Arizona Highways 1974 Issue

ARIZON~
HIGHWAYS

JULY 1974 • 75 CENTS IND . 33940

ARIZON~
HIGHWAYS
JULY 1974 VOL. L No. 7

RAYMOND CARLSON, Editor Emeritus
JAMES E. STEVENS, Director of Publications

JOSEPH STACEY, Editor
WESLEY HOLDEN, Associate Editor
WILLIAM C. ANGIUS, Circulation Manager

JACK WILLIAMS, Governor of Arizona

ARIZONA HIGHWAY COMMISSION
-
Payson
Walter W. Surrett, Chairman • .
Sedona
Walter A. Nelson, Vice Chairman
Len W. Mattice, Member . . • . • • • . Pima
Casa Grande
Bill Erdmann, Member . • . •
Francis N. Connolly, Member . • • • • • . Tempe
William A. Ordway, Acting Director . . . . Tempe
William N. Price, State Highway Engineer • . Phoenix

ARIZONA HtOHWAYS is published monthly by the Arizona
Highway Department. Address: ARIZONA HlOHWAYS, 2039
W. Lewis Ave., Phoenix, Arizona 85009. $6.00 per year in
U.S. and possessions; $7.00 elsewhere; 75 cents each. Second
Class Postage paid at Phoenix, Arizona, under Act of March
3, 1879. Copyrighted@1974, by the Arizona Highway Dept.

ALLOW FIVE WBBKS FOR ACHANOB OP ADDRESS, SBND IN THE
OLD AS WBLL AS THB NEW ADDRESS INCLUDINO ZIP CODB.

THIS ISSUE:

SPECIAL EDITION

Southwest Indian Weaving

84 Weaving·Slides

for $2150

_SAVE $6.00

This Is a limited offer at a
substantial savings I Scenics
are not Included but may be
ordered separately, as may
the rugs and blankets If you
prefer. When ordering Individually
please note the Color Classic Identification number
which appears beside each picture for which there Is a slide.
(Example: WE-27,-CC-83, IN-197, etc.) ~LLOW THREE WEEKS FOR DELIVERY.

THIS ISSUE: 35 mm slides in 2" mounts, 1to 15 slides, 40¢ each,
16 to 49 slides, 35¢ each, 50 or more, 3 for $1.00. Allow three
weeks for delivery. Address: ARIZONA HIGHWAYS, 2039 West
Lewis Avenue, Phoenix, Arizona 85009.

FRONT COVER: WE-1 This unusually large rug depicts a row
of Navajo female gods, known as Yeis. It was probably woven
about 1940. Harmsen's Western Americana.

- ARIZONA PHOTOGRAPHIC ASSOCIATES

INSIDE FRONT COVER: CC-83 Navajo home between the red
rock walls of Canyon de Chelly National Monument.

- WAYNE DAVIS

INSIDE BACK COVER: MV-98 Navajo flock in Monument Valley.

-JOSEF MUENCH

L e Hopi Indians have occupied their The Hopi carry on the traditional Pueblo Indians began to use wool and weavers have supplied other Pueblos weaving and for the most part is prac- Hopi men generally do their weaving in
homelands in northeastern Arizona for weaving of their prehistoric ancestors by the 18th century wool weaving was with many of their woven articles and ticed only by the Hopi. It is utilized to the houses or. in their kivas (special
centuries and archaeological findings who wove fabrics from cotton, yucca well established in the southwestern the Hopi are now the leaders, if not the produce the brilliantly colored patterns rooms or chambers used for ceremonial
indicate that ancestors of the Hopi lived fibers , fur and feathers. It was not until Pueblos. The earliest written account only ones, in the field of Pueblo weav- · at the ends of men's ceremonial sashes purposes). Many old houses and kivas
in northeastern Arizona prior to the the coming of the Spaniards that wool of Hopi weaving was recorded in 1581 ing. A 1931 report published by the and breech cloths. The Braided Sash, had permanent fixtures to accommodate
time of Christ. Weaving was an essential was used in Pueblo weaving. Sheep were A.D. by Spanish explorers wherein white Denver Art Museum entitled "Hopi also called the rain sash or Hopi wed- looms; however, most looms are now
part of the everyday life of these pre- brought to the Pueblo country by early Indian Weaving," estimated that there ding sash, although actually braiding built in a portable fashion. In other
historic Arizonans and evidence of Spanish explorers during the 16th cen- cotton dresses were described. were about 200 Hopi weavers at that and perhaps not true weaving, is another instances, looms have been known to be
Pueblo textile weaving which dates prior tury; however, initially the animals were By the 1880's, due to the increasing time. Today, I would estimate that there form of Hopi textile art. This is most located in areas near and under rock
to 800 A.D. has been found in ancient used for food and it appears as though are fewer than 25 weavers actively commonly noted in the broad and heavy ledges close to the villages. These areas
the wool was not immediately recog- availability of commercial made cloths, engaged in_ this art . white Hopi wedding sashes. True are designed as special weaving areas
Pueblo ruins. nized as a source for Pueblo weaving. Pueblo weaving began to decline. Of all Embroidery is also used to add the where the men gather to manufacture
Sometime during the 17th century, the the Pueblo Indians, the Hopi were least In the lanci of the Hopi, the men do bright colors on various kilts, sashes and these beautiful ceremonial garments.
affected by this advent and traditional the weaving and this tradition has un- robes. This is a style of embroidery com-
weaving continued. Since this time, Hopi doubtedly been carried on for centuries. mon only to the Pueblo Indians. In A few remaining weavers on the
Early historic and prehistoric weaving modern times, Hopi women do much of reservation produce sashes, robes, kilts,
WE-2 Hopi ceremonial weaving worn by Kachinas, top to bottom: Belt, Sash, Kilt, produced a wide 'gamut of textiles, many the embroidering; however, many of the belts, blankets and other articles which
Maidens Shawl and Loin Cloth. Ahola Kachina is pictured at the right. of which were for everyday wearing men still retain this art also. reach the open commercial market.
and warming purposes. The availability Their first and foremost responsibility
2 ARIZONA HIGHWAYS of modern clothing has eliminated the HOPI is to produce materials needed for the
need for weaving these more functional various Hopi ceremonies and the few
items and, for the most part, weaving WEAVlnG remaining surplus items are sold through
now centers around the production of various outlets in the Southwest. One
ceremonial wearing apparel. One can Text and can often find a small selection of very
examine Hopi Kachina dolls· or paint- photographs by fine weaving at arts and crafts shows
ings of Kachinas to obtain an excellent Jerry D. Jacka sponsored by museums such as those of
idea of the items presently woven by the Museum of Northern Arizona in
the Hopi. Most of the garments worn WE-3 Hopi Wedding Robe Flagstaff and the Heard Museum in
by Hopi Kachinas are hand woven. Phoenix. Other .outlets include trading
The recently published book entitled The common colors used in Hopi posts located on or near the Hopi reser-
"Kachinas, a Hopi Artist's Documen- weaving are red, green, blue, yellow, vation and Indian arts and crafts retail
tary," written by .Barton Wright and black, brown and white. Although most stores in the Southwest. One can also
published by Northland Press, Flagstaff of the colors presently used are in the attempt to acquire woven items directly
with the Heard Museum in Phoenix, form of commercially dyed yarns, vege- from the source - the weaver; however,
Arizona, beautifully portrays some 255 tables and minerals were originally used weavers often have a backlog of orders
Kachinas, the majority of which are to produce these colors. In some cases, and once an article is completed it is
wearing Hopi weaving. these raw materials (especially vege- usually sold immediately. In any event,
table) are still used to produce dyes and the person who is lucky enough to
Hopi weaving is used for other cere- Kaolin clay from local sources is still acquire articles woven by the Hopi is ·
monies, including weddings. Shawls and used as a powder to give the white fortunate in that he possesses textile art
· mantas are often worn as an item of materials a very "snow white" effect. which can be traced back through cen-
fashion by the Hopi women. Occa- turies in the Southwest. Unlike weav-
sionally, blankets and rugs are still Normally three different types of ing produced for show or decoration,
woven; however, these are usually made loom are used: the Waist Loom (a these Hopi items have been and con-
for the collector's market. Tubular Loom), Upright Tubular Loom tinue to be produced as functional items
and the Blanket Loom. The Blanket
Hopi weaving is considerably more Loom and the Upright Tubular Loom of the traditional Hopi life style. DD D
complicated than that of the Navajo are similar to that of Navajo Looms. .
and many types of weave are employed. SOURCES OF INFORMATION:
Among these types are: the Plain
Weave-Basket, used in the manufacture United States Department of Interior,
of large white cotton wedding shawls Bureau of Indian Affairs
and robes, kilts and sashes; the Plain
Weave-Blanket, often used in the manu- 1. Pueblo Crafts - Ruth Underhill,
facture of woolen warming and wearing Ph.D., 1944
blankets; the Diagonal Twill, a weave
used in women's dark woolen blanket Denver Art Museum
dresses (mantas), women's shawls, 2. Hopi Indian Weaving, Leaflet No.
men's kilts, breech cloths and white 18 - Richard G. Conn, 1931 (4th
ceremonial sashes; the Herring Bone or printing 1957)
V-shaped Twill, used most often in com-
bination with other weaves for blankets 3. Main Types of Pueblo Cotton
and other articles; the Diamond Weave, Textiles, Leaflets Nos. 92 and 93
used in the border of women's dark - Frederic Douglas, 1940
woolen blanket dresses (when not em-
broidered), the borders of white shawls, 4. Main Types of Pueblo Woolen
the ends of men's breech cloths and Textiles, Leaflets Nos. 94 and 95
black and white plaid Hopi blankets; - Frederic H. Douglas (Second
and the Floated Warp Weave, used for printing 1955) ·
women's woolen belts, men's woolen
5. Southwestern Weaving Materials,
garters and woolen headbands. The Leaflet No. 116 - Frederic H.
Embroidery Weave (sometimes called Douglas, 1953 (Second printing
brocading) is a rather unusual form of 1957)

