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"

Casas Grandes, Historic Poly Chrome Pottery Jar, #1101

Casas Grandes, Historic Poly Chrome Pottery Jar, #1101 Description: #1101 Casas Grandes, Historic Poly Chrome Pottery Jar, blace on buff background, round bottom on a woven straw circular base. Condition: Some design ware, but overall in very good condition for age/ Dimensions: 9” H, 8 ½” DIA. Some background on Casas Grande Follows: Paquim̩, better known as Casas Grandes, was a major cultural and trade center in the northwestern region of today's Chihuahua state for hundreds of years before the arrival of the Spanish in northern Mexico. Culturally affiliated in many ways to Mesoamerica to the south, Casa Grandes acted as an intermediary between Central American peoples and the Mogollon and Hohokam peoples to the north. Its area of influence reached from central New Mexico in the north to central Chihuahua in the south. Its peak of development occurred in the 13th and 14th centuries. Trade items included shells, copper, pottery, and macaws. The ruins of Paquim̩ include more than 2000 rooms, indicating the importance of this settlement. Casas Grandes is known for its remarkable pottery. Today, residents of the neighboring village of Mata Ortiz create pottery inspired by Casas Grandes work, and this pottery is in high demand. (Source: university of Texas at El Paso). 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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Vintage Pottery : Beautiful Vintage Acoma Polychrome Pottery Olla #273

Vintage Pottery Description: Unsigned, c. 1st half 20th C. Dimensions: 7 & 3/8 in. tall x 10 & 1/4 in. diameter. Condition: Some minor spalling & scuffing to surface, but overall condition is very good. 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 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), Vintage Pottery, Description: Unsigned, c. 1st half 20th C. Dimensions: 7 & 3/8 in. tall x 10 & 1/4 in. diameter. Condition: Some minor spalling & scuffing to surface, but overall condition is very good. 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 polychrome a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce undecorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art. (Source: Museum of Northern Arizona)Read more

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Konyak Naga Mustard Cylindrical Bead Collar with Cobalt Center and Bells #607

