Woven Holy People - Celebrating the Images and People of the Sacred Navajo Ceremonials

1. NIZHONI RANCH GALLERY Presents WOVEN HOLY PEOPLE February 28, 2016 – May 28, 2016

2. THANk YOu TO ALL MEdICINE MEN for their skills, memories and endurance, who have contributed to the rich history of the Navajo, keeping Navajo traditions, images, and ceremonies alive. WOVEN HOLY PEOPLE Steve and I are very pleased to be able to present this body of work by the Navajo people. Historically and today, the Navajo weavings are an expression of the Navajo way of life and a demonstration of known and unknown for giving us the rich textile imagery, some of which we have the honor of sharing herein. Thank you to all of the Navajo weavers Man from Ganado were used for the two sandpaintings by Helene Nez in this catalog. Blue Corn People and Arrow People, pg 22-23. Memory aides from Miguelito Medicine their culture. Preserving the images of the Sacred Sand Paintings, Yeis, and Yei Be Chei (Yeibichai); has been a mission of many before us. (ie. Hasteen Clah, Mary Wheelwright, and the Newcombs) chants existed, with many smaller ceremonies. Today comparatively few remain. Consequently, as time goes on, many sandpaintings as well as ceremonies fall into disuse and are lost or forgotten. At one time, long ago, a large number of the opportunity to handle and share these weavings. The imagery and symbolism contained within the over 60 Navajo textiles presented is beautiful, interesting, and provocative. Some of the symbolism is not known or interpreted as some of the pieces are over 100 years old. And yet these weavings can take us on a trip to a previous time where our imaginations recreate a communion with the gods, harmony, chaos, and all things known and unknown in the universe. We are privileged to have had Miguelito Navajo Medicne Man, *Gladys A Richard, Navajo Medicine Man Sandpaintings. - 1977 Sam Tilden and White Hat with Mountainway sketches. *Navajo Religion and Culture: Selected Views, Papers in Honor of Leland E. Wyman, Brugge & Frisbie, Editors, Museum of New Mexico. Papers in Anthropology, Gail Getzwiller #17 – 1982 © copyright 2016 Steve & Gail Getzwiller – Design by Great Scott Design – Tucson Arizona PAGE 1