The Heard Museum
6. Kachinas, a Hopi Artist's Docu-
mentary - Barton Wright, 1973

JULY 1974 3

Native American Tapestries Of The Navajo Carl Schaefer Dentzel, Director
Southwest Museum
Los Angeles, California

WE-4 The Hennan Collection tapestry pictured below For hundreds of years before the coming of the Spanish they
is a superb example of fine art in weaving. It was
acquired from the prestigious George Berlandt wo:ve and made superb useful things from cotton.
Collection. Weaver unknown. - ARIZONA
When the Navajo Indian people migrated into the South-
PHOTOGRAPHIC ASSOCIATES
west they learned weaving from the agricultural Pueblo
Five hundred years ago the then known world was without
cotton. Until the discovery of America textiles were made with Indians. They became outstanding weavers and by the time
many different kinds of materials. Europe and Africa were
flax and .wool continents. Asia utilized wool and of course the Spanish introduced sheep and other domesticated animals
silk. Garments and other materials were also made from other
fibers but cotton was unknown. they soon became masters of the craft.
In the areas they occupied in what is now New Mexico
The prehistoric peoples of the New World clothed them-
selves in animal skins or in cloth made and woven from the and Arizona they became herdsmen. They adapted their pas- t
bark of trees as well as from the wool of the wild mountain
sheep, or of the llama and alpaca which they raised. toral nomadic way of life to the raising of sheep. Their flocks

In North America cotton was grown by the aboriginal wandered throughout what is today known as the Navajo
people and from it they wove all kinds of wearing apparel.
The renowned Indian civilizations of the American Southwest, country. •
Mexico and Central America produced superb garments, blan-
kets, decorative arts and other materials woven from native The high skills they developed from weaving cotton for
cotton.
hundreds of years they now transformed to the working and
In South America the natives of the West Coast wove
some of the finest textiles from llama and alpaca wool. Their weaving of wool. Garments were woven as were blankets,
work takes its rightful place among the world's greatest pro-
ductions of art from the loom . rugs, sashes, bridles and hangings. They became masters of Mary Lee, superior weaver.

In the American Southwest, in prehistoric times, the dyeing the wool, using both the old vegetal method as well as WE-82 Grand Prize Award
Pueblo Indians in the valley of the Rio Grande of New Mexico 1974 Inter-tribal Indian
an~ of the mesas of Arizona planted and irrigated cotton fields. the new chemical. They utilized traditional designs and colors, Ceremonials, Gallup,
New Mexico. Weaver,
creating textile styles that were new and different in the devel- .., Mary E. Lee, Pinon,
Arizona. 9xl 2 foot
opment of weaving in the American Southwest. Handspun, natural
colors with
By the turn of the 20th Century Navajo weaving had vegetal brown.
Tanner's Indian Arts
· become so famous throughout the United States that collectors
TED HILL PHOTO
and museums sought examples for their collections. Tourists
WE-84 Blue Ribbon Award
bought the more commercial pieces but the finer works were 1974 Gallup Ceremonials Crystal-Mohair.
Weaver, Faye C. George, Winslow, Arizona, Vegetal Dyes.
sought by the connoisseurs ,of weaving. Thus the Navajo
Tanner's Indian Arts
Indians created what might be called the first native tapestries
TED HILL PHOTO
in the United States.

Charles Avery Amsden, Curator of the Southwest Museum

for many years, was the recognized authority on Navajo weav-

ing. His masterful work entitled "Navaho Weaving: Its Tech-

nic and Its History," is the great authority on the subject. It

was originally published in 1934 and has been reprinted and

acclaimed ever since.

The Navajo shepherds and their flocks of sheep have had

many vicissitudes throughout the years, as have had the

Navajo weavers. Many great examples of their weaving left ·

the Nayajo reservation. Economic, social and political prob-

lems plagued the Navajo people. Throughout their struggles

for survival they retained their great character and philosophy

and continued to practice their many skills, particularly in

jewelry making, blanket and rug weaving. .

Now a new generation of alert, hard working, intelligent

Navajo people are developing their vast reservation, studying

their ancient customs preserving their traditional arts. They

deserve the understanding and cooperation of all for they have

set great goals for their people.

The Southwest Museum has always appreciated the Navajo

people and their extraordinary culture. In a practical effort

to assist them the Museum is working with the Navajo Com-

munity College in Tsaile, Arizona. The fine pieces of weaving

in the Museum's great collection of Navajo blankets and rugs

are being photographed and analyzed for the Navajo Com-

munity College so that they might be better utilized for serious

study and inspiration in the creation of new styles of weaving.

Today as never before Navajo weaving is being appreciated

and sought after by everyone interested in textile art. There is

a renaissance of weaving on the Navajo reservation. Skilled

artisans and artists are creating textiles of great beauty and

significance. This ancient art which was almost lost now

enjoys a healthy, inspiring revival. These magnificent woven WE-83 Blue Ribbon Award 1974 Gallup
Ceremonials. Raised Outline-Storm. Weaver,
creations with their superb colors, fascinating designs and Elizabeth Goodman, Bluff City, Utah, handspun
. .. vegetal dyes. Tanner's Indian Arts TED HILL PHOTO
enchanting presence, are indeed worthy of the designation
JULY 1974
unique Native American Tapestries. DDD

4 ARIZONA HIGHWAYS

PRlnCIPAL nAVAJO CRYSTAL . . • This area was dominated by trader designs UTAH
WEAVln 01/TRI T/ in Territorial times. Modern Crystal is the most uncomplicated ARIZONA
of all contemporary designs featuring vegetal dyes in the
STORM .. . Also known as the West Reservation area. Rugs brown-yellow-orange range. Designs are usually banded in Flagstaff ·, Editorial Note -
from this .area are of the more traditional patterns, usually straight unbroken patterns. The spelling of places and
distinguished by heavy zig-zag lines symbolizing lightning \
radiating out of a central rectangle containing other storm TWO GREY HILLS . • . Toadlena is to Navajo rugs what names will vary with an author's
related symbols. Storm pattern rugs are made in many colors Paris is to Haut Couture. Size for size the most expensive and -~ version of phonetic into literal
with red, black, gray -and white dominating. The Storm is a the tightest woven examples of Navajo woven art come from interpretations. Teec Nos Pos
very strong colorful example of emotional expression. the Two Grey Hills area. i appears as Tisnasbas in older
references, in others as Tee Nas
GANADO-KLAGETOH . . . The Ganado is the most typical PICTORIAL ... This area includes the Arizona-New Mexico L . _ . __ Pas, etc. In another instance the
first-impression ... the most familiar of all Navajo rugs. The portion of Navajoland noted for Yei and Yeibechai rugs and work of a single weaver was
Ganado though uncomplicated in design is noted for its brilliant tapestries, sand painting interpretations and general pictorial Holbrook photographed by three different
dark red character attributed to Lorenzo Hubbell urging his patterns. Included is the area sometimes referred to as the photographers, each of whom
weavers to double the red portion in the dye formula. Black Shiprock-Red Rocks region. The Shiprock-Red Rocks Yeis spelled her last name differently.
borders and a profusion of crosses, diamonds and stars are are veritable color masterpieces with figures woven with 12 to That's the way it is with Indian
common Ganado characteristics. Klagetoh rugs are noted for 15 shades and hues. Yeis seldom have borders. Yeibechais on languages . . . designed for com-
vegetals and Ganado adaptations. the other hand are hardly without border. Commercial dyes munication, not for grammatical
and commercial wool are used extensively in this area. comparison.
WIDE RUIN •. • For our purposes we have combined Pine
Springs and Burntwater in this area. This is the prime Vege- TEEC NOS POS • • . The most complex designs, the least MV-99 Monument Valley panorama.
tal Dye center of the Navajo weaving industry. Indian and the most like oriental is a good way to explain the
distinguishing features of rugs from this area. Because of the - ALLEN C. REED
color variations Teec Nos Pos outlines are mainly woven of
commercial yams. Strong outline designs and busy diagonals

