never be spoken again. He finished out his days as a non- person. Harmony and respect were the way. A person with negative traits such as anger, meanness of spirit, jealousy and laziness was considered a liability. Having a good sense of humor was very important to Nüw. While much of the culture is lost, a few remember the stories and language of their forebears. The Chemehuevi Tribe offers classes in Nüwü Ampagap (the People’s Language). Nüw being a Southern Paiute, our language very closely resembles that spoken by the Moapa Paiutes. It is classified as Uto-Aztecan, and more precisely Numic. Interesting “tidbits” When a female infant’s umbilical cord falls off, it is put in Packrat’s nest so that she will be a good gatherer. A male infant’s is buried along a Deer trail so that he will be a good hunter. It is customary to offer the first bite to the Spirits when you eat outdoors because you are in their domain. Nüw did not eat anything from the water because it was thought unclean. It is likely that this goes back to the Creator. When the Animals Were People, they gathered to discuss civilization. When it was time to decide how many seasons there should be, only Owl answered by raising a foot, so the number of seasons is four. Material Culture, Technology The material culture developed by the Chemehuevi is very much like that of their neighbors, the Mojave, Serrano, and Cahuilla. As is usually the case, apparent differences are in part due to the types of material that were available and in part to their preferences. The Chemehuevi women were skilled basket makers, but made little pottery. Their coiled baskets resembled those of the San Joaquin Valley rather than those of southern California, often having constricted necks. Caps, triangular trays, and carrying baskets were diagonally twined. They usually painted designs on the baskets, rather than weaving them into the basket. Their coiled baskets were very distinctive because they were produced almost exclusively with split, peeled willow and black devil's claw on a two or three willow rod foundation that coils clockwise. The designs were occasionally painted on instead of weaving them into the baskets. They made a self-bow shorter than that of the Mojave, with recurved ends, the back painted, and the middle wrapped. Arrows were often made of cane, and sometimes willow, with a foreshaft and a flint point. Houses were shelters against the wind and sun (Kroeber 1925:597-598; Laird 1976:5). The bow used in war was sinew-backed hickory, which was very hard to draw. It was short and powerful. Another kind of bow was made of the antler of the mule deer (Laird 1976:240). Bows for hunting were made of sinew-backed willow. The adoption of the sinew-backed bow permitted the Chemehuevi to hunt big game, thus improving their supply of protein food (Laird 1976:5-6). The principle material used for houses was brush. Of the four different kinds of houses they made, one was the flat or shade house, built for ceremonial occasions. A flat roof of brush was laid across four notched posts. Another roof that sloped to the ground on the west side was built above the flat roof to provide extra protection from the sun. In addition, a very large flat house was built to hold the goods brought to a Cry to be burned or given away (Laird 1976:42-43). Source: majavedesert.net, 1027: Description: Native American, Chemehuevi Tray, Ca 1920-30, Provenance: and came from Margaret Taylor Estate: Margaret Taylor was a teacher for many years near the Hopi and Navajo reservations around Flagstaff, Arizona. She greatly enjoyed meeting weavers and purchasing their wares, thereby helping support their families. A collector for decades, she filled her home with baskets, rugs and other items, adorning it throughout with items on display from her collection. Items offered in this auction – mostly contemporary and post-World War II works – include Navajo and Hopi basketry, rugs, jewelry and pottery. This collection showcases the width and breadth of recent Hopi and Navajo art, stretching its design vocabulary, and reinforcing that this is not a dying art, but one that is vibrant and alive. Dimensions: 11.5 inches diameter, 2.5 inches high. Condition: Very good for age. Has small nail hole in the bottom, and a light spot of dirt along the side. Some back ground on the Chemehuevi