3. NAVAJO YEI (HOLY PEOPLE) The Navajo way of life is based on an oral tradition in which stories, lessons and values are passed down from generation to generation. The Creation story of the Navajo Emergence as “The People or Dine” is as sacred as the Bible to the Navajo. One theme reoccurs often and in almost all writings, that is central to the Navajo, attainment and maintenance of harmony and beauty, called hozho. NAVAJO YEI BE CHEI (YEIBICHAI) NAVAJO The Navajo Sandpainting Weaving is ranked among the Navajo’s best known and best loved art forms. The original Navajo dry painting is traditionally performed for religious or medicinal purposes and is an integral part of the Yei Be SANdPAINTING WEAVINGS impersonators who perform the ceremonies. The Yei Be Chei weavings present the dancers as they dance, perform, and enact the ceremony of the Yeis. The Yei Be Chei dancers are the human by the chaos of life. To attain harmony does not necessarily mean the destruction of chaos and disorder but rather describes the balance between the two. The Navajo concept is perceived as an idea that is generated within and is shared with others. Therefore beauty is created or expressed rather than observed and safeguarded. Harmony and beauty are always challenged Chei Ceremonies, which can last up to 9 days. The sand paint- ings and ceremonies are designed to summon supernatural forces… they represent the Navajo’s religious world and are customarily part of ceremonies to heal and restore a patient that is out of balance. or exorcise effects to The People. The Yeis perform specific dances and rituals, as directed by the Medicine Man, during the ceremony for the desired end. Ceremonies are performed to either attract its existence to Weaver, Artist, and Medicine Man Hasteen Klah (1867-1937) The Navajo Sandpainting Textile is an art form that owes ideal of harmony and beauty: shil hozho with me there is beauty shii hozho in me there is beauty shaa hozho from me beauty radiates This Navajo saying expresses the Navajo of fourteen dancers: the leader Yeibichai - the Talking God, six male dancers, six women dancers, and finally, the Water Sprinkler - the God of Precipitated Waters. On the final night, teams of dancers appear in public in what is referred to as the Yeibichai Dance until just before dawn. The ceremony ends with the chanting of the “Bluebird Song” which celebrates the happiness and the peace that the bluebird symbolizes. During ceremony, a team will be composed ing in a rug was thought to bring them bad luck. However, Mary Wheelwright supported and encouraged Hosteen Klah to weave a sand painting design into a blanket to have a perma- nent documentation for future Navajo weavers and medicine people. Hasteen Klah went on to produce many blankets, drawings and paintings of various ceremonial designs. After awhile, other weavers, seeing that nothing bad happened to Klah, also started to weave the Sandpainting designs. Until the 1930’s the idea of a Navajo putting a sand paint- numerous persona identified as Holy People or Yeibichai who exemplify the concepts of hozho. Yet these same Holy People also have the potential to create their dynamic opposites as seen in such qualities as chaos, foolishness and ugliness. This duality of beauty and harmony co-existing with chaos and disorder is indeed the central theme of the traditional Navajo culture and of weaving as well. Although the blankets and textiles were not originally woven with any ceremonial content, the reference to, and infusion of the Holy People are abundant. Images of birds, feathers, stars and pollen all refer to the Stories of Emergence and those to whom the Navajo refer to as the Holy People or the Yei. These elements can be found in woven form pre-1900. In the Navajo Creation Story, there exists Navajo Ceremonial Art in 1937, was permitted to record many of Klah’s songs and erected the museum to preserve his medi- cine knowledge and his sacred objects. Mary Cabot Wheelwright who founded the Museum of individual, therefore, different elements may be found in them. The Yeibichai weavings are highly sandpaintings) and 3 of them died with him. A man sensitive to time and tradition did what he could in his lifetime to preserve them. Hasteen Klah knew 5 Chant Ways (ceremonies and their Yeis have square heads. Other elements included may be: gourds, ruffs of spruce around the neck, fox pelts, moccasins, woven garters or sashes, arrows, corn, clouds, stars, and more. Male Yeis have round heads and Female PAGE 2 PAGE 3

4. YEI BE CHEI GuARdIAN SNAkE SANdPAINTING PICTORIAL Male & Female Yeis dancing while holding a blanket- rainbow bars floating all around them (i.e. surrounded by good luck and prosperity). All handcarded, handspun, and hand dyed native wool. Likely woven in the Nazlini area. Pink, green & brown are natural dyes. The design elements are highly spiritual with Snake Guards, the Black Yei (Big Snake Man) and White Yei (Big Snake Woman). All handcarded, handspun, and hand dyed native wool. HISTORIC Size 80” x 46” (2.03M x 1.164M) Circa 1920 Size : 66” x 39” (1.67M x .99M) Circa 1900 NIGHTWAY SANdPAINTING VARIANT dRAGONFLY YEI SANdPAINTING WEAVING Guardian Yei surrounding patient in the center with Medicine Man and Yei. This weaver is quite talented as the patient looks as if there is movement – even dancing. All handcarded, handspun, and hand dyed native wool. Dragon Fly Yeis with Water Bug geometric designs and water symbols, woven in the Teec Nos Pos area. All handcarded, handspun, and hand dyed Merino wool. 71”x 37” (1.80Mx.939M) PAGE 4 Circa 1920 Size : 48” x 35” (1.219M x .88M) Circa 1930s PAGE 5

