Basket making was one of the earliest skills developed, since baskets were needed for carrying goods, for storage, for trapping and fishing, and for religious ceremonies.  Unlike pottery, baskets do not survive for extended periods of time.  Most that are available today were constructed in the last 120 years, particularly after native people in the Southwest began to make baskets with the idea of selling them and moved baskets into the category of artistic collectibles.  Those made between 1880 and 1950 tend to be the most valuable, particularly if they are in good condition, well-made, and have an interesting design, but these latter factors can make any basket desirable, even newly made baskets.

The most common type of basket construction is coiling in which a larger substance is coiled in circles starting at the center.  A thinner material is stitched around the coils to hold them in place. This material can add decoration.  Sometimes, the thick material is actually a bundle of thin materials like grasses.  The coil is spiraled outward and, unless the intent is a plaque, upward. This method offers more strength and more opportunity for decoration.  Another common process is called twining and involves placing larger material or rods from the center outward and tying these supports together.  The thinner materials that are wrapped over and under the supports again provide decoration.  Plaiting requires the use of flat strips that are woven over and under each other.  Often, the strips are placed in a diagonal pattern.  A mixture of variations adds to the design.  This style tends to be easier than the other two and creates stronger, more rigid baskets.  Wicker is similar to plaiting but uses round materials with one of the sets being thicker and adding stability to the material.  Often the thicker material is less visible or completely covered by the thinner material.

APACHE–Earlier Apache baskets were usually coiled and used three rods making these baskets very sturdy and stiff.  By 1930, production of these baskets declined as children went schools that did not teach basket making and older members of the tribe began to do other work.  The basket making skills seemed to die out for a decade and were eventually replaced by making of simpler single coil ones.  Apache designs were less symmetrical and, at times, seemed cluttered.  They frequently included figures (human, dog, deer, and snake).  Weavers suggested that it was helpful to let the basket talk to them and tell them the design rather than planning it ahead of time.  As a result, there has been less consistency in weave, as well as design, but such variation can add interest.

HOPI–Hopi baskets are among the most plentiful.  They most commonly used sumac and rabbit bush on the 3rd Mesa and bundles of galetta grass and yucca on the 2nd Mesa.  Their baskets take all three forms – twined, coiled and plaited, but coiled are most common on 2nd Mesa and plaited ones with wicker are particularly common on the 3rd Mesa.

Hopi baskets stand out for the amount of color used and reflect extensive production of dyes.   Blues, yellow and orange are common. Kachina designs are common as are plaques. Ceremonial plaques are made by a bride’s family and given to the groom’s family as repayment for the bridal robes that are traditionally woven by men of the groom’s family.   Brides will also often make one for her husband, but will leave it undone to suggest that his life remains unfinished. Today many plaques are made to supplement a family’s income and sold to collectors and basket lovers.

NAVAJO–Navajo basket making has declined in recent decades, but survives because of the importance of wedding baskets. Such baskets are used as part of the religious wedding ceremony and are expected to reflect a common pattern: The center is a star with four white points representing the four sacred mountains that surround the Navajo land.   These mountains surround an open area representing where the Diné first emerged into this world and is surrounded by a white area representing birth.

The design also includes an open path between the center and the outside area that is expected to allow thoughts and prayers or spirit to emerge.   This path typically will not point toward the bottom of the basket.  The outside rim usually ends at this point to make it easier for the person conducting the ceremony to locate this path.  The path is usually pointed to the east during ceremonies.  Red circles surround this central area and represent sunshine and provides a source of health and spirituality.  The black represents the night and clouds that bring rain. The white around the outside is thought to represent the dawn and the outside edge is where a person’s thoughts and prayers collect. The baskets are coiled with a very tight weave that allows corn meal porridge to be poured into the basket for the wedding ceremony.  Sumac is commonly used for the tan color and can be brighter or darker depending on how long the sumac was allowed to dry.  The warp is usually thick with the use of two rods for the coil keeping the basket firm.  The red and black are added with dyes.  In addition to weddings, these baskets may be used to carry religious objects, to hold yucca suds for ritual baths or washing hair, and to hold the items used to bless girls during their coming of age ceremony.  The basket can also be turned upside down and used as a drum.