Tribal Collar Authentic Unique Konyak Naga Mustard Cylindrical Bead Collar 607.Authentic Konyak unique Naga Mustard Cylindrical Bead Collar with Cobalt Center and Bells. Very cine, old festival necklace of rare glass beads with finely patterned woven bands and horn separators. Far fewer of this style than others in the array of Konyak daily and festival jewelry. The piece is 36 inches long, has 23 strands of beads, and is in excellent condition for its use and age which is the early to mid 19th century. Please note that the designation Authentic means that the piece was made by the Nagas and used by them in their actual ceremonies and not made for tourists. Nagaland has a rich diversity of ethnic groups, languages and religions. More than 80% of the population lives in small, isolated villages and practice their own rituals and traditions that have been existing since centuries. The Nagas are said to belong to the Indo-Mongoloid stock, a race whose presence was first noted ten centuries before Christ, at the time of the compilation of the Vedas. The Nagas are mostly Christians. Naga Features: The Nagas are usually medium sized. The nose is flat, eyes curved, complexion fair, and hair straight. Men are muscular and women are usually short. One unique feature of the Nagas is that they wear conical red headgear decorated with wild boar canine teeth and white black Hornbill feathers, the spear with the shaft decorated with red black hairs and the unique dao with broad blade and long handle. Both men and women wear traditional Naga jewelry. Naga shawls are very famous among the tribes. Tattooing is customary among the tribes. Nagaland Culture The tribes of Nagaland are unique in their culture and traditions. The tribes are excellent and skilled craftsmen. Naga tribes are known for being hard working and laborious. They are known for making exquisite bamboo and cane products, weaving and wood carving. The Nagas are expert in basketry, weaving, woodcarving, pottery and metal work. Agriculture is the main occupation of the people. Rice, millet and Taro potato are grown by the people. The tribes of Nagaland are very fond of dance and music. Music forms an essential parts of their lives. There are different traditional dances and music of the different tribes. The music of is characterized by folk songs and music accentuated by traditional instruments. People of Nagaland are also famous for celebrating numerous seasonal fairs and festivals. All the tribes celebrate their own distinct festivals with dance and music. The most important festivals celebrated by the tribes include Sekrenyi, Moatsu Mong, Suhkruhnye, Bushu, Yemshe, and Metumniu among others. The food of the Naga tribe consist of rice, millet, vegetables, fish, meat, Naga chilly and chutney. Nagaland Village System: The tribes live mainly in villages. For the Nagas family is the most important institution. Women are treated equally with men. Nagas are traditionally and tribally organized with a strong warrior tradition. Head hunting is an important aspect of the people. Most of the houses of the Nagas have skull displaying their warrior qualities. Different Tribes of Nagaland: Nagaland is home to some 16 different kinds of tribes with distinct and fascinating cultures. Each of the Naga tribe is divided into as many as twenty clans. The Nagas speak 60 different dialects. The prominent tribes are Angami, Ao, Chakhesang, Chang, Khiamniungan, Konyak, Lotha, Pochury, Phom, Poumai, Rongmei Naga, Rengma, Sangtam, Sema, Mao and Zeliang among many others. The languages of the Nagas may vary from Angami-Pochury, Ao, Kukish, Sal, Tangkhul and Zeme branches of Tibeto Burman. Some important tribes are: Angami Naga: The Angami Nagas are one of the major tribes of Nagaland. The Angamis mainly celebrate the Sekrenyi festival. They are basically hill people and depend on agriculture for their mode of livelihood. 98 % of the Angamis are Christians. Ao Naga: Ao Nagas are another major tribes in Nagaland. They reside mainly in Tsula to Tsurang in Mokokchung district. The Ao Nagas are known for the celebration of different harvest festivals. The Aos are primarily Christians. Chang: Changs are one of the recognized Scheduled Tribes in India. The traditional territory of the Chang lies in the Central Tuensang district. About 99 % of the Changs are Christians. They speak the Chang language and the Chang people are very fond of music and dance. They celebrate Christmas, Naknyu Lem, Poang Lem, Jeinyu Leam and so many other festivals with fanfare and gaiety. Konyak: Konyak have the largest populations among the Nagas. They are found in the Mon district of Nagaland. They are famous for their tattoos all over their faces and hands. Lotha: Lotha is also a major Naga tribe and reside in the Wokha district. They are popular for traditional dance and folk songs. Sumi: Sumi Nagas are one of the major Naga tribes. They mainly inhabit in the Zunheboto district. 99 % of the Sumis are Christians. Tuluni and Ahuna are the most important festivals of the Sumis. Yimchunger: Yimchunger is a minor Naga group. Metmneo festival is celebrated by the Yimchunge people. Khiamniungan: Khiamniungan is comparatively a minor Naga group. They mainly reside in the Tuensang district in Nagaland. Miu festival and Tsokum festival are the most important festivals celebrated by this tribal group. (Source: India on line) Tangkhul: Tangkhul is a Naga tribe living in the Indo-Burma border area occupying the Ukhrul district in Manipur, India and the Somra Tangkhul hills (Somra tract) in Upper Burma. Despite this international border, many Tangkhul have continued to regard themselves as "one nation".[1] Further reading Stirn, Aglaja & Peter van Ham. The Hidden world of the Naga: Living Traditions in Northeast India. London: Prestel. Oppitz, Michael, Thomas Kaiser, Alban von Stockhausen & Marion Wettstein. 2008. Naga Identities: Changing Local Cultures in the Northeast of India. Gent: Snoeck Publishers. Kunz, Richard & Vibha Joshi. 