Indians, THE CHEMEHUEVI INDIAN TRIBE:, Nüw (The People) were very civilized, not prone to human or animal sacrifice. All things, particularly those in nature, were revered as gifts from the Creator, the Ocean Woman. All Her creatures and even inanimate objects were endowed with supernatural powers, particularly the Animals (The First People). Mouse and Wood rat, for example, were able to extract diseases from a person. There were three ages of Nüw civilization though some non-Indian “experts” say there were two. When the Earth Was Covered with Water speaks of Creation, When the Animals Were People was the time of myth and magic, and When Wolf & Coyote Went Away began the age of man. In story-telling, a winter pastime, one always precedes his story with the appropriate phrase. After Wolf & Coyote Went Away, man was on his own. The Creator’s two helpers left us with everything we needed to survive and rose to the sky to become the rainbow. Their colorful capes drape the earth after a rain. Religion was in no way ritualistic but more a personal and individual relationship between a person and the Creator. The gods are called Huivarum Karur, which means “those who sit here” and, when said, the space beside one is always indicated. It was not until modern times that Chemehuevi accepted the Christian notion that the Creator was male and became known as a “he”. Prayers were said only to the Ocean Woman in times of trouble. When a child lost its first baby tooth, the tooth was thrown away with a prayer to Her that she replace it with a bigger and better one. Prayers to the departed (Spirits) were necessary to protect the living, especially children. Religion and daily living were one and the same, so no aspect of life was dichotomized. Our nomadic forebears traveled in family groups and very often settled near relatives and became a virtual village. Chieftainancy was inherited, handed down from father to the eldest son, and these Clan Chiefs were outranked by the High Chiefs, who were revered almost as much as the shamans. Black- eyed beans were said to be the food of the High Chiefs as its properties gave them wisdom and courage. Male and female children were treated the same. All learned to make weapons and tools, and hunt and prepare food because survival skills were paramount. As they neared puberty, they would begin to learn the differences between men and women, which, to the old ones, were few. The roles of men and women were never defined or delineated because both had to do the same kind of work at some point. While parents were initially responsible for them, it was incumbent on sundry aunts and uncles to keep children in check; “it takes a village” certainly applied then. The sense of right and wrong began at an early age and usually came from stories (fables, if you will). Bad behavior invited unbearable gossip and public ridicule. The most extreme punishments were banishment or death. Death was perhaps the more preferred because a banished person could never return or claim to be of the people who had driven him away. As in a death, his name could never be spoken again. He finished out his days as a non- person. Harmony and respect were the way. A person with negative traits such as anger, meanness of spirit, jealousy and laziness was considered a liability. Having a good sense of humor was very important to Nüw. While much of the culture is lost, a few remember the stories and language of their forebears. The Chemehuevi Tribe offers classes in Nüwü Ampagap (the People’s Language). Nüw being a Southern Paiute, our language very closely resembles that spoken by the Moapa Paiutes. It is classified as Uto-Aztecan, and more precisely Numic. Interesting “tidbits”, When a female infant’s umbilical cord falls off, it is put in Packrat’s nest so that she will be a good gatherer. A male infant’s is buried along a Deer trail so that he will be a good hunter. It is customary to offer the first bite to the Spirits when you eat outdoors because you are in their domain. Nüw did not eat anything from the water because it was thought unclean. It is likely that this goes back to the Creator. When the Animals Were People, they gathered to discuss civilization. When it was time to decide how many seasons there should be, only Owl answered by raising a foot, so the number of seasons is four. Material