When a potential buyer chooses to purchase a Navajo weaving, he does so with a definite purpose in mind - collection, investment, or decoration. But regardless of into which category he falls, product is still the No.1 manipulable factor in marketing.
It is not the quantity of pieces that an individual owns that defines whether or not he is a collector. It is a matter of attitude. A true collector of Navajo weavings usually has a genuine fascination for the mystique of the Navajo Indians and their culture. This interest frequently leads to the artistic and aesthetic appreciation for the amount of time and skill necessary to envision and create each individual and unique work of art. There is a universal appreciation for the symmetry of design inherent in all Navajo weavings as well as individual preferences. A positive personal reaction and a sentimentality as well as educated eye determine whether or not the collector will purchase the product. Some collectors are captivated by the contemporary complex designs and many subtle differences that appear in the pastel vegetal colors of the Burnt Water. Others might prefer the multiplicity of vivid aniline colors and serrated designs associated with Germantown eyedazzlers of 100 years ago. The investor is looking for an economic transaction. If there is money to be made, he will collect Navajo weavings as readily as meerschaum pipes, vintage wine, or tobacco tins.
When he sells his "investment," he not only wants to realize his cost but would also like a guarantee that his rate of return will be at least, if not greater than, that of the stock market or a certificate of deposit. Price and quality are his motivating factors in purchasing the product, not the emotionalism often associated with collecting.
Many textiles are still being purchased for home consumption and are used as floor coverings or wall decorations. Here the product's emphasis is on the elements of art to coordinate with room arrangements. Proper color schemes, designs, shapes, sizes, and textures are all decorating considerations. The imagery created by the concept of "Navajo rug" is so desirable in decorating today that many non-Indians are producing look-alike imitations to appeal to the pocketbooks of the non-discriminating buyers who want to have something "Indian" but chose to go with the aesthetic effect rather than with authenticity.
A genuine Navajo textile can be expensive. An average quality 3x5 rug could take over 300 hours to produce - shear, wash, dye, card, spin, warp, and weave wool. In our society the minimum wage is $3.35 per hour, and this rug could cost $300 to $1,000. (Contrast this with handcrafted items that come from Third World countries where a living wage for a family of four might be $40 a month.) If one is on a limited budget and is interested in the feel only, then decorating with handmade imitations from Oaxaca, Mexico; Spanish- American reproductions from Chimayo, New Mexico; or commercially manufactured products purchased from the local mall, all copied from illustrated books and museum catalogs, may prove to be financially rewarding.
Other forms of handcrafted textiles have proved to be formidable competition for Navajo weavings. Although there has always been a much larger supply of Oriental textiles, they have traditionally been considered a better investment per square inch. However, now that their value has increased so dramatically in the last few years, there is renewed interest in collecting the more limited and affordable Southwestern Indian weavings. In the early 1970s Mexican imitations of distinctive Navajo style rugs began to flood the market. Only educated buyers could tell the difference between the two weavings that were being produced on two totally different types of looms, one vertical and the other horizontal. Today these imitations continue but now Navajo Classic style patterns of l00 years ago are also being copied. These feature stripes, crosses, and diamonds in indigo blue and bold contrasts of red, black, and white.
Although real Navajo rugs are substantially more expensive, cost saving techniques have been recently developed in the use of commercially prepared and processed yarn as opposed to the more time consuming hand-carded and handspun wool. The recent development of pastel colored aniline dyes that look identical to the vegetal variety greatly simplified the dyeing process and should have lowered the overall price. Many buyers were not properly informed of this difference, however, and the issue and salability of some Burnt Waters and Wide Ruin textiles may have been greatly confused.
Because many of the rugs woven in the 1920s-1930s still have much life left in them, they have increased in value from the original $20 to $50 cost to $400 to $1,000 today (and that after a lifetime of wear). Fragments of older damaged pieces are being recycled as covers for throw pillows and used as sofa accents.
Styles and trends come and go yearly and the interest in acquiring handcrafted items varies from season to season and region to region. Silver and turquoise jewelry was "in" in the early 1970s and five years ago it was Marie Martinez black- on-black pottery from San Ildefonso Pueblo near Santa Fe, New Mexico. For several years there has been a marked trend toward purchasing decorative prints and lithographs by R. C. Gorman and Amado Pena. In the future there will probably be a resurgence of interest in Navajo handcrafted weavings as the supply diminishes.
The old economic principal of "supply and demand" is still operative with Navajo textiles. Collectors and investors alike still seem to favor historically important and significant pieces. A check on auction prices through the years shows that Classic Period weavings (185O-1870s), because of their limited availability and difficulty in faking, have proved to be good investments. A Third Phase Chiefs blanket that would have sold in 1978 for $3,000 is now worth at least three times as much.
For myself, I have found that during the last 11 years I have been buying and selling Navajo textiles, I have sold every Classic period weaving I have acquired. But I still have an impressive inventory of items post-1920.
Quality continues to be the most important determining factors in evaluating any weaving. An educated buyer will look for symmetry; consistency of color tones, blends and balances; complexity (or simplicity) of design; warp and weft stitch count; straight edges; condition; and name recognition of weaver. Some of the finest Navajo weavings that have ever been produced are being woven now. In the last 10 years new designs - such as Burnt Water, New Land (formerly Coalmine Mesa/Raised Outline), and bordered vegetal dyed rugs - and new functions - including wall hangings and 120-plus stitches per inch Two Gray Hill tapestries that may measure only 24"x15" and sell for $8,000 - are available.
Reputable and knowledgeable dealers who have been in the business for many years (including museum gift shops and national parks) and nationally recognized annual shows - such as the Gallup Inter-Tribal Ceremonies, New Mexico, held each August since 1921, or the Navajo Show at the Museum of Northern Arizona in Flagstaff held each July - should be the main sources for new collectors and investors.
In my travels from coast to coast I've noted that fewer shops exist now than 10 years ago and that their "bread and butter" comes from silver and turquoise Indian jewelry with limited selection of Navajo weavings. Because of their limited availability, when it does become time to purchase the product, the buyer will probably have to travel to New Mexico or Arizona in order to guarantee a large selection and inventory.
Other good sources include reputable auction houses and specialized auctioneers. Once one becomes more knowledgeable and confident in his/her judgment, estate sales, local weekly auctions, garage sales, and thrift shops prove to be interesting prospects and can yield real treasures at bargain prices.
Navajo rugs should prove to be a good investment in the future. But as inflation continues and economic pressures grow, fewer weavers may follow in the footsteps of their mothers. It is unfortunate that the possible demise of Navajo weaving, an integral part of this complex culture, may result because of a lack of financial resources or willingness to pay the weaver what her skill is worth.