2008. Naga A Forgotten Mountain Region Rediscovered. Basel: Merian. Alban von Stockhausen: Imag (in) ing the Nagas: The Pictorial Ethnography of Hans-Eberhard Kauffmann and Christoph von FÌ_rer-Haimendorf. Arnoldsche, Stuttgart 2014, ISBN 978-3-89790-412-5. (Source: Times of India), Tribal Collar, Authentic Unique Konyak Naga Mustard Cylindrical Bead Collar, 607.Authentic Konyak unique Naga Mustard Cylindrical Bead Collar with Cobalt Center and Bells. Very cine, old festival necklace of rare glass beads with finely patterned woven bands and horn separators. Far fewer of this style than others in the array of Konyak daily and festival jewelry. The piece is 36 inches long, has 23 strands of beads, and is in excellent condition for its use and age which is the early to mid 19th century. Please note that the designation Authentic means that the piece was made by the Nagas and used by them in their actual ceremonies and not made for tourists. Nagaland has a rich diversity of ethnic groups, languages and religions. More than 80% of the population lives in small, isolated villages and practice their own rituals and traditions that have been existing since centuries. The Nagas are said to belong to the Indo-Mongoloid stock, a race whose presence was first noted ten centuries before Christ, at the time of the compilation of the Vedas. The Nagas are mostly Christians. Naga Features: The Nagas are usually medium sized. The nose is flat, eyes curved, complexion fair, and hair straight. Men are muscular and women are usually short. One unique feature of the Nagas is that they wear conical red headgear decorated with wild boar canine teeth and white black Hornbill feathers, the spear with the shaft decorated with red black hairs and the unique dao with broad blade and long handle. Both men and women wear traditional Naga jewelry. Naga shawls are very famous among the tribes. Tattooing is customary among the tribes. Nagaland Culture, The tribes of Nagaland are unique in their culture and traditions. The tribes are excellent and skilled craftsmen. Naga tribes are known for being hard working and laborious. They are known for making exquisite bamboo and cane products, weaving and wood carving. The Nagas are expert in basketry, weaving, woodcarving, pottery and metal work. Agriculture is the main occupation of the people. Rice, millet and Taro potato are grown by the people. The tribes of Nagaland are very fond of dance and music. Music forms an essential parts of their lives. There are different traditional dances and music of the different tribes. The music of is characterized by folk songs and music accentuated by traditional instruments. People of Nagaland are also famous for celebrating numerous seasonal fairs and festivals. All the tribes celebrate their own distinct festivals with dance and music. The most important festivals celebrated by the tribes include Sekrenyi, Moatsu Mong, Suhkruhnye, Bushu, Yemshe, and Metumniu among others. The food of the Naga tribe consist of rice, millet, vegetables, fish, meat, Naga chilly and chutney. Nagaland Village System: The tribes live mainly in villages. For the Nagas family is the most important institution. Women are treated equally with men. Nagas are traditionally and tribally organized with a strong warrior tradition. Head hunting is an important aspect of the people. Most of the houses of the Nagas have skull displaying their warrior qualities. Different Tribes of Nagaland: Nagaland is home to some 16 different kinds of tribes with distinct and fascinating cultures. Each of the Naga tribe is divided into as many as twenty clans. The Nagas speak 60 different dialects. The prominent tribes are Angami, Ao, Chakhesang, Chang, Khiamniungan, Konyak, Lotha, Pochury, Phom, Poumai, Rongmei Naga, Rengma, Sangtam, Sema, Mao and Zeliang among many others. The languages of the Nagas may vary from Angami-Pochury, Ao, Kukish, Sal, Tangkhul and Zeme branches of Tibeto Burman. Some important tribes are:, Angami Naga: The Angami Nagas are one of the major tribes of Nagaland. The Angamis mainly celebrate the Sekrenyi festival. They are basically hill people and depend on agriculture for their mode of livelihood. 98 % of the Angamis are Christians. Ao Naga: Ao Nagas are another major tribes in Nagaland. They reside mainly in Tsula to Tsurang in Mokokchung district. The Ao Nagas are known for the celebration of different harvest festivals. The Aos are primarily Christians. Chang: Changs are one of the recognized Scheduled Tribes in India. The traditional territory of the Chang lies in the Central Tuensang district. About 99 % of the Changs are Christians. They speak the Chang language and the Chang people are very fond of music and dance. They celebrate Christmas, Naknyu Lem, Poang Lem, Jeinyu Leam and so many other festivals with fanfare and gaiety. Konyak: Konyak have the largest populations among the Nagas. They are found in the Mon district of Nagaland. They are famous for their tattoos all over their faces and hands. Lotha: Lotha is also a major Naga tribe and reside in the Wokha district. They are popular for traditional dance and folk songs. Sumi: Sumi Nagas are one of the major Naga tribes. They mainly inhabit in the Zunheboto district. 99 % of the Sumis are Christians. Tuluni and Ahuna are the most important festivals of the Sumis. Yimchunger: Yimchunger is a minor Naga group. Metmneo festival is celebrated by the Yimchunge people. Khiamniungan: Khiamniungan is comparatively a minor Naga group. They mainly reside in the Tuensang district in Nagaland. Miu festival and Tsokum festival are the most important festivals celebrated by this tribal group. (Source: India on line), Tangkhul: Tangkhul is a Naga tribe living in the Indo-Burma border area occupying the Ukhrul district in Manipur, India and the Somra Tangkhul hills (Somra tract) in Upper Burma. Despite this international border, many Tangkhul have continued to regard themselves as "one nation".[1], Further reading, Stirn, Aglaja & Peter van Ham. The Hidden world of the Naga: Living Traditions in Northeast India. London: Prestel. Oppitz, Michael, Thomas Kaiser, Alban von Stockhausen & Marion Wettstein. 2008. Naga Identities: Changing Local Cultures in the Northeast of India. Gent: Snoeck Publishers. Kunz, Richard & Vibha Joshi. 2008. Naga A Forgotten Mountain Region Rediscovered. Basel: Merian. Alban von Stockhausen: Imag (in) ing the Nagas: The Pictorial Ethnography of Hans-Eberhard Kauffmann and Christoph von FÌ_rer-Haimendorf. Arnoldsche, Stuttgart 2014, ISBN 978-3-89790-412-5. (Source: Times of India)Read more

