Syracuse University Art Galleries

Syracuse University Art Galleries

© 1984 Joe and Emi Lowe Art Gallery School of Art, College of Visual Performing Arts

Syracuse Syracuse, New York 13210

Joseph A. Scala, Director All Rights Reserved

November 3D, 1984 - January 13, 1985

The Joe and Emily Lowe Art Gallery

School of Art College of Visual and Performing Arts Syracuse University Syracuse, New York 13210

Syracuse University Art Galleries

Most Pueblo potters dig, clean, and grind their own clay in the same manner as their ancestors. Water is added to make the clay malleable and temper is added for strength. The temper is any insoluble material such as crushed rock, pot­tery sherds, or sand which binds the clay and helps reduce shrinkage during drying or firing.

Pueblo pottery is built by the coil and scrape method. Coils, rope-like fillets of clay, are rolled out and wound around a preformed saucer-shaped clay disc. The sides of the vessel are built up by adding a succession of coils. The coils are then smoothed and the walls of the pot thinned by scraping their surfaces with a shaped potsherd, gourd, or stone.

Before the design is applied, the surface of the pot is usually slipped and polished. The slip is a very fine-grained clay which is washed over the pot's surface. A slip is added because it holds the pigment and takes a polish better than the coarser structural clay. Both mineral and vegetal materials are used for pigments. Even today most come directly from nature and are applied with a yucca sliver which has been chewed on one end to form a brush. Firing is done in a shallow basin scooped from the earth where the pots are carefully stacked and the dung or heaped round.

The technology has been remarkably consistent throughout the l,500-year history of Pueblo pottery produc­tion. The decoration and designs of Pueblo pottery, however, have varied greatly. Most of the in this ex-hibition date from the late Historic period (1850-1900) and the Modern period (1900-present). During these periods pot­tery ceased to be made for functional and utilitarian pur­poses only, and became, in addition, a source of cash in­come. The size of pots tended to decrease to make them easier to export. Decoration, although still inspired by tradi­tional motifs, increasingly responded to customer preferences.

Bow! Sikyatki culture, from Arizona c. 1400-1625 A.D. Ceramic Courtesy of the Brooklyn Museum

The end of the late Historic period also marked a change from the anonymous potter to the artist/potter whose signed works are sought allover the world. Nampeyo of Hano, Maria Martinez of San Iidefonso, and Lucy Lewis of Acoma are three of the earliest famous modern Pueblo potters. They and their descendants have drawn inspiration from both the past and the present, changing the status of Pueblo pottery from anonymous craft to signed decorative art.

Seed jar with deer motif Acoma Pueblo, New Mexico, made by Lucy M. Lewis c. 1970 Ceramic Courtesy of Joseph A. Falco and Clay Johns

Seed jar with polychrome antelope motif in mimbres style Acome Pueblo, New Mexico, made by Emma Lewis c. 1983 Ceramic Courtesy of Joseph A. Falco and Clay Johns

The two types of sculpture in this exhibition are the kachina and fetish carvings made the Hopi, Zuni and Acomahs.

Kachina dolls, or tihus as they are called by the Hopi, are one of the most popular Native American sculptural forms. Traditionally carved by men from the root of the cotton­wood tree, these dolls had both a sacred and secular pur­pose. They were playthings given to children and young women to instruct them about the kachina spirits. The dolls represent the masked dancers who impersonate the kachinas when they dwell among humanity during the six­month ceremonial cycle. A Zuni dancer's kachina mask is included in the exhibition.

The kachinas themselves are spirits of animate and in­animate things. They are closely associated with water, the key to life in the arid Southwest. As spirit beings they can cross the boundary between the natural and supernatural worlds and so serve as vehicles for prayers to the deities who control natural phenomena. Their number varies because ineffective kachinas are continuously replaced by more potent ones. It is estimated that today there are be tween 250 and 500 different kachinas, each with his distinc­tive mask and costume.

There is strong archaeological evidence that the Kachina Cult dates back at least to the 14th century. While its origins are unknown, it appears that kachina carving evolved from the Prehistoric Pueblo tradition of fetish and altar carving and perhaps to a lesser extent from Hispanic Santos carving. The exhibition includes a Pueblo altar carving in the form of a parrot.

The carving tradition was well established by the late 19th century when the dolls were actively collected by ethnographers and traders. We are fortunate to have in the exhibition a number of early examples collected by Stewart Culin for the Brooklyn Museum.

As kachina carving has become more responsive to the collector and to tourist markets, it has lost much of its sacred character. Indeed there are now even a few women kachina-carvers. However, it is still considered imperative to accurately depict and identify the spirit beings.