TOHONO O’DHAM–The Tohono O’Odham (which in their language means Desert People) are assumed to have descended from the Hohoka.  Their traditional baskets are coiled from bundles of bear grass sewn with yucca that has been bleached white in the sun.   They also add devil’s claw seed pods for black and unbleached yucca for green or yellow-green.  In closed stitch baskets, the weft is wound tightly covering the warp.  In open stitch ones; there is space between the weaves so that the warp shows through. The Akimel O’Odham

[or River People]

have very similar basket making practices, but use willow and cattail which are more abundant in their area.  The cattail was bundled for the coil and the willow was used for weaving.  Devil’s claw was used for the dark part of designs.  Cattail is more supple than bear grass making their baskets more pliable. Both groups usually start with a four square or plaited knot and then wrap the bundles around this center.  The basket walls are pounded with stones to make them smooth and flat.  Basket making has gradually declined with the Akimel O’Odham, but is still common among the Tohono O’Odham. Certain designs commonly used include the Man in the Maze, the Sunflower, and the Turtle.

 

Bibliography

http://nativeamericanbaskets.net/index.htm
http://gosw.about.com/od/nativeamericanculture/a/indianbaskets.htm

Chimayo Weaving Style

The New Mexico Chimayó style of weaving is characterized by two stripes running width-wise with a design, usually triangular, in the center. It is just one of the many styles of Rio Grande weaving developed over 400 hundred years ago by the people who settled in New Mexico bringing their churro sheep with them for food and wool. The settlers and the sheep thrived, enabling the communities to prosper and grow. By 1840 blankets were in great demand and were transported and traded out of New Mexico by the hundreds. Of course, many blankets stayed in New Mexico to ward off the cold of mountain nights. The need for warm weavings created a substantial industry employing sheepherders, spinners and weavers. Although there were a variety of woven goods produced as part of this trade, the single item in greatest demand was what came to be called the “Rio Grande Blanket” — a general term encompassing the entire weaving tradition of Hispanic New Mexico, centered at Chimayo.

Chimayo weaving is a tradition with deep roots, and the tradition continues today in the beautiful one-of-a kind garments woven in multi-generational workshops and generally consists of two stripes and a center design in the tradition of the Rio Grande Blanket. The stunning tapestries include those of award-winning artisans Irvin Trujillo of Centinela Traditional Arts, Robert Ortega of Ortega’s Weaving Shop, and Karen Martinez and Carlos Martinez, and many others. The weavers of the Chimayo tradition rely on local churro wool, whose undyed wools display a stunning variation of ecru, cream, brown and black. Many natural plant dyes are used to expand the color palette to include the desert hues of the New Mexico landscape and sky.

The work of these Chimayo, New Mexican weavers can be found in the collections of museums such as the Smithsonian, the American Museum of Natural History, the Albuquerque Museum, the Millicent Rogers Museum near Taos and the Museum of International Folk Art in Santa Fe.

Navajo Weavings

Native American Navajo rugs and blankets are textiles produced by Navajo people of the Four Corners area of the United States. Navajo textiles are highly regarded and have been sought after as trade items for over 150 years. Commercial production of hand woven blankets and rugs has been an important element of the Navajo economy.

Adopting the vertical loom and native cotton yarns, Navajo weavers quickly established themselves as master craftsmen in the weaving arts. Once churro sheep were introduced in the 1500’s, Navajo weavers’ skill at transforming wool thread into high quality mantas (wearing blankets), dresses, shirts and sashes made their work desirable, not only among themselves, but by surrounding tribes such as the Pueblos, Apache, Arapahoe, Cheyenne, Sioux and Ute.

One unique characteristic about a Navajo rug is that the foundation warp thread turns back at the top and bottom continuously so the exact length of the rug is therefore predetermined. The weaver needs to have great skill for her design to be finished when she reaches end of the rug. In the entire world there are no other weavings made in such a way.