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Ron Stewart, "Breaking Light", Oil Painting on Canvas, Signed Lower

Western Artist Ron stewart 744.Western Artist: Ron Stewart, "Breaking Light", Oil Painting on Canvas, Signed lower left hand corner. Size: 16" x 30". Condition: Excellent condition, with a great frame that sets the image off for maximum effect. Provenance: Manitou Gallery 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, which has the largest collection of his work in the world. His life was chronicled in Artists of the Rockies and the Golden West in winter of 1979, Ron and his wife Sharon have resided in Arizona for the last 45 years. Stewart has exhibited throughout the West in juried and group shows, collecting a variety of top awards for his works, including numerous gold and silver medals in oil, watercolor, bronze and drawing. International collections include locations in England, France, Germany, Italy, Denmark, Spain, the Philippines, and Japan. View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnavDescription:, Western Artist, Ron stewart, 744.Western Artist: Ron Stewart, "Breaking Light", Oil Painting on Canvas, Signed lower left hand corner. Size: 16" x 30". Condition: Excellent condition, with a great frame that sets the image off for maximum effect. Provenance: Manitou Gallery 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, which has the largest collection of his work in the world. 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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"Guardian Of the Trail", Limited Edition of 75, By James Regimbal #997

Western Decor 997. Description: Bronze Sculpture, "Guardian Of the Trail", Limited Edition of 75, By James Regimbal, Made to order. Waiting, kneeling and watching a distant trail, this Crow indian is laying down his arrows, getting ready for unwanted foes coming down a trail. He's relaxed, the arrow is not notched on the string of the bow, he's not ready to shoot his arrow, just waiting for the danger to come. The Crow Indian was picked by James Regimbal because the Crows liked the white man. They were one of the few tribes not put on a reservation, other tribes hated them, but for a Indian guarding my trail, the Crow can be my ''Guarding of the trail''. Dimensions: 28''long X 28 3/4'' high X 16 1/2'' deep All orders require 1/3 down. Deposits are not refundable once the order is placed. When the bronze sculpture is cast and ready for shipping, the balance is due before the bronze is shipped. Once ordered, twelve to fifteen weeks is standard for art foundry's, and sometimes it could take two to three weeks longer if foundry's get behind on work loads. Special colored patinas are offered to collectors if requested before hand. All bronzes come with a studio certificate of authenticity, signed by the artist. 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. Work that has been fully designed and completely executed should have this liberty. It's not the cost of bronze itself, though very expensive to have cast, but the everlasting life and beauty of bronze. Knowing that in years to come these sculptures will still be in existence and appreciated, passing on a true story of our heritage. The demand we put on creating excellence today is to show our selves and future generations. The work that has been completed in this life long collection is a culmination of decades of genuine American creativity, craftsmanship ,labor and talent. Like in the past, as in European country's the artist and craftsmen would work without seeming end. Time wasn't of the essence, but quality, accuracy and demand for excellence was always present in those days. You can find more of James’ work athttps://www.etsy.com/your/shops/CulturalPatina/sections/16131018, Western Decor, 997. Description: Bronze Sculpture, "Guardian Of the Trail", Limited Edition of 75, By James Regimbal, Made to order. Waiting, kneeling and watching a distant trail, this Crow indian is laying down his arrows, getting ready for unwanted foes coming down a trail. He's relaxed, the arrow is not notched on the string of the bow, he's not ready to shoot his arrow, just waiting for the danger to come. The Crow Indian was picked by James Regimbal because the Crows liked the white man. They were one of the few tribes not put on a reservation, other tribes hated them, but for a Indian guarding my trail, the Crow can be my ''Guarding of the trail''. Dimensions: 28''long X 28 3/4'' high X 16 1/2'' deep, All orders require 1/3 down. Deposits are not refundable once the order is placed. When the bronze sculpture is cast and ready for shipping, the balance is due before the bronze is shipped. Once ordered, twelve to fifteen weeks is standard for art foundry's, and sometimes it could take two to three weeks longer if foundry's get behind on work loads. Special colored patinas are offered to collectors if requested before hand. All bronzes come with a studio certificate of authenticity, signed by the artist. 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. Work that has been fully designed and completely executed should have this liberty. It's not the cost of bronze itself, though very expensive to have cast, but the everlasting life and beauty of bronze. Knowing that in years to come these sculptures will still be in existence and appreciated, passing on a true story of our heritage. The demand we put on creating excellence today is to show our selves and future generations. The work that has been completed in this life long collection is a culmination of decades of genuine American creativity, craftsmanship ,labor and talent. Like in the past, as in European country's the artist and craftsmen would work without seeming end. Time wasn't of the essence, but quality, accuracy and demand for excellence was always present in those days. You can find more of James’ work at, https://www.etsy.com/your/shops/CulturalPatina/sections/16131018Read more