Kachina figure, the Maalon Kachina Hopi, First Mesa, Arizona c. 1900 Wood, paint, feathers Courtesy of the Brooklyn Museum

The trend in kachina-carving has been toward increased sophistication and realism, especially in anatomy, gesture, and minute clothing and accessory detail. This trend is well illustrated by the large selection of Kachinas on display which covers roughly a 100-year period. Its earliest expres­sion can be found in the costumed kachinas from Zuni.

Encouraged by traders, some Navajos have made carvings of their sacred Vei beings. Vei carvings are not, however, traditional to the Navajo, and have not become a part of their craft tradition. The exhibition fOLJr excellent examples of Navajo Vei carvings.

Fetishes are small magical charms used to bring luck in the hunt or war, to increase fertility, or to protect livestock. They are also used in any other area where supernatural aid might be helpful. They are primarily carved of stone but other materials such as wood, or shell may also be used. Though most of the Southwest tribes fetishes, the Zuni were the major carvers and other groups traded for their products.

For the Southwest Indians all things, plants and animals as well as inanimate objects, contain a spirit. Natural concre­tions and other objects, whose forms suggested animals, were considered the most powerfu I and the best fetishes. Minimal carving was used to expose the image of the spirit residing within the object. The fetish was thought to impart to its owner the qualities of the spirit which inhabited it. For example, the fetish of a mountain lion, an animal of prey, was thought to give its owner keen eyesight and smell and so ensure success in hunting. Fetishes were considered to be alive and needed special care, such as being fed with sacred cornmeal.

Today fetishes are carved primarily for the tourist trade. Many examples retain traditional forms including offerings of arrowheads tied to their backs. The Zuni have also expand­ed their fetish carving to include little animals strung into necklaces.

Pouch of Fetishes Zuni Pueblo, New Mexico c. 1890 Leather, stone, turquoise Courtesy of Montana Private Collection

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The traditions remain strong; craft-making survives. Materials, techniques, forms and sizes of art objects will continue to change in response to stimuli from the outside and from commercial demands. Success in the market place will help preserve the craft traditions. And the strong cultural identities of the artists will help to maintain the clarity of vision which produced these masterworks.

I would like to thank those who contributed to the suc­cess of this exhibition, especially Jonathan Holstein, Barbara Bianco and Melanie LeMaistre for their help and encou ragement.

Donald A. Herbst Guest Curator

Cover Photo:

Kachina figure the Hututu Kachina Zuni Pueblo, New Mexico c. 1900 Wood, cloth, fur, yarn, leather Courtesy of the Brooklyn Museum

I GENERAL Coe, Ralph T. Sacred Circles: Two Thousand Years of North American Indian Art.

Kansas City, Mo: Nelson Gallery of Art, 1976.

Conn, Richard. Native American Art in the Denver Art Museum. Denver: Denver Art Museum, 1979.

Douglas. Pleasing the Spirits. New York: The Chylen Press, 1982.

Norman. American Indian Art. New York: Harrison House and Harry N. Abrams, 1969.

Holstein, Philip M., ed. Enduring Visions: 7000 Years of Southwestern Indian Art. Denver: The Jarvis Press, 1979.

Maurer, Evan M. The Native American Heritage. A Survey of North American Indian Art. Chicago: The Art Institute of Chicago, 1977.

Tanner, Clara lee. Southwest Indian Craft Arts. Tucson: University of Arizona Press, 1968.

PUEBLO Bandelier, Adoph F.A. The Delight Makers. Reprinted. New York: Harcourt Brace

Jovanovich, 1971.

Di Peso, Charles C. Casa Crandes: A Fallen Trading Center of the Grand Chichimeca. 6 vols, Amerind Foundation Series 9. Dragoon, Ariz., 1974.

Dozier, Edward P. The Pueblo Indians of North America. New York: Holt, Rinehart, and Winston, 1970.

Eggan, Fred. Social Organization of the Western Pueblos. Chicago: University of Chicago Press, 1950.

Hammond, George P. Narratives of the Coronado Expedition, 7540-7542. Albuquerque: University of New Mexico Press, 1940.

Kidder, Alfred V. An Introduction to the Study of Southwestern Archaeology. Revised edition. New Haven and London: Yale University Press, 1962.

Ortiz, Alfonso. The Tewa World. Chicago: University of Chicago Press, 1969.

Ortiz, Alfonso, Volume Editor. Handbook of North America Indians Vol. 70. Southwest. Washington: Smithsonian Institution, 1983.

Parsons, Elsie C. Pueblo Indian Religion. Chicago: University of Chicago Press, 1939.

Terrell,lohn U. Pueblos Cods and Spaniards. New York: The Dial Press, 1973.

Tanner, Clara l. Prehistoric Southwestern Craft Arts. Tucson: The University of Arizona Press, 1976.

Wormington, H.M. Prehistoric Indians of the Southwest. Denver: The Denver Museum of Natural History, Popular Series 7, 1947.

NAVAJO Dyk, Walter, ed. Son of Old Man Hat: A Navajo Autobiography. New York: Columbia

University Press, '1980.