identify the typical Teec Nos Pos. D D D

WE-7 Right . .. Early Crystal - !. B. Moore catalogue, WE-8 Chief Blanket - Third phase, Classic period Red, Editorial Note: Colors used in Navajo weaving are:
1903 Standard Navajo traditional design with!. B. Moore Bayeta; Blue, Indigo; Green, Saxony. Rare specimens in Natural (undyed) wool. Vegetal (not vegetable) are
modifications. Harmsen's Western Americana Collection. prime condition command from fifteen to twenty thou- dyes extracted from plant life - including roots,
sand dollars in the collectors' market. Ashton Gallery, pods, berries, etc. Aniline dyes are colors made
- ARIZONA PHOTOGRAPHIC ASSOCIATES Scottsdale. - ARIZONA PHOTOGRAPHIC ASSOCIATES from synthetic sources.

WE-6 Below . .. Germantown - Navajo Classic period. WE-9 Chief Blanket - Modern Version , Third phase.
Very rare, extremely tight weave. Pattern commonly From the Read Mullan Gallery Collection, recognized
classified as Moqui (Hopi inspired) Don and Nita Hoel by experts to be one of the world's finest collections of
Collection. - PETER BLOOMER contemporary Navajo weaving art. Weaver, Agnes Toda-
chine of Rough Rock-Chinle. Circa 1960. First Prize
''"'"'"'""""'"-._,,,,,,..,,,,..,md•••mn,i,rn,~...-.,,........,_,,_.,..,....,,_o"''"''"'""'·-"''',."""'•"'""~'"'..-"''""~""""'"'"'"'•''''"'' "'~""n'"""""''""----n Navajo Tribal Fair, 1961 and First Prize 1961 Gallup
Inter-Tribal Ceremonials. Hand spun wool. White and
+ . ... .. + .l/...•••••••••••••••/ · · · ...../'·.•.,·-~ grey, natural colors. Other colors, analine. - ARIZONA

PHOTOGRAPHIC ASSOCIATES

,i,l1 " •••• ••

.~ -:/••'••••...
. .•
..••l ~~ - I '~ ./
// •a I r/"•
.. .. -·••••l I
.............. ••
.. ·.>(...••... •··•....
••••• ....
~ ... ~~·••

./' ...r.l.'.·.

( + ......... ••··.•.
' / . .. ·-:••......-.... ••
•••••./..~...· ·.·.. ··....... •••••

..,,/·
. . ~-·+••••,...._·•.-..........
....;.•
..~.,. •.J'· ..
. ·ra•

,._,,..;.• •

The GREAT A fourth printing, the RIO GRANDE CLASSIC edition From NAVAJO WEAVING, foreword by Many date back to the Civil War and even earlier. These with
SOURCE Reprinted with the cooperation of the Frederick Webb Hodge: the historic old scenes and figures of early reservation days
BOOK and the ample illustrations of every process in blanket-making
SOUTHWEST MUSEUM, Los Angeles, California In addition to the technic of the weaver's craft, the volume far surpass any previous effort in that direction .
presents a resume of our archeological knowledge of the long
For Librarians, Collectors, Authors, Teachers, career of the loom and its prototypes in the prehistoric South- There have been numerous studies of primitive textiles,
Merchants and Scholars. west, describes and illustrates in detail the various weaves and several on Navaho weaving have been published, but
used by the Navaho, and records the processes employed in until now the subject has usually been approached from the
Complete chapters on WEAVINO ... LOOMS ... making their native dyes. Following this will be found a -dis- esthetic rather than from the technical point of view.
NATIVE DYES ... METHODS AND FORMULAS cussion of Navaho weaving from the introduction of sheep
... TYPES AND USES OF TEXTILES ... HIS- · by the first Spaniards, through its earliest historical references A SPECIAL SERVICE
TORY OF THE NAVAJOS and WEAVING in old Spanish documents and its brilliant "bayeta period" to FOR OUR READERS ONLY
DEVELOPMENT ... BAYETA ... BLANKET modern times when, as the author says, it was gradually trans-
TO RUG ... THE RUG BUSINESS ... THE EVO- formed from a native craft of blanketry into a rug-making We are generally not in the book selling
LUTION OF DESIGN industry. The book closes with a chapter analyzing and tracing business, and we sincerely urge our readers
the growth of design and an account of the "revival" movement to patronize their favorite book sellers.
260 pages-Hard cover now in progress.
Rare color reproductions As a special service to those readers who
Superbly illustrated The illustrations are of great value in themselves. Instead are remote from convenient shopping facili-
of specializing in "pretty ·blankets," as previous writers have ties we have reserved a limited supply of
Postage Paid been prone to do, Mr. Amsden has made a special effort to NAVAJO WEAVING. Our readers may pur-
obtain illustrations of old authentically-dated specimens; and chase this book from us at the price of Twelve
through the generous cooperation of museums and private dollars per copy postpaid.
collectors the country over a group of excellent photographs
First Editions published in 1934 are of more than one hundred such blankets has been assembled.
valued in excess of $200.00

JULY 1974 ARIZONA HIGHWAYS 9

Indian]lanke-t5 A SPECIAL SERVICE
FOR OUR
and Their -Makers
READERS ONLY
.BY
We are generally not in the book
GEORGE WHAR.TON JAMES selling business, and we sincerely urge

Another RIO GRANDE CLASSIC our readers to patronize their
favorite book sellers.
First published in 1892. This is a superb enlarged and improved
imprint with emphasis on the early rugs and blankets. The book As a special service to those readers who
is worth many times the purchase price for the 48 color plates are remote from convenient shopping
of rare museum and collectors' specimens - four of which are facilities we have reserved a
reproduced on these two pages. Black and white photographs limited supply of
by Vroman and other leading photographers of the day plus INDIAN BLANKETS
drawings by noted artists illustrate chapters on design, looms and
and the ways of life of the people in the 19th century. THEIR WEAVERS.
352 pages - 81h x 11 inches - Hard cover ........ $20.00 Our readers may purchase this book
from us at the price of twenty dollars
($20.00) each, postpaid.

WE-12 Blanket with Yei design
from "Indian Blankets" Fig. 200.

WE-13 Navajo blanket of symbolic design from
"Indian Blankets" Fig. 146. Author's Collection.

WE-10 Classic blanket .. ... . ~ WE-11 From "Indian From Indian Blankets And Their Makers
from the book "Indian Blankets" Fig. 232 has an
Blankets" Fig. 236, ARIZONA HIGHWAYS individualistic design which That weavers are influenced in their choice of design by their environment I have
page 155. The fiood of shows the fertility of illustrated a score or more of times, but never more forcefully than by the weaver from
red in the outer body invention in the maker. whom I purchased the fantastic blanket pictured in colors in Fig. 146.
of this blanket gives
it a rich warm effect. JULY 1974 This weaver's summer hogan was not far from a siding on the main line of the
Santa Fe Railway, some fifty miles west of Gallup, New Mexico, over the state line
10 in Arizona.

One day after she had set up her loom, she was aroused from her thought by the
arrival of a train going west. That immediately suggested to her that she attempt
to reproduce the engine and train of cars in her blanket. The sun was glistening on
the rails, and this effect she reproduced by alternations of white and blue. (Read from
bottom up.) The train was of passenger coaches, and there was room on her loom for
only two cars, and these of rather compressed dimensions. To denote that they were
passenger cars she introduced two human figures in each. While this work was progress-
ing certain birds appeared on the scene, together with two women, one walking east
and one west. A "light" engine also came traveling east, and as the sun happened to
be shining upon it as it passed it had a bright, glistening appearance, so she repre-
sented it by weaving it in white, while the windows of the cab are picked out in dark
blue. A large and small rain-cloud also appeared on the horizon and these are duly
represented.

After getting ready for the next panel and no train appearing, she pictured six
flying birds alighting on the track and five walking female figures. A rain-cloud is at
each end of the group of walkers. This panel is followed by one showing two engines
together, going west, with flying birds and rain-clouds above them.