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Native American Pueblo and Other contemporary Pottery, Group of Six #37

Native American Pottery Handmade 37. Description: NATIVE AMERICAN PUEBLO AND OTHER CONTEMPORARY POTTERY, LOT OF SIX, including a black miniature bowl signed by Stephen Baca, Santa Clara, and a red jar signed by Michael Aguilar, San Ildefonso. Condition Report: All in excellent, unused condition. Provenance: Collection of the late John and Lil Palmer, Purcellville, VA. Most purchased directly from the artist. Dimensions: 1 1/4" to 2 3/4" H. Date: Late 20th century. A History of Pueblo Pottery: Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clay's gathered from each pueblo's local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated most frequently with paint and occasionally with applique. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo's pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and poly chrome a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce un-decorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art. (Source: Museum of Northern Arizona) View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnav, Native American Pottery Handmade, 37. Description: NATIVE AMERICAN PUEBLO AND OTHER CONTEMPORARY POTTERY, LOT OF SIX, including a black miniature bowl signed by Stephen Baca, Santa Clara, and a red jar signed by Michael Aguilar, San Ildefonso. Condition Report: All in excellent, unused condition. Provenance: Collection of the late John and Lil Palmer, Purcellville, VA. Most purchased directly from the artist. Dimensions: 1 1/4" to 2 3/4" H. Date: Late 20th century. A History of Pueblo Pottery:, Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clay's gathered from each pueblo's local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated most frequently with paint and occasionally with applique. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo's pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and poly chrome a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce un-decorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art. (Source: Museum of Northern Arizona), View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnavRead more

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Native American Vintage Hopi Poly Chrome Pottery Bowl, Ca 1940, #1266

Native American Vintage Hopi Poly Chrome Pottery Bowl, Ca 1940, #1266 Description: #1266 Native American Vintage Hopi Poly Chrome Pottery Bowl, Ca 1940. Vintage bowl w/ interior design. Bird figure on the inner bowl with a wide sky band, nice detail with stippling. Date: Ca.1940 Dimension: 3.25" h x 7.5" diameter. Condition: Some small chipping on outside of bowl, other than this, is in very good condition for its age A History of Pueblo Pottery: “Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clay's gathered from each pueblo’s local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated—most frequently with paint and occasionally with appliqué. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo’s pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and polychrome—a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce undecorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art.” (Source: Museum of Northern Arizona) View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnavRead more

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Ron Stewart , "Cowboy Trilogy" Signed ,#687

Art 687. Description: Ron Stewart "Cowboy Trilogy" 3 Original Western Paintings in One Frame-Signed Ron Stewart. There were only 4 Trilogy type pieces produced by Ron, I have two of them, Sharon his wife has the third one and the 4th was taken apart to make three separate pieces. Consequently these are considered very rare. Dimensions: Overall frame measures 14" x 24". Condition: Excellent Condition for its age. Provenance: From an estate in Santa Barbara, California. 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; 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. View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnav, Art, 687. Description: Ron Stewart "Cowboy Trilogy" 3 Original Western Paintings in One Frame-Signed Ron Stewart. There were only 4 Trilogy type pieces produced by Ron, I have two of them, Sharon his wife has the third one and the 4th was taken apart to make three separate pieces. Consequently these are considered very rare. Dimensions: Overall frame measures 14" x 24". Condition: Excellent Condition for its age. Provenance: From an estate in Santa Barbara, California. 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; 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. View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnavRead more

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Native American Bowl : Native American Hopi Pottery Bowl, signed by