Culture, Technology, The material culture developed by the Chemehuevi is very much like that of their neighbors, the Mojave, Serrano, and Cahuilla. As is usually the case, apparent differences are in part due to the types of material that were available and in part to their preferences. The Chemehuevi women were skilled basket makers, but made little pottery. Their coiled baskets resembled those of the San Joaquin Valley rather than those of southern California, often having constricted necks. Caps, triangular trays, and carrying baskets were diagonally twined. They usually painted designs on the baskets, rather than weaving them into the basket. Their coiled baskets were very distinctive because they were produced almost exclusively with split, peeled willow and black devil's claw on a two or three willow rod foundation that coils clockwise. The designs were occasionally painted on instead of weaving them into the baskets. They made a self-bow shorter than that of the Mojave, with recurved ends, the back painted, and the middle wrapped. Arrows were often made of cane, and sometimes willow, with a foreshaft and a flint point. Houses were shelters against the wind and sun (Kroeber 1925:597-598; Laird 1976:5). The bow used in war was sinew-backed hickory, which was very hard to draw. It was short and powerful. Another kind of bow was made of the antler of the mule deer (Laird 1976:240). Bows for hunting were made of sinew-backed willow. The adoption of the sinew-backed bow permitted the Chemehuevi to hunt big game, thus improving their supply of protein food (Laird 1976:5-6). The principle material used for houses was brush. Of the four different kinds of houses they made, one was the flat or shade house, built for ceremonial occasions. A flat roof of brush was laid across four notched posts. Another roof that sloped to the ground on the west side was built above the flat roof to provide extra protection from the sun. In addition, a very large flat house was built to hold the goods brought to a Cry to be burned or given away (Laird 1976:42-43). Source: majavedesert.netRead more

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Native American Rare Historic Tohono O'odham Cooking Pot, Ca 1930's, #1140

Native American Rare Historic Tohono O'odham Cooking Pot, Ca 1930's, #1140 Description: #1140 Native American Rare Historic Tohono O'odham Cooking Pot, Ca Early 1900's, Dimensions: Size: 11” wide overall x 5 Condition: Pretty good for its age, has a couple of cracks with repairs. I normally do not acquire items with cracks or chips, but these pieces are so rare, I obtained them. 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 Santo Domingo Pottery Bowl by Hilda Coriz #322

Native American Santo Domingo pottery bowl, by Hilda Coriz 322. Native American Santo Domingo pottery Bowl by Hilda Coriz (1949 - 2007). 6.75" x 13" poly chrome bowl with a geometric design wrapping the outside. The inside displays birds and botanical's. Signed in base: Hilda Coriz [cypher]. Provenance: Indian River Gallery Arthur and Hilda Coriz were Native American husband and wife potters from Santo Domingo Pueblo, New Mexico, United States. Hilda is a sister of award-winning potter Robert Tenorio, and began making pottery with the encouragement of her brother. Arthur learned to make pottery by watching his wife Hilda and her brother Robert. When they first started, Arthur and Hilda would make pots while Robert would create decorative designs and do the painting. Within two years time, Arthur was painting pots for himself and his wife Hilda. They eventually became full-time potters, winning numerous awards at the Santa Fe Indian Markets between 1983-1998. They participated in exhibitions at the Santa Fe Indian Market and the Eight Northern Indian Pueblos Arts & Crafts Shows. The Coriz' couple made pottery using the traditional methods of Santo Domingo potters. They used only natural clays and the Rocky Mountain bee plant, also known as wild spinach, and honey for making the black paint. Together they made traditional polychrome jars, bowls, dough bowls, and canteens. Arthur and Hilda‰۪s favorite designs included birds, clouds, flowers and animals like the deer and bighorn sheep. They signed their pottery as "Arthur and Hilda Coriz." Arthur died in 1998 and Hilda died in 2007. Their daughter Ione Coriz (b. 1973) also makes traditional Santo Domingo pottery. In 1988 Ione Coriz placed 3rd and in 1989 she won 2nd for her pottery in the ages 18 & under divisions at the Santa Fe Indian Market. Reference and Further Readings Hayes, Allan and John Blom - Southwestern Pottery: Anasazi to Zuni. 1996. ‰ۢ Peaster, Lillian - Pueblo Pottery Families. 