The next panel shows a sleeping-car. The remainder of this panel is made up of
fleecy clouds, flying birds, and rain clouds, while the last panel is her very effective
representation of a poultry train going west.

Three Centuries of Navajo Weaving

by Joe Ben Wheat

Curator of Anthropology
University of Colorado

Museum, Boulder, Colorado

The Navajo weaver and the
Navajo loom survive
unchanged in the midst of a
civilization whose mechanical
ingenuity is unparalleled in
history. The Navajo accepts
television, instant coffee,
automobiles and Italian silk
suits - but - his loom he will
not change in the least detail.
The weaver shears, scours,
dyes, cards, and spins the wool
into yarn. There has never
been a change in either the
loom (a structure of poles to
hold the warp at an even
tension) or the hand weaving
technique.

WE-14 Opposite Page ...
Superfine Burnt Water
pattern. Weaver,
Philomena Yazzie ...
Richard A. Voit Collection.

FREDERICK T. SHARP

WE-15 Left, Superfine
Burnt Water by Philomena
Yazzie . Private Collection.

l Editor's Note: There are no machine made Navajo work, no matter how meticulously executed will pro- W hen Coronado's men drove herds of sheep Most of these nomadic tribes belonged to the great Athapaskan
rugs, blankets or tapestries. Mechanical weaving can- duce a distinguishing quality of irregularities. Many northward in 1540, into what is now Arizona stock, which the Spaniards named Apache. One of these tribes
and New Mexico, they changed the lives of lived in the mountainous country northwest of Santa Fe, where,
not successfully imitate that done by the Navajo Navajo designs are reproduced on foreign looms but the Indians living there. To the Spaniards, because of their farms, they were called Apaches de Navaju
sheep were a mobile commissary. To the - Apaches of the great fields. Later, they became known
method because weft color cannot be dropped in as the quality of the fibers, different looms and techniques Indians, they became, in time, the foundation simply as Navajo.
of a weaving industry that still persists.
in the hand loom. Every thread of weft must be carried do not measure to the Navajo standard. When the Navajo first come into view, we find them trad-
The Pueblo Indians of Coronado's day were weavers of ing tanned skins and finely wrought baskets to the neighboring
cotton. They used the "belt" loom for narrow fabrics, but Pueblos in exchange for corn and woven blankets. Throughout
they also had a wide, upright loom for larger garments which the 1600s, the Navajo expanded westward and southward.
were decorated by dyeing, painting, and embroidery. As they occupied new regions, the Navajo incorporated other
peoples into their tribe, becoming ever more numerous and
Most likely, these first Spanish sheep were eaten, as they powerful.
were intended to be; but after 1600, when the Spanish began
permanent settlement of the Rio Grande Valley, sheep wool It is not certainly known when the Navajo learned to
became as important as the meat, for the Pueblos soon began weave, but it is clear that they learned from the Pueblos.
to spin and weave wool as they previously had woven cotton. They took over the Pueblo vertical loom, and, according to
the Spanish documents, it is clear that during the early 1700s
Colonial New Mexico has been described as a small,
troubled island in a desolate sea of hostile, nomadic Indians. Text continued page 22

wholly across the fabric on one side or the other. Hand

JULY 1974 ARIZONA HIOHWAYS 13

WE-19 Burnt Water w H

blending subtle, mut~d :e;~:l d~:::zia is noted for

PlnE /PRlnG/ Ray Gwilliam Collection. ors.
BURnTWATER

the!~~ T~is ~hilome~a.Yazzie rug won First Prize at WE-20 Burnt Water
exzco tate. F~ir m 1971 and the Arizona State Weaver, Maggie Price
Fair m l972. Read Mullan Collection. Ashton Gallery, Scottsdale

PHOTOS BY ARIZONA PHOTOGRAPHIC ASSOCIATES

MWaEb-e1l7BThe t'wdo-faced rug, Ieft, was woven in 1966 by
of the veuryrnfsiin e Myers of Pine Spri·ngs, A rz.zona. She is one
teaching at N e w·eavCers on th.e reservatz.on and i.s presently

. . ) ava10 ommumty College (see page 29
this issue .

ARIZONA
PHOTOGRAPHIC

ASSOCIATES

WE-18 The Museum of WE-21 This Burnt ARIZONA HIGHWAYS 15
Northern Arizona, Flagstaff, Water pattern by
houses a permanent Maggie Price is
collection of major traditional Navajo
importance. The scene of in design yet very
the annual Navajo contemporary in
~rafts":an Show (right) feeling. - Ray
is a pnme source of Gwilliam Collection.
contemporary rugs, blankets
and tapestries attracting JULY 1974
buyers and collectors from
the fifty states. The 1974
Navajo Craftsman Show
dates are July 28 through
August 4.

- PET~R BLOOMER PHOTO

14

WIOERUln

Wide Ruin Rugs are hand spun, fine weave, and of superior
quality. Colors are all vegetal dyes with some natur.al grey and
white wool. The two-faced blanket is produced durmg one
operation of a highly complicated arrangement of heddles.
A complete description of this process is given in Amsden's
NAVAJO WEAVING (see pages 8-9) .

WE-24 Above, by Marjorie Spencer,
Courtesy Hubbell Trading Post.

PHOTOS BY RAY MANLEY STUDIOS

WE-25 Below, by Nelie Roan,
Courtesy Hubbell Trading Post.

WE-22 Above, Two-faced rug by
Agnes Smith, Ray Gwilliam Collection.

PHOTOS BY
ARIZONA PHOTOGRAPHIC ASSOCIATES

WE-23 Left, by Lottie Thompson, WE-26 Blanche Hale working on a
1960, Read Mullan Collection. Wide Ruin rug at her loom.

16 ARIZONA HIGHWAYS JULY 1974

WE-27 Above is a close-up of the tapestry WE-30 Two Grey Hills weaver Mildred Natoni.
at the right showing the actual size and closeness
PHOTOGRAPHS BY RAY GWILLIAM
of the 110 weft threads per inch weave.
WE-31 Virginia Beal traded this rug for the pick-up truck.
WE-28 Right, Two Grey Hills tapestry, Don and
Nita Hoel Collection. - PETER BLOOMER WE-32 Grand Prize Winner, 1954 Gallup Inter-tribal Indian Ceremonials,
by Daisy Tauglechee . Read Mullan Collection-ARIZONA PHOTOGRAPHIC ASSOCIATES

WE-29 Daisy Tauglechee, famous Two Grey Hills weaver, The five thousand dollar figure is not an out-of-this-world JULY 1974 19
and her daughter-in-law Priscilla, also a weaver. - RAY MANLEY price when we know that the weaver cannot produce more
than one such specimen in any nine to twelve month period.
TWO GREY HILL/ The basic Two Grey Hills patterns are of geometric figures
and symbols.
Two Grey Hills rugs and tapestries are the "precious gems"
in contemporary collections. Rugs are generally 6 x 4 feet and Distinguishing colors are natural (undyed) blacks, whites,
larger and seldom exceed 90 weft threads per inch. On a weft greys and shades of browns. For certain greys, black and white
threads per inch standard Two Grey Hills tapestries (approxi- are carded together. Tans are made from browns and whites
mately 3 x 5 feet) represent the finest, most expensive and combined. Black borders are generally standard on Two Grey
most sought after specimens of Navajo weaving art. A less than Hills rugs and tapestries. For intense blacks aniline dyes are
3 x 5 feet tapestry of twelve natural colors, finest hand spun used with natural wools. This is now an accepted practice
wool, woven 115 weft threads per inch can bring up to five throughout the reservation.
thousand dollars from a proud and discerning collector who
will display it under glass. Daisy Taugelchee is the "Grand Dame" of Two Grey Hills
weavers. As pacesetter of the tapestry medium Daisy's looms
18 have produced more top award winners than any other weaver.
The attrition of age and cataracts may cause an involuntary
abdication of Two Grey Hills longest lived queen. The area
is especially noted for the number of superior weavers, with

Julia Jumbo currently setting the pace. D D D

ARIZONA HIGHWAYS

moRE TWO GREY HILL/ TOP TO BOTTOM:
WE-39 Left, by Julia Jumbo, from the Richard A. Voit
TOP TO BOTTOM: Collection. - FREDERICK T. SHARP
WE-33 Right, by Mary Louise Gould, from the Richard WE-40 By Mrs. Amos Tom, from the Richard A . Voit
A. Voit Collection. - FREDERICK T. SHARP Collection. - FREDERICK T. SHARP
WE-41 By Priscilla Tauglechee, from the Ray Gwilliam
WE-34 Mary Joe Gould, from the Richard A. Voit Collection. -ARIZONA PHOTOGRAPHIC ASSOCIATES
Collection. - FREDERICK T. SHARP WE-42 By Ramon Curley, from the Richard A. Voit
Collection. This rug is 4' x 6'. - FREDERICK T. SHARP
WE-35 By Mildred Natani, from the Ray Gwilliam
Collection . - ARIZONA PHOTOGRAPHIC ASSOCIATES 21

WE-36 By Daisy Tauglechee, from Russell Foutz
Indian Room. - RAY MANLEY

WE-3 7 Right,
by Elizabeth
Mute, from
the Richard
Spivey
Collection. -

ROBERT

NUGENT

WE-38 Right, by
Stella Todacheenie,
from a private
collection. At 8' x
11' this is an
unusually large rug.