Native American Bowl 119. Description: Polychrome butterflies and fine line design, Signed Adelle L. Nampeyo. Dimensions: 3.5"x 4.5". Adelle Lalo-Nampeyo was born into the Corn Clan in the Hopi-Tewa Nation in August, 1959. She is one of the great granddaughters of the famous Nampeyo, who was known for reviving and expanding the beautiful ancient pottery designs from the archaeological site at Sikyatki on the eastern side of the Hopi First Mesa. Adelle was inspired to learn the art of pottery making from her Mother, the late Elva Nampeyo. She was also taught by her Grandmother, the noted Hopi potter Fannie Polacca Nampeyo. She has been making pottery since 1979. She is the sister of Miriam Nampeyo, who also is a very talented Hopi-Tewa potter, as well as Neva Polacca, Choyou Nampeyo and Elton Tewaguna Nampeyo. She specializes in Traditional Hopi pottery, black and red or yellow jars and bowls. Adelle specializes in the handmade traditional ancient Sikyatki poly chrome pottery which her family is famous for. All of her materials are from Mother Earth. She hand coils all of her pottery the traditional way. She finishes her pottery by polishing it with polishing stones, paintig the designs with brushes made of yucca, and then firing the pottery in an outdoor firing pit, smothered with sheep dung. Adelle says she enjoys making seed pots most of all because they are easier to work with. Her favorite design is the fine line and eagle tail. She strongly believes that she needs to continue making pottery the traditional way because of her strong spiritual beliefs. Adelle is now teaching her children the art that her ancestors have taught her so that they can continue in her footsteps. Adelle signs her pottery as: Adelle L. Nampeyo, followed by a corn symbol to proudly denote her clan origin. (Source: Hopi Arts) A History of Pueblo Pottery: Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clay's gathered from each pueblo's local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated most frequently with paint and occasionally with applique. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo's pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and poly chrome a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce un-decorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art. (Source: Museum of Northern Arizona) View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnav, Native American Bowl, 119. Description: Polychrome butterflies and fine line design, Signed Adelle L. Nampeyo. Dimensions: 3.5"x 4.5". Adelle Lalo-Nampeyo was born into the Corn Clan in the Hopi-Tewa Nation in August, 1959. She is one of the great granddaughters of the famous Nampeyo, who was known for reviving and expanding the beautiful ancient pottery designs from the archaeological site at Sikyatki on the eastern side of the Hopi First Mesa. Adelle was inspired to learn the art of pottery making from her Mother, the late Elva Nampeyo. She was also taught by her Grandmother, the noted Hopi potter Fannie Polacca Nampeyo. She has been making pottery since 1979. She is the sister of Miriam Nampeyo, who also is a very talented Hopi-Tewa potter, as well as Neva Polacca, Choyou Nampeyo and Elton Tewaguna Nampeyo. She specializes in Traditional Hopi pottery, black and red or yellow jars and bowls. Adelle specializes in the handmade traditional ancient Sikyatki poly chrome pottery which her family is famous for. All of her materials are from Mother Earth. She hand coils all of her pottery the traditional way. She finishes her pottery by polishing it with polishing stones, paintig the designs with brushes made of yucca, and then firing the pottery in an outdoor firing pit, smothered with sheep dung. Adelle says she enjoys making seed pots most of all because they are easier to work with. Her favorite design is the fine line and eagle tail. She strongly believes that she needs to continue making pottery the traditional way because of her strong spiritual beliefs. Adelle is now teaching her children the art that her ancestors have taught her so that they can continue in her footsteps. Adelle signs her pottery as: Adelle L. Nampeyo, followed by a corn symbol to proudly denote her clan origin. (Source: Hopi Arts), A History of Pueblo Pottery:, Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clay's gathered from each pueblo's local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated most frequently with paint and occasionally with applique. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo's pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and poly chrome a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce un-decorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with large potsherds and dried sheep dung. Pottery is left to bake for many hours, producing a high-fired result. Today, Pueblo potters continue to honor this centuries-old tradition of hand-coiled pottery production, yet value the need for contemporary artistic expression as well. They continue to improve their style, methods and designs, often combining traditional and contemporary techniques to create striking new works of art. (Source: Museum of Northern Arizona), View the other items in my shop: http://www.etsy.com/shop/CulturalPatina?ref=shopsection_shophome_leftnavRead more

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Jeff Wolf, Entitled "Surround", Limited Edition, Pre Cast, 1 of 10, #1017

Western Bronze by Renowned Western Artist Jeff Wolf, Entitled "Surround" Precast Limited Edition, Cast to Order, 1 of 10, Precast #1017 Description: Western Bronze Sculpture, by Renowned Western Artist Jeff Wolf, Entitled "Surround":, Limited Edition, Cast To Order, 1 of 10, 

From childhood the American Indian has always fascinated me. They lived such a pure and free life. Their methods of hunting held a special fascination. I began to study all the different ways the Indian attained his food and came across the "surround". This seemed to be a very interesting and practical means of harvesting Bison meat. Later on, in my cowboy career, I managed a buffalo ranch in northwestern Colorado. It was here that I learned much more about the habits of the Bison, including how to stop a herd of running buffalo. If the Bison could be wrangled into milling in a circle, they could be kept circling for quite some time, or until they came to a stop.