2nd Edition. 2003. ‰ۢ Schaaf, Gregory - Southern Pueblo Pottery: 2,000 Artist Biographies. 2002. ‰ۢ Trimble, Stephen - Talking with the Clay: The Art of Pueblo Pottery. 1987. External links ‰ۢ Arthur and Hilda Coriz pottery at the Holmes Museum of Anthropology 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_leftnav, Native American, Santo Domingo pottery bowl, by Hilda Coriz, 322. Native American Santo Domingo pottery Bowl by Hilda Coriz (1949 - 2007). 6.75" x 13" poly chrome bowl with a geometric design wrapping the outside. The inside displays birds and botanical's. Signed in base: Hilda Coriz [cypher]. Provenance: Indian River Gallery, Arthur and Hilda Coriz were Native American husband and wife potters from Santo Domingo Pueblo, New Mexico, United States. Hilda is a sister of award-winning potter Robert Tenorio, and began making pottery with the encouragement of her brother. Arthur learned to make pottery by watching his wife Hilda and her brother Robert. When they first started, Arthur and Hilda would make pots while Robert would create decorative designs and do the painting. Within two years time, Arthur was painting pots for himself and his wife Hilda. They eventually became full-time potters, winning numerous awards at the Santa Fe Indian Markets between 1983-1998. They participated in exhibitions at the Santa Fe Indian Market and the Eight Northern Indian Pueblos Arts & Crafts Shows. The Coriz' couple made pottery using the traditional methods of Santo Domingo potters. They used only natural clays and the Rocky Mountain bee plant, also known as wild spinach, and honey for making the black paint. Together they made traditional polychrome jars, bowls, dough bowls, and canteens. Arthur and Hilda‰۪s favorite designs included birds, clouds, flowers and animals like the deer and bighorn sheep. They signed their pottery as "Arthur and Hilda Coriz.", Arthur died in 1998 and Hilda died in 2007. Their daughter Ione Coriz (b. 1973) also makes traditional Santo Domingo pottery. In 1988 Ione Coriz placed 3rd and in 1989 she won 2nd for her pottery in the ages 18 & under divisions at the Santa Fe Indian Market. Reference and Further Readings Hayes, Allan and John Blom - Southwestern Pottery: Anasazi to Zuni. 1996. ‰ۢ Peaster, Lillian - Pueblo Pottery Families. 2nd Edition. 2003. ‰ۢ Schaaf, Gregory - Southern Pueblo Pottery: 2,000 Artist Biographies. 2002. ‰ۢ Trimble, Stephen - Talking with the Clay: The Art of Pueblo Pottery. 1987. External links ‰ۢ Arthur and Hilda Coriz pottery at the Holmes Museum of Anthropology, 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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Vintage Pottery : Vintage Acoma Polychhrome Pottery
A circa 19th century pottery vase/bowl with traditional black and white geometric designs with red band along the bottom. No signature present. In great condition for its age, slight rubs/wear to paint but no cracks visible in pottery piece itself. Measures approximately 5" x 6" and weighs 1 lb. 2 oz.. Cultural Patina
Tribal : Authentic Zemi Naga Tribe Man’s Dark Mustard Body Cloth with
Authentic Zemi Naga Tribe man’s dark mustard body cloth with double sided weave. The piece is 60 inches long and 43 inches wide. Some ware, but overall in excellent condition for its use and age which is estimated to be early to mid 20th century.  Cultural Patina
Petra Garcia, Santo Domingo Bowl, Late 1980's
Petra Garcia, Santo Domingo Bowl, Late 1980's Cultural Patina
Pima Basket Olla, 1920's
Pima Basket Olla, 1920's Cultural Patina
Antique Pottery : Historic Red Pottery Pot with Lid from the Ayutthaya
A historic red terracotta pottery pot with a lid, acquired from the locals at the Ayuthaya Ruins just outsider of Bangkok, Thailand. Purchased some 50 years ago. There are striations on the outside of the piece probably caused by the pottery making paddle. It is a rough piece but overall it is in good condition for its reported age. Cultural Patina

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