- RAY MANLEY

/

20

NAVAJO WEAVING from page 13 ing the yarns into their own garments. create their own rich patterns and styles in fine tapestry. From 1800 on, however, the principal woman's garment
The Navajos now had white and black natural wool, used In the Pueblo tradition, the Navajo still wove a few gar- was the dress. The one-piece Pueblo style dress gave way to a
the Navajo were weaving and wearing garments after the two-piece dress woven as two small, identical blankets with
Pueblo fashion. plain or carded together; indigo blue dye from Mexico; yellow, ments wider than long. Mainly, these were the men's shoulder black center and blue striped ends. After the Navajo got bayeta,
orange, green, reddish-brown, and black native vegetal dyes, blankets that later came to be known as Chief's blankets. At they made the end panels red, with simple stripes, terraced
In 1680, the Pueblos revolted and drove the Spanish from and the warm crimson from raveled bayeta: For design, they first, these were decorated only with wide alternating stripes zigzags, or open step-sided diamonds in indigo blue.
New Mexico. Twelve years later the Spanish returned, and had inherited from their Pueblo teachers simple stripes in of black and white, but soon the end and center stripes were
many Pueblos fled to the Navajo. It ·is widely believed that brown or blue, compound stripes of one color edged by another widened and narrow stripes of blue were added to the end In 1821 Mexico won independence from Spain, and New
the Navajo learned to weave at that time. There is some evi- or by short vertical blocks called beading, made by alternating and center bands. About 1850, rectangular blocks of red were Mexico's borders were opened to trade with the United States.
dence, however, that the Navajo had learned to weave before pairs of different colored weft yarns. Sometimes several stripes introduced at the ends and center of the blue stripes, making By the 1830s almost all commercial cloth, including bayeta,
that. At any rate, by 1706 the Navajo were weaving cloth for were grouped into zones separated by undecorated areas. Not the so-called "Second Phase" Chief blankets. By 1860, these came across the Santa Fe Trail, and a fine, silky, 3-plied
themselves and for exchange. content with such simple decorative motifs, however, the "spots" of color had been changed in shape t'.) diamonds or commercial yarn, called Saxony, was introduced. After the
Navajo began to break stripes into stepped or terraced zigzag parts of diamonds, and were enlarged until they began to Americans occupied New Mexico, Arizona, and California in
By the late 1700s, the Navajo were obtaining a coarsely figures similar to those woven in their baskets. encroach into the black and white striped areas. Later Chief's 1846, the flow of goods across the Santa Fe Trail became a
woven woolen cloth, dyed crimson or scarlet, with cochineal. blankets became very elaborate. flood.
This cloth, known in the Southwest as bayeta, was woven in By 1800 the Navajo were masters of their craft. Their
England, shipped to Spain, thence to Mexico, then overland loom work was superior to any other in the Southwest, and Women's blankets were woven with narrower alternating The middle 1800s are known as the Classic Period of
to distant New Mexico. Because the Navajo had no good red even though they still made numerous fabrics of Pueblo cast, stripes of black and gray, and generally simple end and center Navajo weaving. Dresses, shoulder blankets, and such, were
dye of their own, they were soon raveling bayeta and reweav- they had begun to move away from the Pueblo tradition, to patterns.
Text continued page 34

IN-197 Open skies over Table Mesa in northwest New Mexico. - DAVID MUEN<;;H

WE-43 A double line of Amsden, C. A.:
Y ei-bichai dancers in Y ei Navajo Weaving (see
costumes are depicted in page 8, this issue).
this large rug probably Contains a full
woven in the 1940s in the description and
Greasewood Springs diagrams of two-face
area of Arizona. weaving.
Robert Harmsen Collection
WE-45 Two-faced
YEI RUG/ Yei Rug by Martha
Er Tsosie from the Ray
Gwilliam Collection.-
BLRnKET/
ARIZONA PHOTO-
24 GRAPHIC ASSOCIATES

WB-46 Below, Tree of Life Sand
Painting Rug by Daisy Barton from
the Richard A. Voit Collection.

- FREDERICK T. SHARP

PHOTOGRAPHS BY WB-47 Tree of Life by Daisy Morgan from
ARIZONA the Shiprock area. Henann Collection.

PHOTOGRAPHIC - ARIZONA PHOTOGRAPHIC ASSOCIATES
ASSOCIATES

WE-44 Copy of the sand
painting "First Dancers
(dancing group),
Nightway (night chant)"
by Mrs. Sam Manuelito,
a niece of the famous
Navajo Medicine Man
Hosteen Kiah. Read

Mullan Collection.

ARIZONA HIGHWAYS JULY 1974 25

JET AGE RUG MERCHANT

WE-48 Right, by Della Woody Tom Buffaloe, Harvard Business Administration graduate,
from the Henann Collection. - flies his Bonanza airplane from his home in La Jolla, California ,
to the Navajo Reservation and thence to whatever city in which
ARIZONA PHOTOGRAPHIC a discriminating clientele awaits his highly prized treasures of
ASSOCIATES Navajo Weaving.

WE-49 Below, by Della Woody, After Tom purchased his first Navajo rug, while on a vacation trip
woven 1958, won Second Prize
in the 1970 Gallup Inter-tribal to Navajoland, he decided to trade an executive career in
Indian Ceremonials. From the
Read Mullan Collection. - electronics for one of the most fascinating life patterns not

ARIZONA PHOTOGRAPHIC programmed by University standards. ·
ASSOCIATES
Travelling by auto and plane, Tom Buffaloe has established
a person to person, eyeball to eyeball relationship with every
aspect and phase in the business of Navajo Weaving art.

Single specimen or complete collection, buyer or seller,
Tom Buffaloe represents quality and dependability.

Tom Buffaloe at Scottsdale Airport, Scottsdale, Arizona.

- ARIZONA PHOTOGRAPHIC ASSOCIATES

TANNER'S INDIAN ARTS
- TED HILL PHOTO

YEI-BICHAI
TAPE/TRIE/

WE-50 Talking god, by Mary Bia from the Don and
Nita Hoel Collection. - PETER BLOOMER

WE-51 The Blue Ribbon winner at the 1974 Gallup Inter-tribal Indian Ceremonials

was this two-faced Yei by Audrey Wilson of Holbrook, Arizona.

26 ARIZONA HIGHWAYS JULY 1974

/

WEAVlnG
...ALIVE Ano WELL

By Keith Leafdale

Dean of Student Personnel Services
Navajo Community College

Each semester Mable Burnside Myers takes her place
among the instructors of chemistry and psychology at Navajo
Community College. She can be found in the College's modern
classroom complex on the northern reaches of the Ft. Defiance
plateau at the foot of the Lukachukai Mountains. Mrs. Myers
offers her rug weaving skills to as many as sixty students per
regular semester and as many as forty in summer sessions.

The Navajo College is open to students from all cultures.
Classes in rug weaving have included students from New York,
Alaska and Latin America.

Interviewed during registration day for the college's 1974
Summer Session, Mabel Myers discussed her classes. She
described how her students card the wool, make the dyes, spin
their own yarn, string the warf and mount their weaving tools.

"From 1939 to 1945 I taught my rug weaving at the Ship-
rock Boarding School. I started there. Then they abolished it.
I don't know why they abolished it," she continued, gently
chopping her syllables with the Navajo accent, "but now it's
coming back."

From 1947 to 1955, Mrs. Myers was a teacher's aide at
the Tuba City Boarding School. There she demonstrated her
weaving techniques during the summers.

"Most of the Navajo ladies in today's afternoon class can
do plain weave. They want to learn how to do a double or
two face weave like the one in the Read Mullan collection."
(This issue page 14).