It was about then, that I started dreaming about "The Surround”. That was sixteen years ago. Over this period, my "Surround" dream became a reoccurring event Eventually I could see every detail. One night during the dream a voice came and said it was time the story was told. Nine months after that, "The Surround" was completed.

The thought of cruelty, or brutal killing never crossed my mind. To the Indian there was no right or wrong in this either -- only the need to survive. The buffalo was simply given to the people by the Great Spirit, for their survival. What I focused on was the drama, bravery and skill as well as what it must have been like to be on the open plains facing a pray that was much stronger, faster, and often times more agile than the horses they were riding. The slightest mistake might mean injury or even death. 

In my dream, I pictured three Indians riding across the open plains in search of a small herd of buffalo feeding away from the main herd. When the right opportunity presented itself, the Indians started circling the herd until they had it running in a tight circle. As the animals milled in a state of panic, the hunters began their harvesting. They continued this till they had taken all that their band could use. Then the remainder of the herd was set free to rejoin the main herd.

This method of hunting proved to be one of the most successful, and least hazardous. Dimensions: 22” H x 46” , Approximately 150 pounds Condition: Cast to Order: On all precast orders we ask for a deposit of 75%, this covers the molds and first casting. Precast orders are purchased before the sculpture has been molded and cast in bronze. This feature allows the client to get in on the ground floor of early edition numbers while saving a considerable amount over retail. Once the work is cast in bronze and is on the retail market the price does not decrease. On orders that need to be cast we require a 50% deposit with the remainder due upon completion of the piece. Shipping and insurance are the reprehensibility of the purchaser. Delivery is usually 8-10 weeks from time of order. Provenance: Jeff Wolf Biography of Jeff Wolf and Achievements Follow: Persistence makes perfect: The trail to the top of the Western Art world is steep and narrow. It is littered with obstacles, beset with sheer drop-offs, and hindered by unexpected twists and turns. Sculptor Jeff Wolf has ridden that trail for more than twenty-five years and reached heights few artists attain. Along the way he has placed bronzes in prominent museums and permanent exhibits, in prestigious private collections, and on display in public venues. He has been bestowed with honors and awards, recognized in juried competitions, and called upon to teach and demonstrate. Western Bronze by Renowned Western Artist Jeff Wolf, Entitled "Surround" Precast Limited Edition, Cast to Order, 1 of 10, Precast #1017 Description: Western Bronze Sculpture, by Renowned Western Artist Jeff Wolf, Entitled "Surround":, Limited Edition, Cast To Order, 1 of 10, 

From childhood the American Indian has always fascinated me. They lived such a pure and free life. Their methods of hunting held a special fascination. I began to study all the different ways the Indian attained his food and came across the "surround". This seemed to be a very interesting and practical means of harvesting Bison meat. Later on, in my cowboy career, I managed a buffalo ranch in northwestern Colorado. It was here that I learned much more about the habits of the Bison, including how to stop a herd of running buffalo. If the Bison could be wrangled into milling in a circle, they could be kept circling for quite some time, or until they came to a stop.

It was about then, that I started dreaming about "The Surround”. That was sixteen years ago. Over this period, my "Surround" dream became a reoccurring event Eventually I could see every detail. One night during the dream a voice came and said it was time the story was told. Nine months after that, "The Surround" was completed.

The thought of cruelty, or brutal killing never crossed my mind. To the Indian there was no right or wrong in this either -- only the need to survive. The buffalo was simply given to the people by the Great Spirit, for their survival. What I focused on was the drama, bravery and skill as well as what it must have been like to be on the open plains facing a pray that was much stronger, faster, and often times more agile than the horses they were riding. The slightest mistake might mean injury or even death. 

In my dream, I pictured three Indians riding across the open plains in search of a small herd of buffalo feeding away from the main herd. When the right opportunity presented itself, the Indians started circling the herd until they had it running in a tight circle. As the animals milled in a state of panic, the hunters began their harvesting. They continued this till they had taken all that their band could use. Then the remainder of the herd was set free to rejoin the main herd.