From the simple striped blankets of the Classic Period, Navajo rug designs have exploded into a number of regional styles and individual expressions of the Navajo weaver’s imagination. Serrated diamonds, lightning zigzags and bold crosses adorn Navajo chief blankets. Traders encouraged the locals to weave blankets and rugs into distinct styles. They included Two Gray Hills– predominantly black and white, with traditional patterns; Teec Nos Pos –colorful, with very extensive patterns; Ganado– red dominated patterns with black and white; Crystal and Burntwater –Oriental and Persian styles (almost always with natural dyes); Wide Ruins and Chinle– banded geometric patterns; Klagetoh and Red Mesa –diamond type patterns.

Non-regional, or general rugs, make up the largest category of Navajo rugs. The non-regional rugs do not exhibit unique characteristics that allow them to be pinpointed to a specific Chapter or trading post area. Many master weavers like to mix styles and experiment with dyes, color compositions and designs, adding their unique touch to rugs that may not be in the style of the area in which they live.

No matter whether the beautiful rug is from a specific area or a non-regional rug, these weavings exhibit a fourfold symmetry, which is thought to embody traditional ideas about harmony or Hozh.

One of the most fascinating collections of katsinas that I have ever seen is that of Roger Thomas and his late wife Elaine.  The historic Inn of Halona in the heart of the Zuni Pueblo has a large meeting room, just filled with hundreds of magnificent katsinas collected by Roger and Elaine over many decades.  It is worth staying at the Inn of Halona just to get to know Roger, learn about the Zuni Pueblo, and see this incredible, museum-quality collection.

Kachinas (also known as katsinas) are seen as spirits or personifications of things in the real world.  They are typically found in the Western Pueblo cultures, including the Hopi, Tewa, Zuni, Acoma, and Laguna.   The most prominent are those of the Hopi people.  The Navajo also have kachinas, and are not true kachinas, but are made for the tourist trade instead of religious training or ceremonies.

Hopi katsina dolls, called tihu in the Hopi language, are carved representations of the Katsinam, the spirits essences of ancestors, plants, animals, clouds, and, indeed, everything in the Hopi universe.  It is said that the Hopi recognize over 200 traditional katsinas, with many more styles created beginning in the last half of the nineteenth century.  Although not worshipped, each is viewed as a powerful being who, if given veneration and respect, can use his particular power for human good, bringing rainfall, healing, fertility, or protection.  These spirits are believed to visit the Hopi villages during the first half of the year. Hopi katsina dolls hold tremendous spiritual and cultural significance.

The flat katsinas are carved by uncles from the root of the cottonwood tree and traditionally given to young girls by the Katsinam at the time of the ceremonial Bean Dance (Powamuya) in February and the Home Dance (Niman) in late July.  When katsina dolls are presented, they are given as prayer gifts for the girl to grow, be happy, strong, and healthy, to have a long life, and in turn, have children of her own.

These katsinas are given to children not as toys, but as objects to be treasured and studied so that the young Hopis may become familiar with the appearance of the katsinas as part of their religious training.  During Katsina ceremonies, each child receives their own figurine.  The figurines are then taken home and hung up on the walls or from the rafters of the house, so that they can be constantly seen by the children.  The purpose of this is to help the children learn to know what the different katsinas look like.

In earlier days, all katsina dolls were colored with natural dyes, which made them non-toxic for a teething baby to handle. The dolls created by Native Americans for the tourist market, however, sport modern dyes and paints along with essential elements missing so as not to make them exact replicas of the true kachina personifications.

Kachina or katsina? Many people are confused by the different spellings of “kachina”. Kachina is the English form of the word. The Hopi language does not have the “ch” sound and the proper Hopi pronunciation, and spelling, is “katsina”. Tihu is the Hopi word for a  katsina doll; tithu is the plural.

Sources: Hopi Kachina Dolls, by Robert Breunig and Michael Lomatuway’ma in Plateau Magazine, Museum of Northern Arizona, 1982.

Adapted from information from The Museum of Northern Arizona and The Heard Museum.

What is the secondary art market?

It is a group of dealers and individuals who buy and offer for sale prints after an image is sold-out by the publisher. The Dancing Rabbit Gallery is a secondary market for Native American Indian limited editions prints, as well as original artwork and artist’s proofs and printers proofs.. Our art work is filed under each artist’s name. Click on the artist’s name to see what we have available in the gallery.

What is a print?

