This is a model of a traditional vertical loom. These model looms are made by Navajo weaver Betty Joe, who used to weave many wonderful "Crystal" and "Wide Ruins" rugs.  She now weaves only infrequently, preferring to teach her granddaughters and their children her art.  She also enjoys making these model looms, like the ones she has used her whole life.  They usually cost around $200.00, depending on size and complexity.  If you are interested in a model loom, contact us.

Many Navajo weavers still prefer to shear, clean, card, dye and spin their own sheep's fleece into yarn for weaving.  They use a finger spindle, like to one on the left, twisting each strand between their thumb and forefinger as they spin the spindle.  They can make particularly fine yarns this way -- much finer than yarn they can purchase.  By using natural vegetal sources for their dyes, they can achieve beautiful, subtle color blendings that are not available in purchased aniline colored dyes.  Another tool utilized is the look claw or comb, which is used to tamp down each row of weft yarn as it is woven, and also to lift the ends of yarn to be tied off. Spreader sticks, of various widths and lengths are used to hold the warp threads open to allow the weft yarns to be woven between them.  Some rugs make use of as many as 10 or so spreaders all at one time!

The rug pictured above is a rare, "Burnham Tapestry".  These rugs are woven of very fine yarn, usually made from the wool of the churro sheep.  The weaver, Anna Mae Barber, is highly respected for her weavings illustrating curing ceremonials or "yei-bi-chais"  This ceremonial pictured above is called a Nightway.  For a close-up, detailed picture, click on the image above. 

While new photography is being finished to illustrate our current  our rug offerings, you may want to obtain a copy of A Guide to Navajo Weaving, a wonderful color pocket guide which we have available for $5.45 postpaid. If you have any questions regarding Navajo weaving, contact us.

Some styles require great patience and time. It is not uncommon for a basket weaver to spend a year on a single, larger piece. Sadly, this art is endangered. Few young artists among the Hopi, Navajo or Pueblo people are learning this craft, and the natural materials used are often hard to find. In addition, baskets are now imported from Haiti and Africa in traditional American Indian patterns to sell as inexpensive"decor" items. There is no comparison in quality, and the techniques are often different, but the public, driven by price point, doesn't seem to care. This has reduced demand for the real thing, hurting the income of basket makers here.