Gilpin, laura. The Enduring Navaho. Austin: University of Texas Press! 1968.

Klulckkolln, Clyde and leighton, Dorothea. The Navajho. Garden City, New York: Natural Press, 1962.

n.IIUII:l>U, Volume Editor. The Handbook of North American Indians Vol. 9, Smithsonian Press, 1979.

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Terrell, John U. The Navajos: Past and Present of a Great People. New York: Weybright and Talley, 1970.

Underhill, Ruth M. The Navajos. Norman: University of Oklahoma Press, 1956.

Witherspoon, Gary. Language and Art in the Navajo Universe. Ann Arbor: University of Michigan Press, 1977.

SCULPTURE Bunzei, Ruth L "Zuni Kachinas: An Analytical Study." pp. 837-1086 in 47th Annual

Report of the Bureau of American Ethnology 7929-1930. Washington, 1932.

Colton, Harold S. Hopi Kachina Dolls with a Key to Their Identification. Albuquerque: University of New Mexico Press, 1949, revised edition 1959.

Cushing, Frank. "Zuni Fetishes" in Zuni, Selected Writings of Frank Hamilton Cushing. Ed. Jesse Green. Lincoln: University of Nebraska Press, 1979. pp. 194-205.

Dockstader, frederick. The Kachina and the White Man. Bloomsfield Hills: Cranbrook Institute of Science, '1954. Bulletin 35.

Erikson, Jon f. Kachinas An Evolving Hopi Art Form? Phoenix: The Heard Museum, 1977.

Fewkes, Jesse Walter. "Tusayan Katcinas" in 75th Annual Report of the Bureau of American Ethnology, pp. 251-304. Washington: Government Printing Office, 1897.

Washburn, Dorothy. Hopi Kachina, Spirit of Life. San Francisco, CA: California Aca­demy of Sciences, 1980.

WEAVING Al1'lSaen, Charles A. Navaho Weaving: Its Technique and History. Glorilla, New Mexico:

The Rio Grande Press, 1934, by the University of New Mexico Press, Albu-querque, 1949.

Derlant, and KahIE~nt)erg, Blankets. Boston' Little,

Hunt. Walk in Beauty: The Navajo and Their New York Graphic Society, 1977.

Dedera, D. Navajo Rugs: flow to Find, rl/ • .fIlIAII-' Buy and Care for Them. Flagstaff: Northland Press, 1975.

Dutton, Bertha. Navajo Weaving Today. Santa Fe: Museum of New Mexico Press, 1961.

James, George W. Indian Blankets and Their Makers. Chicago: Tudor Publishing, 1937.

Kent, Kate P. Pueblo Indian Textiles, A Living Tradition. Santa Fe: School of American Research Press, 1983.

Mathews, Washington. "Navaho Weavers." in Third Annual Report of the Bureau of American Ethnology. pp. 371-91. Washington, D.C., 1884.

Pendleton, Mary. Navaho and Hopi Weaving Techniques. New York: Collier­Macmillan Books, 1974.

Rodee, Marian E. Southwestern Weaving. Albuquerque: University of New Mexico Press, 1977.

Stout, C. Sa/ti/lo and Rio Grande Weaving. Albuquerque: Maxwell Museum of Anthro­pology. 1974.

POTTERY Abel, leland J. Pottery Types of the Southwest Series. Flagstaff: Museum of Northern

Arizona Ceramic Series, 1955.

Bunzel, Ruth l. liThe Pueblo Potter." Contributions to Anthropology Vol. 3, New York. 1929.

Dittert, Alfred E., Jr. and Plog, Fred. Generations in Clay: Pueblo Pottery of the American Southwest. Flagstaff: Northland Press, 1980.

frank, larry and Harlow, Francis H. Historic Pottery of the Pueblo Indians 7600-7880. Boston: New York Graphic Society, 1974.

Guthe, Carl E. Pueblo Pottery Making. New Haven: Yale University Press, 1925.

Harlow, francis H. Historic Pueblo Indian Pottery. Greenwich, CT: New York Graphic Society, 1974.

Hawley, florence M. Field Manual of Prehistoric Southwestern Pottery Types. Albuquer­que: University of New Mexico. Anthropological Series Vol. 1, No.4, University of New Mexico Bulletin 291, 1936.

lister, Robert H. and lister, florence C. Anasazi Pottery. Albuquerque: University of New Mexico Press, 1978.

JEWELRY Adair, john. The Navajo and Pueblo Silversmiths. Norrnan: University of Oklahoma

Press, 1944.

Bedinger, Margery. Indian Silver: Navajo and Pueblo Jewelers. Albuquerque: University of New Mexico Press, 1973.

Frank, larry. Indian Silver Jewelry of the Southwest, 1868-7930. Boston: The New York Graphic Society, 1978.