A print can be an open edition (an unlimited amount of a particular image) or a limited edition (a limited amount of a particular image). A printer’s proof is that first copy taken from the original work of art from which limited edition prints are made. Typically, the printer makes only a handful of printer’s proofs, making these only one step removed from the original work of art and exceedingly rare. Artist’s proofs fall under the same criteria as printer’s proofs. These are the prints an artist approves for printing in limited numbers. Artist’s proofs are also quite rare.

“Low end” or inexpensive prints are usually open editions like posters and photomechanical reproductions. Open edition prints, posters and the like often have text on them, for example, a museum that featured or owns the work, or the artist’s name.  More valuable prints are limited editions, and the processes are more expensive, like screen printing, lithography, and etching, because they are made by hand.

What does signed and numbered mean?

Signed and numbered means that the limited-edition print has been signed and sequentially numbered by the artist. The artist’s signature is usually found in one of the lower corners of the print and is accompanied by a number that looks like a fraction; the top number indicates the number of the print and the bottom number indicates the total number of prints in the edition. Each of these individually numbered pieces is called an impression. It does not matter whether you purchase a lower number or a higher number in the limited edition series—all of the prints in a specific series are of equal value. The Dancing Rabbit Gallery deals in limited edition prints which are hand signed and numbered by the artist. We also have a printers’ proofs and  original works of art.

What does mean when a print is sold out?

The term sold-out means that all of the prints in a limited edition have been sold or acquired by dealers or collectors. When this happens, the only way to acquire such a print is on the secondary art market.

How are pieces of art priced in a secondary market?

It is the determined market value price for a sold-out limited edition print or a piece of art or artwork.

How do you arrive at the price?

Today, with the internet, most people are very savvy when it comes to knowing about pricing. So much information is available. Price is first driven by supply and demand. What is the size of a particular edition on the market, and what is the demand for a particular image? Some auction results may also set price points or markers for pieces that dealers and galleries follow. Condition is a major part of collecting fine art limited edition prints. We in the art business have a mantra, “condition, condition, condition”. Since these limited editions are printed on paper, they are extremely fragile. They can be easily damaged by mishandling, improper framing, and exposure to sunlight. The art work here in the gallery is of the finest quality. Steps have been taken to ensure that each painting is conserved fading and ultra-violet lights.

How do I know the condition is fine?

The paper should lay flat; the colors should look strong (not faded). The print itself should be clear and not smudged or fuzzy. The condition of the art work should be disclosed by the seller.

What about framing?

All works framed in the Dancing Rabbit Gallery are done with acid free matting and museum glass in order to protect the print from fading. Framing is a key element in displaying a work of art. On a personal level, it’s one of my favorite elements in what I do. It’s fun for me to contemplate different mats and moldings for a work I’ve just acquired.

If you purchase an unframed work of art, it should always be stored flat in acid free materials until it is framed, and always should be handled with cotton gloves. Our unframed prints are shrink wrapped on acid free foam core board.

How do I know it’s authentic?

When collecting a fine art limited edition, it is of utmost importance to be certain of its authenticity.

All of the prints and original art works offered through The Dancing Rabbit Gallery were purchased by myself and my family from the artist or a recognized reputable art gallery and will come with a COA document.

Zuni fetishes are small stone animal carvings that are made by the talented artisans of Zuni Pueblo.  In the Zuni culture, the fetish carvings represent the animal spirit thought to reside in the stone. Initially fetishes were likely found stones that had the rudimentary shape of an animal.  Arrowheads were placed on the stones with a prayer that the hunter’s arrow would find its mark and in gratitude for the animal giving its life for the sustenance of the hunter and his family.

The Zuni have used fetishes for many purposes: to enable hunters to catch game, to make game more plentiful, and also for curing ceremonies. Fetishes may protect individuals as well as the community. The Zuni believe that animals are more like the deities and have more power than man. They also believe that both practical and spiritual power reside in their fetishes.