This method of hunting proved to be one of the most successful, and least hazardous. Dimensions: 22” H x 46” , Approximately 150 pounds Condition: Cast to Order: On all precast orders we ask for a deposit of 75%, this covers the molds and first casting. Precast orders are purchased before the sculpture has been molded and cast in bronze. This feature allows the client to get in on the ground floor of early edition numbers while saving a considerable amount over retail. Once the work is cast in bronze and is on the retail market the price does not decrease. On orders that need to be cast we require a 50% deposit with the remainder due upon completion of the piece. Shipping and insurance are the reprehensibility of the purchaser. Delivery is usually 8-10 weeks from time of order. Provenance: Jeff Wolf Biography of Jeff Wolf and Achievements Follow: Persistence makes perfect: The trail to the top of the Western Art world is steep and narrow. It is littered with obstacles, beset with sheer drop-offs, and hindered by unexpected twists and turns. Sculptor Jeff Wolf has ridden that trail for more than twenty-five years and reached heights few artists attain. Along the way he has placed bronzes in prominent museums and permanent exhibits, in prestigious private collections, and on display in public venues. He has been bestowed with honors and awards, recognized in juried competitions, and called upon to teach and demonstrateRead more

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Vintage Poly Chrome, Pottery Canteen by Arthur and Hilda Coriz, #1174

Vintage Poly Chrome, Pottery Canteen by Arthur and Hilda Coriz, #1174 Description: #1174 Vintage Poly Chrome, Pottery Canteen by Arthur and Hilda Coriz. Arthur and Hilda Coriz. Floral and bird design. Dimensions: Canteen is 5" h x 7" diameter Condition: Very good for its age 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. (Source: Wikipedia) Reference and Further Readings[edit] 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. (Source: Wikipedia) Some background on Pueblo pottery making follows: “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), Vintage Poly Chrome, Pottery Canteen by Arthur and Hilda Coriz, #1174, Description: #1174 Vintage Poly Chrome, Pottery Canteen by Arthur and Hilda Coriz. Arthur and Hilda Coriz. Floral and bird design. Dimensions: Canteen is 5" h x 7" diameter, Condition: Very good for its age, 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. (Source: Wikipedia), Reference and Further Readings[edit], 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. (Source: Wikipedia), Some background on Pueblo pottery making follows:, “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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Native Rug : Native American Vintage Navajo Storm Pattern Rug, Ca, 1970's #535

Native Rug 535. Native American Vintage Navajo Storm Pattern Rug 36" x 45", 1970's, excellent condition, Provenance: Old Adobe Traders. ----- 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 Rug, 535. Native American Vintage Navajo Storm Pattern Rug 36" x 45", 1970's, excellent condition, Provenance: Old Adobe Traders. -----, 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, Hopi Poly Chrome Pottery Jar, By Eunice Navasie (1920-1992)

Native American, Hopi Poly Chrome Pottery Jar, By Eunice Navasie (1920-1992) Fawn, Ca 1950"s #1303 Description: #1303, Native American, Hopi Poly Chrome Pottery Jar, By Eunice Navasie (1920-1992) Fawn, Ca 1950"s Dimensions:7 "w x 8.5"h Condition: Excellent for age Provenance: From the Estate of a long time collector in AZ who collected pieces over a period of 40-50 years. Eunice Navasie (Fawn) was a sister-in-law of Joy Navasie (Frogwoman) and Pauline Setalla, her two brothers having married those two women. She was the mother of White Swan and Little Fawn, both of whom are outstanding potters. “Pueblo pottery is made using a coiled technique that came into northern Arizona and New Mexico from the south, some 1500 years ago. In the four-corners region of the US, nineteen pueblos and villages have historically produced pottery. Although each of these pueblos use similar traditional methods of coiling, shaping, finishing and firing, the pottery from each is distinctive. Various clays gathered from each pueblo’s local sources produce pottery colors that range from buff to earthy yellows, oranges, and reds, as well as black. Fired pots are sometimes left plain and other times decorated—most frequently with paint and occasionally with appliqué. Painted designs vary from pueblo to pueblo, yet share an ancient iconography based on abstract representations of clouds, rain, feathers, birds, plants, animals and other natural world features. Tempering materials and paints, also from natural sources, contribute further to the distinctiveness of each pueblo’s pottery. Some paints are derived from plants, others from minerals. Before firing, potters in some pueblos apply a light colored slip to their pottery, which creates a bright background for painted designs or simply a lighter color plain ware vessel. Designs are painted on before firing, traditionally with a brush fashioned from yucca fiber. Different combinations of paint color, clay color, and slips are characteristic of different pueblos. Among them are black on cream, black on buff, black on red, dark brown and dark red on white (as found in Zuni pottery), matte red on red, and polychrome—a number of natural colors on one vessel (most typically associated with Hopi). Pueblo potters also produce undecorated polished black ware, black on black ware, and carved red and carved black wares. Making pueblo pottery is a time-consuming effort that includes gathering and preparing the clay, building and shaping the coiled pot, gathering plants to make the colored dyes, constructing yucca brushes, and, often, making a clay slip. While some Pueblo artists fire in kilns, most still fire in the traditional way in an outside fire pit, covering their vessels with largeRead more

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