Jacka, jerry D. "Southwestern Indian Jewelry: Fine Art in the 1980s./1 in American Indian Art Magazine. Spring 1984.

Matthews, Washington. "Navajo Silversmiths." in Second Annual Report of the Bureau of American Ethnology, 7880-7887, pp. 167-178. Washington, D.C., 1883.

Arthur. Brief History of Navajo Silversmithing. Northern Arizona Society of Science and Art, 1938.

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POTTERY

PREHISTORIC 1. Seed Jar with hatched geometric

design in black on a white ground. Anasazi Culture, from Arizona c. 900-1200 A.D. Ceramic H, 6" D. 9 1/4" (15 cm x 23,5 cm) Collection: The Brooklyn Museum, Cat. no. 03.170 Collected on The Museum Expedition, 1903

2. Bowl with design in black on white of a bird's head surrounded by parallel lines, Mimbres Culture, from New Mexico c. 1000 A.D. Ceramic H. 3 112" D. 9/1 (8.5 em x 23 em) Montana Private Collection Illustrated in Ewing, fig. 383

3. Bow! Sikyatki Culture, from Arizona Co 1400-1625 A.D. Ceramic H. 4 1/4/1 D. 10 1/2" (10,5 em x 26.5 em) Collection: The Brooklyn Museum, Cat. no. 08.395 Collected on The Museum Expedition, 1908

IIISTORIC 4. Water painted with deer with

heart under arcs, birds between. Zuni, New Mexico c. 1880-1890 Ceramic H. 8/1 D. 11 1/2" (20 em x 29.4 cm) Collection: The Brooklyn Museum, Cat. no. 07.467.8395 Collected on The Museum Expedition, 1907

5. Food Bowl with polychrome design. Hopi, Village of Hano in Arizona, made by Nampeyo Early twentieth centu ry Ceramic H. 3 1/4" D. 10/1 (8.5 cm x 25.5 cm) Collection: The Brooklyn Museum, Cat. no. 51.243-3

6. Seed jar with polychrome design. Hopi, Village of Hano in Arizona, made by Nampeyo Early twentieth centu ry Ceramic H.2" D. 6 3/4" (5 cm x 17 em) Collection: George Terasaki

I 7. Food bowl with bird wing

Hopi, Arizona, made by Nampeyo c. 1970 Ceramic H.4 1/2" D. 10/1 (11.5 cm x 25.5 cm) Collection: joseph A. Falco and Clay Johns f

8. Vase Hopi, Arizona, made by Joy Navasie (Frog Woman) c. 1970 Ceramic H.8 1/2/1 D. 8 1/2/1 (21.5 cm x 21.5 ern) Collection Joseph A. Faico and Clay Johns

9. Water jar with polychrome design of birds and a wave pattern San Iidefonso Pueblo, New Mexico c. 1910 Ceramic H.lO 1/4" D.121/2" (26 em x 32 ern) Montana Private Collection Illustrated in Ewing, Fig. 401

10. Bow/ in matte and shiny black finish with feather San Iidefonso New Mexico, made by Marie and Julian Martinez c. 1930 Ceramic H. 5 /2" D. 7 1/2" (14 cm x 19 em) Collection: The Brooklyn Museum, Cat. no. 43.201197, given in memory of Dr. Harlow Brooks

11. Plate in matte and shiny black finish with feather design San Iidefonso Pueblo, New Mexico, made Maria Martinez and Santana c. Ceramic D, 13" (33 em) Collection: Joseph A. Falco and Clay Johns

12. Water jar with design of clouds and hanging squash blossoms Isleta Pueblo, New Mexico c. 1900-1920 Ceramic H. 11 1/4" D. 81/4" (28.5 em x 21 em) Collection: The Brooklyn Children's Museum, Cat. no. 80.2.330

13. Storage jar with black finish and bear paw design in relief Santil Clilra Pueblo, New Mexico, made by Tafoya Early t\M;pnli IPlh

Ceramic H.21"D,24" (53.5 cm x 24 cm) Collection: George Terasaki

14. Water jar with black finish engraved with water serpent design Santa Pueblo, New Mexico, milde by Rose Gonzalez c. 1960 Ceramic H. 1/4/1 D. 81/2" (18.5 cm x 21. 5 em) Collection: Joseph A. Falco and Clay Johns

15. Water jar with polych rome design Santo Domingo Pueblo, New Mexico c. 1940 Ceramic H. 8 3/4" D. 7" (22 em x 17.8 em) Collection: Joseph A. Falco and Clay Johns

16. Miniature jar with polychrome design of a bird Zia Pueblo, New Mexico, made by Vineentita Rino c. 1930 Ceramic H. 4 "1/2" D. 4" (11.5 cm x 10 cm.) Collection: joseph A. Falco and Clay Johns

17. Water jar with design of clouds and vegetation Cochiti Pueblo, New Mexico Early twentieth century Ceramic H. 20 3/4" W. 19 1/2" (52.7 em x 26,7 em) Collection: The Brooklyn Children's Museum 80.2.359

c. 900 Ceramic

with polychrome design of rain clouds and other forms Pueblo, New Mexico

H. 10" D. 10 1/2" (25.5 em x 26.8 em) Private Collection

19. with polych rome design of vegetal and avian designs

Acoma Pueblo, New Mexico c. 1900 Ceramic H. 11 /I D. 11 1/4" (30 em x 28.5 em) Private Collection

20. Canteen with polychrome decoration Acoma Pueblo, New Mexico c. 1940 Ceramic H. 6 1/2" D. 7 1/2" (16.5a ern x 19 em) Collection Joseph A, Falco and Clay johns

21. Seed jar with deer motif Acoma Pueblo, New Mexico, made by N. lewis c. Ceramic H. 4 1/2" D, 6 1/4/1 (11.5 em x 16 em) Collection: Joseph A. Falco and Clay Johns

22. with polychrome antelope Mimbres style

Acoma Pueblo, New Mexico, made by Emma Lewis c. 1983 Ceramic H. 3 1/2" D. 4/1 (9 em x 10 em) Collection: Joseph A. Falco and Clay Johns

SCULPTURE

KACHINAS 23. Kachina mask of Saya Tasa, the Long

Horn Kachina Zuni Pueblo, New Mexico Twentieth Century Leather, wood, cloth, fur, fiber, paint H. 12" W. 24/1 (30.5 cm x 61 em) Private Collection, New York Exhibited: Ottis Art Institute, Los Angeles, CA, May, 1968

24. Altar carFing of a parrot Eighteenth or nineteenth century Hopi, Arizona Wood, paint L, 14" (36 em) Private Collection

25. Altar figure with red and black painted face Acoma Pueblo, New Mexico c. 1900 Wood, paint H. 12 1/2" W . .s 1/4 (32 cm x 13.4 cm) Private Collection

26. Kachina figure, the Lasiapona Kachina c. 1900 Zuni Pueblo, New Mexico Wood, cloth, yarn, feathers H. 1 1/4/1 W. 6" (36 em x 15 ern) Collection: The Brooklyn Museum, Cat. no. 04.297.5347 Collected on The Museum Expedition, 1904

27. Kachlna figure, the Gamuna Kachina c. 1900 Zuni Pueblo, New Mexico Wood, fur, cloth, feathers H. 19 3/4" W. 6" (49 cm x 15 cm) Collection: The Brooklyn Museum, Cat. no. 04,278 Collected on a Museum Expedition, 1904

28. Kachina figure, a Shalako Kachina Zuni Pueblo, New Mexico c. 1900 Wood, cotton, wool, yarn, sheep hair, feathers, paint H. 8" (20.3 em) Collection: The Brooklyn Children's Museum, Cat. no. 42.24.1

29. Ceremonial Dancing Figure Zuni Pueblo, New Mexico c. 1900 Wood, nails H. 11 1 (28.3 em) Collection: The Brooklyn Children's Museum, Cat. no. 42,24.3

30, Kachina figure Zuni Pueblo, New Mexico c. 1900 Wood, cotton, leather, paint H. 6 %" (17 cm) Collection: The Brooklyn Children's Museum, Cat. no. 42.24,6

31. Kachina figure, the Hututu Kachina c. 1900 Zuni Pueblo, New Mexico Wood, cloth, fur, yarn, leather H: 17 1fz" W. 7 114" (44.5 em x 18 cm) Collection: The Brooklyn Museum, Cat. no. 03.! 29 Collected on The Museum Expedition, 1903

32. Kachina figure, the Salimopis Ana hono Kachina Zuni Pueblo, New Mexico c. 1900 Wood, cloth, yarn, feathers H. 14 1fz" (36.5 em) Collection: The Brooklyn Museum, Cat. no, 03.233 Collected on the Museum Expedition, 1903

33. Kachina figure, the Sayatasa (Long Horn Kachina) Zuni Pueblo, New Mexico c. 1930 Wood, cloth H. 16" (40.5 em) Private Collection, New York

34, Kachina figure, the Maalon Kachina c. 1900 Hopi, First Mesa, Arizona Wood, paint, feathers H. 12" W. 41/ (30 em xlO em) Collection: The Brooklyn Museum, Cat. no. 04.297.5604 Collected on The Museum Expedition, 1904

35, Kachina figure, the Takushmana Kachina c. 1900 Hopi, Arizona Wood, f,J'","'C'"', H. 51/21/ x 5.7 em) Collection: The Brooklyn Museum, Cat. no. 04.297.554.8 Collected on The Museum Expedition, 1904

36. Kachina figure, the Palkikusana Kaehina c. 1900 Hopi, Arizona Wood, paint H, 11" W. 8 V4" (28 em x 21 cm) Collection: The Brooklyn Museum, Cat. no. 04.297.5531 Collected on The Museum Expedition, 1904

37. Kachina figure, the Ang-ak-china Haired) Kachina

38.

Arizona c. 1910-1930 Wood, paint H. 9 1/2/1

Collection: The Brooklyn Children's Museum Cat. no. 79.29.207

Wood, paint H, 14 V2/1 (36.8 em) Collection: The Brooklyn Children's Museu m, Cat. no. X-46

39. Kachina figure, Koyala (a clown) Hopi, Arizona c. 1940-1960 H. 9 1/21/ (24.1 em) Collection: The Brooklyn Children's Museum, Cat. no. 79.29,197

40. Kachina figure Hopi, Arizona c. 1940-1960 Wood, feathers, yarn, paint H. 10" (25.5 crn) Collection: The Brooklyn Children's Museum, Cat. no. 79.29.186

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41. Kachina figure Hopi. Arizona c. 1940-1960 Wood, feathers, paint H. 11 W' (29.2 cm) Collection: The Brooklyn Children's Musuem, Cat. no. 79.29.212

42. Kachina figure! the Hakto Kachina Hopi, Arizona, made by Harley Lonnie c. 1940-1960 Wood, feathers, paint H. 10 1;4" (26 cm) Collection: The Brooklyn Children's Museum, Cat. no. 79.29.187

43. Kachina figure Hopi, Arizona c. 1 940-1960 Wood, feathers, paint H. 11 1;4" (28.5 em) Collection: The Brooklyn Children's Museu m, Cat. no. 79.29.198

44. Kachina figure Hopi, Arizona c. 1950-1960 Wood, feathers, paint H. 11 112" (29.2 cm) Collection: The Brooklyn Children's Museum, Cat. no. 79.29.202

45. Kachina figure! Koyala (a clown) Hopi, Arizona c. 1960 Wood, H.16" em) Private Collection, New York

46. Kachina fjgure Hopi, Arizona c. 1960 Wood, paint H. 6" (15.2 cm) Collection: The Brooklyn Children's Museum, Cat. no. 68.51

47. Kachina figure, the Whipper Kachina in a diorama including a kiva entrance Hopi, Arizona, made Malcolm Youvella c.l Dimensions of cased diorama: 12" by 12" by 12" (30.5 em x 30.5 cm x 30.5 cm) Private Collection

48. Kachina figure, Talavai (Dawn) Kachina Hopi, Arizona c. 1980 Wood, paint, feathers, yarn H. 17" (43 cm) Private Collection, New York

49. Four Yei figures from the Night Way Chant Navajo, Shiprock, New Mexico, made by Clitso Dedman c. 1941 Wood, paint H. 12" (30.5 cm) Private Collection, New York

FETISHES 50. Pouch of fetishes, seven and an ar­

rowhead tied to the fringe, seven fetishes inside Zuni Pueblo, New Mexico c. 1890 Leather, stone, turquoise H.l0" Montana Private Collection Ex. Call. Fred Harvey Illustrated in Ewing, fig. 16

PREHISTORIC 51. Three shell bracelets

Hohokam Culture, Arizona c. 900-1100 A.D. Glyeymeris shell Montana Private Collection Illustrated in Ewing, fig. 349

52. Three strand necklace with attachments Prehistoric, restrung Southwestern U.S. Shell, stone L. of strands: 8 1/2", 10", 12 1;4" (21.5 cm, 25.5 cm, 31 cm) Collection: The Brooklyn Museum, Cat no. 04.297.5471 Collected on a Museum Expedition, 1904

53. Necklace with fetishes in various forms (shield, rattlesnake rattle, bear, birds, frog) attached Mimbres Culture, found near Deming, New Mexico c. 1000 A.D. Shell, stone D. 91;4" (23.5 cm) Montana Private Collection Illustrated in Ewi ng, fig. 20

HISTORIC 54. Necklace with jaclos

Navajo or Pueblo c. 1900 Shell, turquoise, coral, jet Necklace L. 13 1;4" (35.5 em) Jados L. 4 Yz" (11.5 em) Private Collection

55. Necklace with beads, ten small crosses and one large cross Pueblo c. 1870-1890 Silver, turquoise, twine Necklace L. 14 W' (36.2 cm) Large cross L. 3 1/8" (7.9 cm) The Brooklyn Children's Museum, Cat. no. 36.1.31

56. Bracelet with stamping and set stone Navajo c. 1920 Silver, turquoise L. 3" W. 1 %" (7.7 cm x 3 em) Private Collection

57. Bracelet with channel work and inlay Zuni c. 1930 Silver, turquoise, shell, jet L. 2 34" W. 5/8" (7 cm x 1.8 cm) Private Collection

58. Button with stamped sun face motif Hopi c.1920 Silver D. 2 3/8" (6 em) Private Collection

59. Concho belt in First Phase style with seven conchas and a buckle Navajo c. 1880 Silver, leather Concho D. 3 7/8" (10 em) Buckle L. 3 "12" (S.8 ern) W. 23/8" (8.8 cm x 5.9 cm) Montana Private Collection Illustrated in Ewing, fig. 355

60. Concho belt in Second Phase with seven conchos and a Navajo c. 1880 Silver, leather Conchas L. 3 7/8" W. 3 Yz" (9.6 cm x 8.5 cm) Buckle L. 2 Y4" W. 2" (5.5 em x 5 em) Montana Private Collection Illustrated in Ewing, fig. 358

61. Concho belt in Third Phase style with eight conch os, eight butterflies and a buckle iNavajo c. 1925 Silver, turquoise, leather Concho L. 2 7/8" (6.2 cm) Butterfly l. 2 7/16" (6.2 cm) Buckle L. 3 1/8" (8 em) Montana PriV'O.te Collection Illustrated in Ewing, fig. 359

62. Concho belt in overlay style with kaehina masks and pottery designs, conchos, butterflies and a buckle Hopi, Arizona c. 1970 Silver, leather Concho L. 3" H. 2 1;4" (7.6 cm x 5.6 cm) Butterfly H. 2" (5 ern) Private Collection

63. Pouch Navajo c. 1900 Leather and silver button L. 36" W. 5 1,12"

The Lynn D. Trusdell Collection

64. Silver bracelet Navajo c. 1 890-1 900 Silver, turquoise H. 1" D. 2 W, The Lynn D. Trusdell Collection

65. Silver bracelet Navajo c. 1900 Silver H. 5/8" D. 2 3;4"

The Lynn D. Trusdell Collection

66. Cluster bracelet Zuni c. 1930 Silver, turquoise H 11;4" D. 2 %" The Lynn D. Trusdell Collection

67. Cluster bracelet Zuni c. 1930 Silver H.1 %" 0.234" The Lynn D. Trusdell Collection

68. Headstafl Navajo c. 1875 Si Iver, leather L. 20 1,.'2" W. 17" The Lynn D. Trusdell Collection

69. Squash blossom necklace Navajo c. 1890-1900 Silver L. 15 W' The Lynn D. Trusdell Collection

70. Bracelet Zuni c. 1930 Silver, jet, mother of pearl, coral, turquoise H. 3 W' D. 3" The Lynn D. Trusdell Collection

T! . Silver bracelet

c.l 5 Silver H. 1" D. 3" The Lynn D. Trusdell Collection

72. Bracelet Navajo c. 1890 Silver, turquoise H. 1" D. 2 112" The Lynn D. Trusdell Collection

73. Fetish bracelet Zuni c. 1920 Silver, H. 1 Yz" 3" The Lynn D. Trusdell Collection

74. Fetish in the form of a bear with attach ments Zuni Pueblo .. New Mexico c. 1900 H. 2 %" L. 2 3;4" (5.5 cm x 6.5 em) Montana Private Collection Illustrated in Ewing. fjg. 18

WEAVING

CLOTHING 75. Sash of cotton with wool embroidery

and attachments Hopi, Arizona c. 1900 Cotton, wool, flannel L. 80 1;4" W. 9 3,4" (204 em x 25 cm) Collection: The Brooklyn Museum, Cat. no. 05.293 Collected on a Museum Expedition, 1905

76. Kilt of cotton with wool embroidery Zuni or Hopi Cotton, wool L. 47" W. 22" (120 cm x 36 em) Collection: The Brooklyn Museum, Cat. no. 03.325.2825 Collected on The Musuem Expedition, 1903 Museum Collection Fu nds

77. Dress (two piece) Navajo c. 1860 Handspun and raveled wool L. 52 Yz" W. 35" (128 em x 88 em) Montana Private Collection Illustrated in Ewing, fig. 194

78. Dress (one piece) Zuni Pueblo, New Mexico c. 1900 Handspun wool L. 41" W. 28" (104 em x 71 cm) Collection: The Brooklyn Museum, Cat. no. 04.297.5315 Collected on a Museum Expedition, 1904

79. Manta with twill weaving Pueblo, perhaps Ilopi, collected at Zuni Pueblo c. 1900 Wool, cotton L. 46" W. 39" (117 em x 99 em) Collection: The Brooklyn Museum, Cat. no. 04.297.5314 Collected on a Museum Expedition, 1904

80. Manta with embroidery Zuni Pueblo, New Mexico c. 1900 Cotton, wool L. 57 1/2 " W. 43%" (146 cm x 111 cm) Collection: The Brooklyn Museum, Cat. no., 43.201-193 Given in memory of Dr. Harlow Brooks

BLANKETS

81. Northern Mexico

Nineteenth century Wool L. 79" W. 48" (201 cm x 122 em) Collection: The Brooklyn Museum, Cat. no. 52.116-20 Ramsay Fund Collection Owned by Don Manuel Romero de Terreros Villamil (1816-1878)

82. Loom model Navajo c. 1890 Wood, cotton, wool L. 21 1/2 " W. 21" (54.8 cm x 53.2 em) The Children's Museum, Cat. no. Collected by Dwight Franklin

83. Serape Navajo c. 1860 Handspun and raveled wool L. 77" W. 47" (195.5 cm x 119.4 Clll)

Montana Private Collection Illustrated in Ewing, fig. 195 Ex. Coil. Fred Harvey

84. Blanket in Second Phase Chief's style Navajo c. 1865 Handspun and raveled wool L. 67 1/2 " W. 51 W' (171.5 cm x 131 cm) Montana Private Collection Illustrated in Ewing, fig. 197

Syracuse University Art Galleries

85. Blanket in Third Phase Chief's style

c.1 Handspun and raveled wool L. 58" W. 50 /1" (147.5 cm x 130 cm) Montana Private Collection Illustrated in Ewing, fig. 198

RUGS

86. Rug in Eye Dazzler design Navajo c. 1890 Germantown wool yarn L. 65" W. 45" (165cm x 114.3 cm) Collection: Angie Shaheen

87. Rug in Transitional style design incorporating crosses, diamonds and other geometric devices

c.1 Handspun wool L. 84" W. 48 1/2 " (213 cm x 123 cm) Private Collection

88. Rug with oriental rug motifs Navajo, Tees Nos Pos area c. 1930 Handspun wool L.112"w.72" (284.5 cm x 183 cm) Collection: Private Collection, New York, R73/1

89. Rug with stylized squash design Navajo c. 1930 Handspun wool L. 59/2" W. 383,4" (151 cm x 98.5 em)

90. Rug with sand painting design of three Yei and two corn stalks

a rainbow figure Navajo c. 1960 Handspun and commercial wool L. 40" W. 28 /2" (101.5 em x 72 cm) Private Collection, New York

91. Rug in Two Navajo, woven 1963 Handspun wool

Hills style Eleanor Leman

L. 101" W. 48" (256.5 em x 122 cm) Private Collection, New York, R63/1 Purchased from Mexican Water Trading Post, Arizona

92. Rug in Two Gray Hills style Navajo 1966 Handspun wool L. 76" W. 44" (193 em x 111.6 em) Private Collection, New York, R66il Purchased at the Mexican Water

Post, Arizona

93. Rug in ,'lavajo, Arizona area c. 1965 Handspu n wool

74" W. 57/2" (188 cm x 146 em) Private Collection, New York

94. Rug with design of Yei figures from the Chant Navajo, Shiprock, New Mexico area, woven by a member of the Peshlakai family Handspun wool L. 51" W. 29 1(2" (130 cm x 75 em) Private Collection, New York

95. Rug in Wide Ruins style Navajo c. 1975 Handspun wool L. 69" W. 47" (175.2 em x 119.5 cm) Collection: Douglas C. Ewing Purchased at the Hubbel Trading Post, Hubbel, Arizona

96. Rug in Ganado style Navajo, Ganado, Arizona area c. 1980 Handspun and commercial yarns L. 94" W. 59" (236 em x 150 em) Private Collection

97. Rug in Storm pattern with pick up trucks Navajo, perhaps from the Tuba City, Arizona, area c. 1980 Handspun and commercial yarns L. 47" W. 31" (119.4 em x 78.7 em) Private Collection

98. Rug with design of Yei figures from the Nighway Chant Navajo, Sh iprock, New Mexico area, woven by a member of the Peshlakai family Handspun wool L. 51" W. 29 /1" (130 em x 75 crn) Private Collection, New York

99. Rug in Wide Ruins style Navajo c. 1975 Handspun wool L. 69" W. 47" C17S.2 em x 119.5 em) Collection: Douglas C. Ewing Purchased at the Hubbel Trading Post, Hubbel, Arizona

100. Rug in Ganado style Navajo, Ganado, Arizona area c. 1980

and commercial yarns 59" (236 cm x 150 em)

Private Collection

101. Rug in Storm pattern with pick up trucks Navajo, perhaps from the Tuba City, Arizona, area c. 1980 Handspun and commercial yarns L. 47" W. 31" (119.4 cm x 78.7 cm) Private Collection

ERRATA

No. 32 Not in the exhibition

No. 33 Not in the exhi bi tion

No. 95 Not in t exhibition

No. 98, 99, 1 00, 101 These checklist entries

Designed and produced by the Syracuse University Printing Services and printed in an edition of 1000 copies.

duplicate No. 94, , 96, 97.