Traditionally, the materials used by carvers were often indigenous to the region or procured by trade. The most important of these materials was turquoise, which the Zuni regard as the sacred stone.  Jet, shell (primarily mother-of-pearl), and coral are also frequently used.  Other materials used are travertine or “Zuni rock”, fish rock, jasper, pipestone, marble, or organic items such as fossilized ivory, bone, and deer or elk antler. Even artificial substances such as slag glass are used.  Historically the most-used stone has been serpentine, a local soft stone found abundantly in the Zuni Mountains. Besides being made from various stones and other materials (each material has unique properties), the contemporary fetish may carry an offering of a smaller animal or a prayer bundle of carved arrowheads with small beads of Heishi. It may be adorned with a Heishi necklace, feathers, etchings representing ancient petroglyphs, or an etched or inlaid heart line. These small items, although colorful to the eye, are intended to protect and feed the fetish itself.

Collecting Zuni fetishes is a satisfying experience on so many levels. Not only are you able to enjoy the artistic value of a Zuni fetish, the beauty and exotic nature of many of the Zuni fetish carving materials is breathtaking. Zuni fetish carvings represent the connection many of us feel to both nature and the spirit world. And lastly, collecting Zuni fetishes supports the Zuni community by allowing these talented artisans to support their families and continue their rich cultural heritage and traditions begun by their ancestors.

The above information is adapted from A Guide to Zuni Fetishes & Carvings, Volume I: The Animals & Carvers by Kent McManis, Treasure Chest Books, Tucson, Arizona, 1995, 1998.

Native American Indians have been wearing and making jewelry for personal adornment long before the first Europeans reached North America. Southwest Native American jewelry made with silver began with the introduction of European metal-working. Before this time, jewelry was made with natural resources, such as turquoise, shells, stones, wood and bones. Before this period, jewelry was not considered as art, but more as functional and personal dress such as buttons, buckles, broaches and bridles. For many people, their jewelry also served as their bank—a way to trade or barter for items needed by the family. As Indian tribes were resettled by Europeans, craft work and jewelry making became an important means for economic survival.

As people started buying and collecting Native American jewelry it became popular starting in the 1960s to have the silversmiths or artists sign or “hallmark” their work. Most of the pieces of jewelry made before the 1960s are not signed or hallmarked, and the artist remains unknown. The most well-known jewelry makers of today are the artists from the Navajo, the pueblos of Zuni, Hopi, and Santo Domingo.

Zuni Indian Jewelry

The Zuni Indian reservation is along the western of New Mexico near the border of Arizona. The Zuni Indians and their ancestors have been making jewelry for over 1,000 years. It is reported that the first Zuni Indian to learn to work with silver was Lanyade around 1872; he learned his craft from the Navajo.  Many of the designs of Zuni Indian jewelry have not changed over the years.  Zuni Indians are known for their intricate stone cutting: petit point, needle point, inlay and detailed stone carvings known as fetishes.

Needle point -Turquoise cut in long narrow or elongated stones set in delicate bezels is called needle point. This is a skill of intricate small stonework especially with pieces with smaller tightly fitting gems and settings.

Petit point – Turquoise or small stones are cut into egg-shape, oval or pear-shape gems set clusters or rows with stones and settings symmetrical.

Inlay – This technique predates European arrival and involves small stones or shell cut and set into channels of silver. The inlay can be flat, raised, etched or sculpted.

Navajo Indian Jewelry

The largest southwest Native American Indian reservation and the nation’s largest tribe is that of the Navajo. Their reservation is in Northern Arizona, New Mexico and southwestern Utah. Navajo Indian jewelry is probably the most well- known style of Native American jewelry. The Navajos learned to cast silver in sandstone or tufa, as well as produce hand-hammered work. Turquoise, a traditional favorite of the Navajos, was first included with silver jewelry during the late 1800s. Navajo Indian jewelry is traditionally is made with silver leaves, flowers, beads and hand stamp work. The popular Navajo jewelry styles include sandcast jewelry, naja pendants, squash blossom necklaces, silver beads and Concho belts. Today, the Navajo create with not only turquoise, but a variety of other gemstones as well.