5. dRAGONFLY YEI PICTORIAL Unique dragonfly yeis with wings. All handcarded, handspun, and hand dyed native wool. Circa 1920-30 Size : 41.5” x 73” (1.05M x 1.85M) BEAuTY WAY SANdPAINTING TEXTILE Rainbow Yei and Corn Sometimes weavers make changes in a weaving so it is not perfect. This weaver did several things: different colored faces and eyes, two ceremonial baskets, and more if you look closely. Germantown and handspun, hand carded native wool. HISTORIC Size : 63” x 53” (1.6M x 1.34M) Circa 1930s FEMALE YEIS WITH TAdPOLES (Twisted Sisters Yei) Very unusual design most likely for fertility Ceremony. All handcarded, handspun, and hand dyed native wool. Circa 1930s FIRST dANCERS NIGHTWAY CHANT SANdPAINTING TEXTILE Size : 38” x 66” (.96M x 1.67M) Possibly woven by a relative of Mrs. Sam, (Gladys Manuelito), Hasteen Klah’s niece, as it is very similar to a sandpainting weaving she did around this time frame, published and featured in Arizona Highways Magazine, July 1974, page 24. All Handcarded, handspun, and hand dyed native wool. Size : 74” x 53” (1.87M x 1.34M) Circa 1930s PAGE 7 PAGE 6

6. NIGHTWAY CEREMONY WITH SPIdER WOMAN CROSS BORdER YEI BE CHEI YEI BE CHEI Early unusual portrayal of the Yeis with feathers and the smaller Yei figures at their feet. All handcarded, handspun, and hand dyed native wool. Spider Woman Cross Border with Yei Dancers. All handcarded, handspun, and hand dyed native wool. HISTORIC Size : 5’ x 8’ (1.52M x 2.43M) Circa 1920 Size : 42” x 57” (1.06M x 1.44M) Circa 1930s STORM PATTERN / YEI BE CHEI YEI BE CHEI There are 3 Female Yeis in the center of the storm pattern which is surrounded by Male Yeis and medicine man, depiction of a healing ceremony. All handcarded, handspun, and hand dyed native wool. Hand Spun : Tourist Souvenir (Fred Harvey Era) All handcarded, handspun, and hand dyed native wool. Size : 5’3” x 9’ (1.60M x 2.74M) Circa 1930s Size : 62” x 50” (1.57M x 1.27M) Circa 1930s PAGE 9 PAGE 8

7. NIGHTWAY CEREMONY YEI BE CHEI YEI WITH RAINBOW BARS ANd TRANSITIONAL BORdER Nightway Ceremony with male and female Yeis, unusual negative background with bows & arrows at their feet. Exceptional example. All handcarded, handspun, and hand dyed Mohair. HISTORIC Female Yei Figures with giant like features i.e. exaggerated upper torso. Very early piece. All handcarded, handspun, and hand dyed Merino wool. Size : 62” x 63”(1.57M x .965M) Circa 1930 Size : 77” x 50” Circa 1900 STORM PATTERN PICTORIAL WITH YEI EMERGENCE FIGuRES YEI BE CHEI dANCERS Arrow Fletchings Highly unusual weaving with Navajo creation story symbolism including whirling log center and emergence figures peaking out above and below. All handcarded, handspun, and hand dyed native wool. Yei Dancers surrounded by arrow fletchings. Female Yei in the center. All handcarded, handspun, and hand dyed native wool. Size : 42” x 97” (1.06M x 2.46M) Circa 1920s 62”x 47” (1.5Mx1.19M) Circa 1930s PAGE 11 PAGE 10

8. “CHEI” – HORNEd TOAd Grandfather of the gods Rare ‘One of a Kind’ NAVAJO WEAVING HOLY GIRL YEI Extremely rare and unusual Yei weaving standing over 8’ tall and 96 years old. All handspun, hand carded hand dyed native wool. All handspun, hand carded Mohair Aniline Dyes. Circa 1920 Circa 1920 Size : 4’ x 8’6” (1.21M x 2.59M) Size : 40” x 68” (1.01M x 1.72M) HISTORIC HERO TWIN PICTORIAL Monster Slayer & