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The Getty: ArtsEdNet  Navajo textile auction Navajo ethnological and textile background outline and photos

The Museum of New Mexico Older than the state of New Mexico itself, the Museum of New Mexico houses the country's most intriguing collection of art, history and culture in four museums and five monuments statewide. Come discover the true heart and soul of the Southwest.

A Perspective of Navajo History and Weaving This page is from 1997 and includes views that are in common with my research. I believe that the "Classic" period is not well represented in terms of the "facts" we have. Depending who you read you will get different facts. There is no provenance that is associated with any "Classic" blanket before 1800. The fact that the Pueblos and Navajo wove through the 1600's up to the 1800's is clear, but aesthetically they did not weave the intricate and highly stylized blankets that we call "Classic" period textiles until the early or mid 1800's. The next link below demonstrates the less refined textiles, but traditional and dynamic weaving the Navajo made in 1750 to 1800.

Navajo Weaving from 1750 to 1800 This site is a BLM site that has artifacts from early 1925 archeology. The provenance on this textile is good and represents pre 1800 textile production better than the weaving from the Massacre Cave of 1804 that has some raveled red yarns, but like this example it is basically simple stripes and the weaving does not have the rich aesthetic qualities associated with the "Classic" period.

Maria Martinez, 1887 - 1980, from San Ildefonso Pueblo, is one of the most famous Native American potters. She and her husband Julian demonstrated pottery making at the St. Louis World's Fair in 1904 and at the San Diego World's Fair in 1915. They received the Best of Show at the Century of Progress, Chicago World's Fair in 1933 and were invited to the White House by President Theodore Roosevelt. In 1939 they made their pottery at the San Francisco World's Fair. After Julian's death in 1943, other members of the family stepped in to help with various steps in the pottery making. The work was included in two European tours between 1955 and 1961. Later her son, Popovi Da, and her grandson, Tony Da, continued to make major innovations in pottery making and design.

The Maria Martinez Family Pottery Collection The Millicent Rogers Museum has the distinction of owning an extraordinary collection of pottery by Maria and Julian Martinez of San Ildefonso Pueblo. Over the years, the Martinez/Da family saved examples of Maria's finest works with the intent of placing them in a New Mexico museum. It was the family's wish that the pottery be shared on a permanent basis with the public.

The Maxwell Museum: Explore samples from some of Maxwell's collections.

The School for American Research "A center for the advanced study in anthropology, the humanities, and Native American art."

Archaeological Conservation and its Consequences Some restoration methods used in the past are now seen to be directly damaging to the object. Conservators have, in the past, been much bolder in their reconstructions. On the other hand there are examples of ingenious adaptation of the chemical knowledge of the time which have saved objects which would otherwise have crumbled to dust. This exhibition is a respectful but critical appraisal of the evolution of the conservator's trade.

DYE ANALYSIS OF PRE-COLUMBIAN PERUVIAN TEXTILES WITH HIGH-PERFORMANCE LIQUID CHROMATOGRAPHY AND DIODE-ARRAY DETECTION JAN WOUTERS, & NOEMI ROSARIO-CHIRINOS No natural dye is a pure product, and often the exact natural source of a given dye can only be derived from the presence of minor dye components. The most refined analytical result will be obtained if it is possible to consider all the dye components present on a dyed yarn and if their relative abundances may be calculated. Therefore, high-performance liquid chromatography (HPLC) was our method of choice.

Precious dyes of the Mediterranean: purple, kermes, pastel Byzantine emperors were "born to the purple," there was the scarlet cloak of Christ, the fabled "land of plenty " where indigo woad, worth its weight in gold, which indefinitely ensured the prosperity of all... Purple, charms and indigo, these three mythical dyes, which left the Mediterranean civilizations with a enduring legacy, were chosen to exemplify the advances of recent pluridisciplinary research into the history and archeology of dye production.

Dyes in History and Archaeology:16/17 Lyon 1997 and Greenwich 1998 Indexes from issues of Dyes in History and Archaeology. Can be used as a bibliography to research in a library.


Institute of Archaeology - Archaeological Facilities Archaeological Facilities. Pottery Restoration Lab. Photography Studio. Object Illustration. Architectural Drawing. Slide Archive. Library....

Anasazi. Anasazi Cultural Center - introductory site. Anasazi Pottery Restoration. Archeological Sites of the Southwest. Pueblo Pottery Exhibit...

This is an explanation using much of the current information as an outline of how, when, and who did what historically in respect to the development of textiles in the Southwest.

HOW PUEBLO POTTERY IS MADE Follow the step-by-step process of creating pueblo pottery.

A European search engine about the conservation of cultural heritage, restoration and maintenance of the architecture, preservation of the urban landscape- including ceramics.

native american traders  The finest Native American Indian art including Hopi Kachina dolls, Baskets, Pottery, Weavings, Katsina, prehistoric pottery, paintings, Koshari, old books and magazines, southwest artifacts, Navajo rugs and collectibles.

New Mexico forVisitors Boise Matthews, A Guide for Visitors to New Mexico from The Mining Co.

Pueblo Pottery In Maine provides quality, traditional and contemporary, Native American pueblo pottery from the
Southwest at wholesale prices to collectors, galleries, and fine shops throughout North America and Europe.