Hopi Indian Jewelry

The Hopi Indians, or the “Peaceful Ones”, trace their ancestry back to the Anasazi, who were the prehistoric inhabitants of the Four Corners area. The Hopi nation totals approximately 8,500 and is surrounded by the Navajo reservation in northeastern Arizona. Their traditional homeland is located on three remote mesas. Early Hopi Indian jewelry was made from turquoise, stones, shell, wood and seeds. Hopi Indian men learned the art of jewelry making in the early 1900’s. By the 1930’s a distinctive style, known today as “overlay”, emerged and became quite popular. In the creation of overlay jewelry, two sheets of silver are soldered together after cutting out designs in the top layer with the under layer visible. This under layer has been oxidized for contrast and textured with chisel marks or stamp work. A matte or satin finish is usually given to their silver jewelry using steel wool. Typically, no stones are used, but the Hopi Indians do make turquoise jewelry, as well. The Hopi Indians are also known for their baskets, and Katsina or Kachina carvings.

Santo Domingo Indian Jewelry

The Santo Domingo Indians are one of the eighteen modern day Rio Grande pueblo people that are descendants of the ancient Anasazi. Their reservation is located between Santé Fe and Albuquerque, New Mexico, along the Rio Grande River. The Santo Domingo Indians create silver, shell and turquoise jewelry. Traditionally, jewelry makers at Santo Domingo are best known for their beautiful heishi. Heishi is made by grinding, drilling and stringing rolled turquoise and/or shell beads into necklaces similar to those of their ancestors. Signature jewelry pieces of the tribe are not only beautiful heishe strands, but thunderbird necklaces and mosaic inlay on shell or bone

One of the most striking characteristics of Pueblo Indian pottery is its variety. Variations of texture, color, form and style of decoration seem to be almost endless. This diversity is one of the qualities of Pueblo Indian pottery that tends to appeal to collectors—even a small collection can have amazing variety.

The rich differences that attract more seasoned collectors of pottery can be overwhelming to someone looking at Indian pottery for the first time. By understanding reasons for the variety in pottery, a person may be better able to understand that there is no easy formula to selecting one piece over another–and it is perfectly all right simply to buy what you like.

Several factors contribute to the diversity of Native American pottery. These can be lumped into three basic categories: materials, traditions, and innovations.

Materials

The makers of traditional pottery tend to use materials local to their own Pueblo. Acoma is known for its white clay and slip; Zia is recognized for red clay; Hopi for yellow ware; etc. The use of local materials greatly increases the amount of time required to make a pot. The Pueblo potter does not go to the store to buy prepared clay, tempering material, glaze, or paint. The potter must go to the source to dig the clay from the ground. Time is also spent gathering the tempering, slip, and paint materials. Even fuel for the fire must be gathered and dried. Impurities are removed by hand before the clay can be ground on a metate (stone). Paints are also prepared by hand by grinding rocks or clays that produce different colors or boiling plants to produce black carbon paint.

Traditions

Pueblo traditions also contribute to the variety. While each village has its own tradition concerning what a pot should look like, the pottery from pueblos that use essentially the same materials and techniques can look quite different. Potters from San Ildefonso usually use matte paint on a highly polished background, while Santa Clara potters often carve a design into the surface of the pot, giving a bas relief effect. Cochiti and Santo Domingo potters use a black carbon paint which requires a special slip material that prevents the use of fine lines in the decoration. Furthermore, Santo Domingo potters are not permitted to use certain designs with religious meanings on their pottery, while Cochiti potters have fewer restrictions.

Innovation

The final factor that contributes to the variety of Pueblo Indian pottery is individual innovation. It is this factor that makes contemporary pottery such an exciting art form. Artists in virtually every one of the pottery-making Pueblos are reinterpreting traditional forms, creating new styles, or even reviving old ones. Ivan Lewis at Cochiti revived a figural tradition of the 19th century, while his wife Rita added her own interpretation to the 20th Century storyteller. (The storyteller is a seated adult figure with two or more children. The adult’s mouth is usually open, telling a story.) The work of some potters is strongly influenced by more than one culture.

Once some of the reasons for the extensive variety of southwestern Indian pottery are understood, acquiring a collection or a single pot will be less intimidating . . . and the pottery can be enjoyed for that very quality of diversity. You will also feel more comfortable in making decisions as to what to buy. One of the greatest joys of collecting is finding the passion. And that passion should be involved even if the collection will never consist of more than one or three pieces.

Adapted from an article appearing in The Collector’s Guide to Santa Fe and Taos by Robert F. Nichols, authority and collector of Indian Pueblo pottery and owner of the Robert Nichols Gallery in Santa Fe.