Mrs. Myer's reputation is not confined to the Navajo
Reservation. After the current summer session, she will demon-
strate her skills at the Museum of Natural History in Denver.
She said "I think it is the fourth time I've gone there to do
that." After Denver, she will demonstrate her weaving tech-
niques at a shop in Washington, D.C. "I have a daughter who

lives there. Her husband is in law school around there in

Washington." In August, she will return to her position with
Navajo Community College.

Asked what she would most like to emphasize for readers
of ARIZONA HIGHWAYS, Mrs. Myers said "The dyes (colors)
and the gathering of the plants like sage and berries and fruit
and the roots ... some are used for medicine too. The students
want to know all about the use of the plants for dyes and
medicine." The subtle natural colors of Navajo rugs testify to
the complexity and importance of the preparation of the dyes.
Mrs. Myers has designed a popular plant and dye display
chart which is available through the Navajo Arts and Crafts
Enterprise as well as at selected dealers of Navajo crafts.

A small cluster of enrolling students entered the room.
"They said to get another slip like this. I have only four credit
hours and can take more." After a brief discussion with the
students in Navajo, Mrs. Myers moved to her desk to phone
the Admissions Office and learn what new twist had been
introduced into the paper work. It is very much like College
registration anywhere. One gains the impression from the
classroom of Mable Burnside Myers, and from her gentle

dignity, that the art of rug weaving is very much alive. D

Navajo Community College, chartered by the Navajo Tribe in
1968, was the first college to be established on an Indian reservation
by an Indian Tribe. The new campus is located at Tsaile Lake, Arizona.

IN-198 The Lukachukai Mountains, home of
the Navajo Community College. - WILLIS PETERSON

PICTORIAL/ WE-55 "Blue-Bird Dancers"
was collected in the 1950s,
Today's pictorial rugs depict anything weaver unknown. From the
from patriotic American eagle to kan- Henann Collection.
garoos to fully composed pictures of
Monument Valley. The first pictorial blanket
known - of a classic type -
WE-52 Above, this award winning was found at Sand Creek,
pictorial rug was woven in 1962 by 1864. Although it must be
Alice Ray. From the Read Mullan assumed that pictorial blankets
Collection. - ARIZONA PHOTOGRAPHIC
were woven before the
ASSOCIATES 1850-1875 classic period,
evidence proves that most
pictorial patterns post-date

that period.

ARIZONA PHOTOGRAPHIC ASSOCIATES

WE-57 American Eagle pictorial
rug from the Harmsen Collection,
weaver unknown.

WE-53 Above, woven by Suzy Black

in 1965. From the Harry O. King,

Jr. Collection. - ROBERT NUGENT

WE-54 Woven by Alice Yellowhair, WE-56 The Lenard family,
this rug won First Prize in the 1968 who live at Lukachukai, spent
New Mexico State Fair. From the five years in the making of
Read Mullan Collection. - ARIZONA this Butterfiy Pictorial rug.
Ashton Gallery.
PHOTOGRAPHIC ASSOCIATES
31
JULY 1974 ARIZONA HIGHWAYS

TEECnO/PO/ WE-61 Left, by Alice Nelson,
this rug was a Blue Ribbon
WE-58 Above, by Mrs. Saltwater about 1940, from Winner at the 1971 Gallup
Russell Foutz Indian Room. - RAY MANLEY Inter-tribal Indian
Ceremonials. From Russell
WE-59 Right, by Esther Williams, 1970. From the Foutz Indian Room. -
Read Mullan Collection. - ARIZONA PHOTOGRAPHIC ASSOCIATES
WE-60 Below, by Emma Yabeney won First RAY MANLEY
Prize in the Arizona State Fair and First Prize
in the Heard Museum competition in 1962. WE-62 Below, by Hilda Begay, from the Ray Gwilliam
From the Read Mullan Collection. - Collection. - ARIZONA PHOTOGRAPHIC ASSOCIATES

ARIZONA PHOTOGRAPHIC ASSOCIATES

32 ARIZONA HIGHWAYS JULY 1974 33

NAVAJO WEAVING from page 23 RIO GRANDE
CLASSIC
made, but it was the Classic sarape or blanket that marked
the highest achievement of Navajo weaving. Some of these SOURCE
were ponchos, blankets with a slit in the center through which
the head passed, the blanket draping gracefully in front and BOOK
behind. Some cost as much as a hundred dollars in 1830;
today, those that have survived are ·worth many times that Rare color
reproductions
amount.
These bold, geometric, Classic blankets and ponchos were from the publisher's preface of the HOLLISTER CLASSIC:

decorated with terraced zigzag stripes and figures, woven in Recently we went to Denver, and we never go to that city
a few patrician colors and elaborated in infinite variety. How- without visiting our great and good friend Fred Rosenstock.
ever complex these designs appear, they are composed of units We chatted quite awhile about the vagaries of the book busi-
that go from edge to edge, without borders. Large terraced ness and the art business - Fred's book store on Colfax
triangles were sometimes woven in the corners and across the Avenue is more like an art gallery, these days, than a book
ends, with full diamonds sometimes at the center. These superb store - finally getting around to books worth reprinting.
fabrics of the middle 1800s mark a pinnacle in Navajo weaving
which was not approached again for nearly a hundred years. - Fred bounced up out of his chair, hurriedly ventured into
his mysterious "collection" room upstairs and came back in a
Bosque Redondo brought to a sharp, sudden close the few moments triumphantly waving a practically mint first
Classic Period. For two centuries there had been intermittent edition of this book. The author, Fred explained (as only
warfare between the Navajo and their neighbors. In 1863, he can), lived in Denver when he wrote and privately pub-
troops under Kit Carson laid waste to the Navajo ranges, lished this beautiful title (1903). We couldn't afford to pay
burning their homes and fields, slaughtering their sheep and Fred's price ($150.00) for the rare item, but since in our
other livestock. The proud and rich Navajo became the impov- reprinting we do no harm to a first edition, he was quite willing
erished wards of the U.S. Government, interned at Bosque to lend it to us. We were eager to borrow, so here, now, you
Redondo far out on the barren plains of eastern New Mexico. hold in your hands another beautiful Rio Grande-Classic.

Bosque Redondo was a major turning point in Navajo While this book was first published in 1903, it was appar-
weaving. The Navajo, aliens in an enemy land, faced strange ently "in preparation" for several years before that - perhaps
new ways of doing things. They had few sheep from which to as early as 1890. Author Uriah S. Hollister, according to his
provide themselves with clothing and blankets. It was here obituary, was a man of considerable social, economic and
that the Navajo genius for absorbing new ideas and reinterpret- political stature; he was totally a man of his milieu.
ing them in Navajo fashion came to the fore. The commer-
cialism which had always been a part of Navajo weaving now We called on our friend Alys Freeze, head of the Western
helped them find new outlets and new directions for their History Collection of the Denver Public Library, for informa-
weaving. From then on, they wove less for themselves and tion about Uriah Hollister. Presently she sent us a stat of a
more for other people. microfilm obituary that appeared in The Rocky Mountain
News on September 9, 1929. We copy excerpts herewith:
Synthetic dyes were produced in England in 1856. In 1863,
the Americans started their first aniline dye factory. Before "Funeral services for Uriah S. Hollister, former prominent
· long, American cloths and yarns dyed in the new colors, and Denver oil man and G.A.R. veteran, will be held in Holly-
perhaps the dyes themselves, came to the trading post at Bosque wood, Calif., this week.
Redondo. The Navajo had few sheep, but they could ravel
. the new cloth and combine it with the new, commercial yarns "Mr. Hollister died at Hollywood Monday, within less
and a little of their own sheeps' wool. The officers and men than a month of his 91st birthday.
at the post would buy the things they wove as souvenirs of
their western experiences. Thus, many products of the Navajo "Mr. Hollister had a hobby of collecting unusual articles
looms, woven of mixed yarns, marked the Bosque Redondo of American Indian and Chinese craftsmanship. His collection
years and carried over through most of the 1870s. was regarded as one of the finest in the country. He also was
author of a book on Navajo rugs, which was considered an
Elements of the Classic design style lingered on for a while, outstanding text on the subject. As plates for this book were
but these Jate Classic blankets were no longer bold and cre- destroyed by fire, copies of it are very rare, relatives said.
ative. The terraced figures became smaller, repetitious, fussy,
arranged in panels separated by broad stripes of white or other ... and rare indeed are the excellent full page color plates
plain colors. The weaving became coarser. As the Classic reproduced in the Hollister book.
design style was dying out, another style was emerging - the
serrate diamond style, which they borrowed from the Spanish- Order from your book dealer, or from
American weavers along the Rio Grande, who had, themselves,
borrowed it from the. "Saltillo" weavers of northern Mexico. ARIZONA HIGHWAYS MAGAZINE.

"Saltillo" style blankets featured a large central motif 176 pages ... 8vz x 11 inches ... Hard cover $12.00
composed of concentric serrate diamonds in different colors
on a background of vertically oriented stripes, and were sur- 35
rounded by a figured border. In their weaving, the Navajo
had always made color changes in design by little steps or
terraces, but these new blankets changed color along a diagonal
line. In Navajo weaving there is often found what is called a
lazy line. Instead of carrying the weft completely across the
fabric, the Navajo woman would weave only as far as she
could comfortably reach, and dropping back one warp at a
time in passing the weft, created a diagonal line exactly like

Text continued page 42

IN-199 Wheatfields Lake, Navajo Reservation - WAYNE DAVIS

34

/Ano WE-65 This sand pqinting
PAlnTlnG/ rug is of tapestry quality.
It was woven by Mary Long
Hosteen Kiah was a famed Navajo Medicine Man and won First Prize in the
during the early nineteen hundreds. He died in 1938. 1965 Arizona State Fair.
He was almost fanatical in his belief in the ancient From a private collection.
gods and the only Medicine Man knowing the for-
gotten Hail Chant or Rain Chant. Kiah was the first Harmsen's Western
man to dare the wrath of the gods to weave a cere- American Collection is
monial rug and was sincere·in his belief that his medi- based at Denver, Colorado.
cine would protect him. He later initiated his two Keystone of the collection is
nieces into the Yeibitchai ceremony and authorized the more than 850
them to weave ceremonial designs. Over each woman examples of paintings
he sang the full nine day chant, invoking the protec- documenting the
tion of the gods. Contemporary sand painting tapes- development of the West
tries are not woven for ceremonial intent or purpose. represented by the most
Most weavers are producing superior tapestries, and noted old masters and
in order to avoid any show of sacrilege, they pur- distinguished
posely incorporate errors in the design. contemporaries.

WE-63 Above, Whirling WE-66 Created by an PHOTOS BY ARIZONA PHOTOGRAPHIC ASSOCIATES
Log tapestry. Weaver, unknown weaver in the
Ruby Manuelito. Russell Kayenta area, the sand
Foutz, Indian Room, painting rug below is typical
Farmington, N.M. of those woven around
1925. Harmsen's Western
RAY MANLEY Americana.

The Heard Museum, Phoenix, is JULY 1974 ARIZONA HIGHWAYS 37
especially noted for its impor-
tant permanent collections
related to the Indian cultures
of the Americas.
The renowned center also
hosts many Indian Arts and
Crafts fairs and exhibits which
attract leading artists, artisans
and discerning patrons. This
year's All Indian Arts & Crafts
Show, November 30 through
December 8, 1974, promises to
be the greatest ever held at
the institution.

WE-64 The award
winning artistry of
weaver Mary Long is
evident in another
interpretation of the sand
painting design. Note
the variations of a basic
traditional theme with
that pictured on opposite
page, upper right.
Private Collection

ARIZONA PHOTOGRAPHIC
ASSOCIATES

36

WE-67 Grace Henderson Nez at her loom, patiently weaving GAnAOOREO WE-69 Ganado Red, left, was
a Ganado Red rug. - RAY MANLEY KLAGETOH woven by Desbah Evans of Cross
Canyon in 1971. Read Mullan
Ganado is the home of the traditional and most Collection.
distinctive red-black and gray rug. Klagetoh is noted
ARIZONA PHOTOGRAPHIC ASSOCIATES
for the overlapping influence of Ganado and
V egetal designs and colors. WE-70 A well known type, above,
from the 1910 to 1925 period,
The distinguished trader J. Lorenzo Hubbell was the featuring the "Saltillo" zigzag
precursor of the strong, geometric patterns which elements. From Harmsen's Western
Americana.
are characteristic of the weavings from this district. His WE-72 Marie Begay, below, was
business acumen and knowledge of the market commissioned to weave for the
Navajo Tribal Arts & Crafts Guild.-
influenced the weavers to produce the "typical Indian Ray Gwilliam Collection
rug" familiar to tourists during the Santa Fe

Railroad-Fred Harvey era. Due to the rising prices in
the collector's market, large size specimens are

not as common, for a contemporary half the size brings
twice the price. And in fairness to all involved the ·
standards of quality are commensurate with
the monetary value.

WE-68 The rug pictured below, by Stella Todacheeny of
Greasewood, is a seven time prize winner! First Prize
Arizona State Fair; First Prize and Grand Prize Heard
Museum; First Prize Museum of Northern Arizona; First
Prize Gallup Inter-tribal Indian Ceremonials; First Prize
and ·Grand Prize Navajo Tribal Fair ... all of these in
1967. Read Mullan Collection. - ARIZONA PHOTO-

GRAPHIC ASSOCIATES

WE-71 Klagatoh by Nellie Roan, above, uses hand spun
wool from 4-corners sheep. Ray Gwilliam Collection.

38 ARIZONA HIGHWAYS JULY 1974 39

WE-73 JULY 1974 ARIZONA HIGHWAYS WE-75 The rug woven by an
The Germantown unknown member of the Begay
shown above family , above, is unusual with the
represents the finest Rainbow Goddess around the
in design, color and storm pattern itself. Don and Nita
weaving. It is not Hoel Collection.-
a split rug as might
appear to the eye. PETER BLOOMER
These yarns are
finer than most The Plaza at Santa Fe,
hand spun and in New Mexico will be the set-
the hands of a fine ting for the best market of its
weaver result in a kind in the world. For more
quality seldom than fifty years the Santa Fe
achieved in large Indian Market has attracted
tapestries. fine artists, craftsmen and
Note the unusual discerning buyers. Some of
warp extended the best buys in rugs, pottery,
beyond rug edges jewelry and related craft arti-
to make the fringe. cles have come from this
It was originally colorful and historic Plaza.
bought in Gallup, Dates for the 53rd Santa Fe
1898. Indian Market: August 17
Don and Nita Hoel and 18, 1974.
Collection. -
WE-76 Rose Maloney of Grey
PETER BLOOMER Mountain, this rug beautifully
depicts the traditional use of water
. WE-74 Ganado bugs, lightning and storm symbols.
Red, right, woven It won First Prize in the 1961
by Esther Whipple Arizona State Fair. Read Mullan
in 1964. From Collection. - ARIZONA
Richard Spivey,
Santa Fe, New PHOTOGRAPHIC ASSOCIATES
Mexico. -
41
ROBERT NUGENT

40

NAVAJO WEAVING from page 34 UP FROM THE GROUND

those in Old Rio Grande weaving, except that there was no It is less than sixty years ago that traveller-journalist Charles
color change. Now, the Navajo weaver only had to control
the placement of her lazy line and change color on each side Lummis wrote in his Strange Comers of Our Country: "The largest
of it in order to weave in the new serrate style.
of these Germantown-yarn blankets takes months to weave, and are
The Navajo did not take over the Saltillo-Old Rio Grande
design style intact. Rather, they adopted parts of it and rear- worth from thirty to one hundred dollars - sometimes more." ...
ranged the parts in typical Navajo fashion. Stepped color joins
became diagonal color joins. Terraced zigzag horizontal stripes and more ... and more ... until today Lummis's Germantown yarn
gave way to serrate zigzag horizontal stripes. Short vertical
zigzag stripes were introduced as separate design elements, or blanket of that vintage may bring upwards of $10,000 at a collector's
several small Saltillo concentric diamonds might be placed in
a row across the center. The terraced corner triangles became auction.
serrate corner triangles. Often, serrate and terraced figures
would be combined in the same blanket. Many of these transi- In 1974 saddle blankets are not common. Better ones are priced
tional blankets were woven with the newly introduced 4-ply,
aniline-dyed, "Germantown" yarn, or with native-spun yarns at $90.00 to $100.00. Before we are lost in the outer spaces of the
dyed with aniline dyes. The soft native dyes began to lose
out. Only indigo remained until about 1900, then it, too, Navajo rug universe, we must state that there are thousands of
passed from general use.
attractive, hand woven Navajo rugs and blankets available priced
After Bosque Redondo, native woven garments gradually
gave way to commercially made clothing or cloth from which from $100.00 to $1,000.00. More than five thousand weavers pro-
the women made their full-cut "squaw" dresses. Commercial
shawls began to replace the Chief blankets, the women's duce approximately 10,000 finished pieces per year. Not more than
blankets, and the sarape style wearing blankets. Increasingly,
blankets were made to sell to the white man, but a few old ten percent (1 ,000) will be considered as superior quality weavings.
women continued to weave and wear the traditional dress.
Of these not more than 150 will be the top award winners which
Despite the general decline in weaving for home con-
sumption, the Navajo still wove saddle blankets and soft collectors will covet and pay whatever price is equitable to their
bed blankets for themselves. After Bosque Redondo, the
Navajo began to weave thick, soft, small blankets, usually in means. It is with these 150 superior to superfine examples that this
a twill weave, to serve as a pad under the saddle. These were
about the size of a child's wearing blanket, but were much issue is primarily related and prices stated are not intended to
more coarsely woven and rarely so elaborate in design. Navajo
saddle blankets are still in demand today. establish market standards, but to illustrate the value of the weaving

Bed blankets were of the soft, fluffy weave called diyugi as a precious work of art. ·
by the Navajo. These usually had simple striped designs, but
some were made in the new serrate design system. These were We have seen and held in our hands a Two Grey Hills rug-size
sold to Pueblos and white settlers alike, to serve as bed blankets,
but some also found their way onto the floor as rugs or car- t~pestry, cashmere-like to the touch. We can see it as a wrap over our
pets. It was from this mundane source that the Navajo rug
industry began. lady's shoulders at the opera. It would take a ten thousand dollar

The rug business began in earnest about 1885. The rail- sable to rival it for value and attractiveness.
roads reached the Southwest about 1880, bringing with them
a flood of cheap xommercial goods, further reducing the need At the Indian Room, Kathy Foutz is happy to pay a Crystal
for the Navajo to weave for themselves. Many of the traders,
fearing that Navajo weaving would die out, began to look weaver $1,000.00 in cash - over-the-counter for a better than
for new outlets for their clients' loom products. The trains
that brought the goods also brought increasing numbers of average blanket. Dealers and collectors are going to the loom and
visitors to the Southwest. The traders recognized the visitor
as a new market, if not for blankets, then for rugs. More paying from two to five thousand dollars for superior specimens of
and more soft, thick blankets found their way back East to
adorn the floors of the travelers who bought them. There was Two Grey Hills, Burnt Water and Wide Ruins tapestries. The Classic
also a resurgence of interest in fine weaving, and many well-
woven blankets made from gaudy aniline-dyed Germantown and Historic pieces are something else. Women's dress blankets in
yarns were sold as wall hangings, couch covers, or rugs. Many
of these "Germantown" rugs featured sewn-on fringe and prime condition are valued from $10,000, while third phase chief
tassels. Because of their elaborate and often gaudy designs,
these are sometimes called eye dazzlers. blankets are commanding from $15,000 to $20,000.

As the demand for rugs increased, speed in weaving became The 1974 Gallup Inter-tribal Indian Ceremonial Grand Prize
important ; and as speed increased, quality went down. New
sheep whose fleeces were poorly adapted to primitive hand- Winner by Mary Lee (page 5 of this issue) , was sold at the show
weaving were introduced. Starting about 1890, thousands of
poorly woven rugs were produced and sold, often by the pound. for $15,000 to a private collection. And that's the way it is in the
Poorly carded, coarsely, and irregularly spun yarns from
.unwashed or poorly washed, greasy wool, poorly dyed with commercial side of the romance of Navajo weaving.
too many colors of inferior dye, were loosely woven onto cot-
The business of knowing, evaluating and buying a Navajo rug,
Text concluded page 45
blanket or tapestry is not for novices. We are grateful to the many
MV-100 Navajo fiock on the dunes. - JOSEF MUENCH
people who have contributed the product of their experience and
42
knowledge. Contributing editors, Doctors Carl Schaefer Dentzel and

Joe Ben Wheat are recognized and respected as academic sources

without peers. Collectors and fine arts dealers consider Read Mul-

lan to be one of the world's most dedicated scholars, forever seeking

knowledge and material to maintain the standard of excellence for

which his gallery of contemporary Navajo weavings is noted. Dorothy

and William Harmsen have added an unmatched measure of quality

from their Western Americana Collection. Many of our headliners

are from private collections, anonymous by owner's request. We

must acknowledge the dealer-collectors who are ever reluctant to

part with their favorite wares: Richard Spivey and Forrest Fenn,

Santa Fe, N.M.; Ray Gwilliam, Tempe, Arizona; Tom Buffaloe, La

Jolla, California; Alan Gore and Bob Ashton, Scottsdale, Arizona;

Gene Gordon, Don and Nita Hoel Sedona; and Ross Rhoton, Corn-

ville, Arizona. Our travels have taken us to a score of trading posts

and trading centers. We came away from each with added richness

to our store of knowledge. The McGee Trading Posts and McGees

Indian Den, Scottsdale, Arizona, were prime and recommended

asources of information and quality. Our "gold mine" is Russell

Foutz, present head of dynasty of several generations of traders.
Mr. Foutz and his kin have handled, appraised, bought and sold

more Indian rugs, blankets and tapestries than all . other living

traders combined. We are pleased to share the following letter from

Russell Foutz, dated June 6, 1974:

/ I thought it might be helpful in preparing your forth-
coming rug issue to send the following thoughts in this letter.
.,.. ..
editorial continued page 47
. . ....
43



WE-5 Russell Foutz Indian Room, Farmington, N.M. RAY MANLEY PHOTO EDITORIAL from page 43

Kathy Foutz, director, Indian Room, is buying a rug from known as a good "rug store," having made the "trade in rugs" In the middle 1950's Navajo rugs had reached a "low"
Myra Antonio; left and daughter, from Blanco Trading Post, a major part of their business. in both quality and quantity. Most of the good weavers had
N.M. Three generations of the Foutz family have built a key- stopped weaving because of the shortage of good long-staple
stone in the business of trading with the Navajo. For many The large rug on the floor was woven by Ruth Yabeny of wool, and they were not passing their art along to the young
years they have been the leading wholesale distributors of Beclabeto, some 20 years ago, and is from the private collec- generation.
Navajo rugs. Their trucks supply and service many of the tion of Mr. and Mrs. Foutz. Mrs. Yabeny is especially known
National Park retail outlets. for the rug design used by Kimberly-Clark Corporation for It was then that two things occurred which stimulated
one of the recent Kleenex Americana series of tissue packages. a revival in Navajo weaving. The use of Lincoln bucks
Russell Foutz also operates the Tees Nos Pos Trading Post, (insert right) (rams), characterized by their long kinky wool, was
founded 61 years ago. The Tees Nos Pos post has always been encouraged to cross with native ewes to produce long-staple
wool, and commercially processed wool was made available
to the weavers. It was only after commerc_ial yarn was made
available that many women who had never made a rug
before started to weave. A great number of them learned
their art by weaving with Germantown, and then graduated
to handspun as they became more expert. Even today some
of the vegetal dye and Crystal rugs are woven from processed
one-ply yarns, and the finished product is even more salable
and beautiful than handspun.

I am convinced that if it had not been for commercially
prepared wool Navajo weaving would be a lost art today.
Some traders had begun putting out this wool to their weav-
ers a few years earlier, but the biggest impetus was provided
by Ned Hatathli, who was at that time head of the Navajo
Arts and Crafts Guild. He instituted a tribal wool project -
a reservation wool mill which cleaned and carded Navajo
wool and sold it back to the Navajos either in wool top
form or spun into skeins.

The above may perhaps be helpful in preparing the
material for this issue.

Russell Foutz
We cannot help but note that poor quality weavings
are the exception. With the market demanding quality,
weavers are competing for the best paying buyers. Col-
lectors are constantly upgrading their collections. The
market is upgrading and the weavers are upgrading the
aesthetic and physical qualities of their arts.
Navajo weaving is off to new goals and directions.
The trend in 1974 is an indication that this most human
form of art expression is coming off the floor to its place
of honor on the gallery walls.

JOSEPH STACEY

Selections from the Joe Tanner private collection of
miniature classics from various weaving districts.

TED HILL PHOTO

47

This special edition is respectfully dedicate-d to those Navajo ..
women, who, through the product of their art prove that

true human sophistication is wisdom gained through experience.

They have incorporated changes and influences of other cultures
without breaking with Indianism or degenerating their genius.

There is a touch of greatness in every rug, blanket and tapestry
selected for reproduction in this edition. The weaver and the

quality of her product are not near the end.

Because the weaver weaves not to wear or use, but to sell,
often raises the question: What will the weaver buy half so

precious as the art she sells? The answer is evident wherever
Navajo women work at their looms producing better goods
for the best monetary return, which in turn will buy the
necessities required to maintain an equitable\equilibrium
· between the poles of Indianism and the live-and-let-live
concepts of our non-Jndian American standards.

Theirs has been a hard life. Today it is a good life.
They are entitled to and deserve a better life.