Native American Rugs

What are the value characteristics of Native American rugs? The most salient value is the profound symbolism in each rug, the meaning the rugs traditionally carry for the People. Since the early 20^th century Tribal rugs have been available through regional Southwest trading posts which dealt directly with Native artists. Two such rugs were collected in the second or third quarter of the 20^th century by MM’s parents from Colorado. As testimony to the strength of the weaving techniques, they both are in wonderful condition. The characteristics of this pair of fine Navajo rugs can be applied to many other Native American rugs. A word: many clients approach me not for dollar value of their rugs, but with the thought of repatriating them to the People or to a dedicated museum – a worthy bestowal indeed, as this gift can be tax deductible.

The tradition of textiles that ‘tell stories’ through symbolic design goes back centuries; Navajo (Diné) weavers work in this tradition today. Although rugs pre-1925 are prized, modern weavers’ rugs are prized as modern works of art, honoring the ancient techniques of natural materials and natural dyes. Dyes made from plants, indigo, or minerals are preferred over artificially produced chemical
dyes (aniline). 

The difference between aniline (aminobenzene) and naturally dyed wool rugs? Here are some guidelines: a softer, less stringent color tone or hue – such as is found in nature – is likely wool which has been naturally dyed, and the process of tastefully fading over the years is a good sign (aging gracefully). Wool that has been aniline dyed will lack subtlety, may ‘vibrate’ with an intense tone or hue, and will resist fading. The color palette on these naturally dyed rugs can be arresting. Pre-1920s rugs tend to have strong geometric patterns, motifs so complex that this type is called an “eye dazzler.”

Prized rugs are hand-woven on vertical looms, where the vertical wool (the warp) is a single continuous thread, creating durability. The horizontal wool thread (the weft) carries the pattern, the story told by the rug. There are as many myths as there are variations on a traditional “story.” One of MM’s rugs is such a narrative – the “storm” pattern, celebrating the moment when the skies open up, lightning strikes, and the thunder crashes. Without rain, the People do not thrive.

Traditionally, the textiles, woven like flat tapestry, functioned as blankets. Larger blankets from the mid-to-late 19^th century, especially the oversized “chief’s” blankets, can be extremely valuable. As the art entered the 20^th century, a newer category of form/function was created – namely the floor rug, made for tourist consumption. Regions in the American Southwest had bespoke trading posts. MM’s rug (the “storm” pattern) indicates a Teec Nos Pos provenance, an area in Northeastern Arizona. The name in Navajo means “circle of trees.” The work has a strong geometric style. Note the four corners for the lightning bolts and spikes, the two central medallions/rain clouds picked out in red, cream, and black, and the jagged lines representing thunderclaps. The hooked triangular devices are the visual “sounds” of the thunderstorm, and the meandering pattern of the border is the repetition of the rain. This style was popular amongst Navajo artists in the 1920s, and this piece is large for its genre (71” x 44”). The hand-spun wool is finely woven, and the beige indicates natural dyes were used. Because of these valuation factors, it’s worth $3,000 or more, but MM does not want to sell, as he has a great deal of respect for the tradition.

The next rug shows traditional Yei figures (guardians of the corn), full body frontal, holding small corn plants and shovels, as opposed to the traditional bow and arrow. The pattern was born from Navajo sand paintings interpreted by weaver and medicine man Hosteen Klah (1867-1937). Rugs dating to the period from 1930-40 are most valuable. These Yei Bi Chei (Yébîchai) figures are female (rectangular heads) – benevolent, supernatural beings, protectors, and messengers between the Navajo people (the Diné) and the gods. A further manifestation – which had it appeared on MM’s rug would have made it still more valuable – is the Rainbow Guardian; symbolized in a line of three colors, wrapped around three sides of the rug and thus surrounding/protecting the corn gods, an emblem of life-sustaining rain and a symbol of purity. The Yei rug is woven in hand-spun and commercial wool in cream, blue, yellow, red, orange, and green, and in a smaller scale (35” x 30”). MM’s Yei rug dates from the 1950s and is worth $800, likely purchased from the Cameron Trading Post near the Grand Canyon, established by two Yankee brothers
in 1916.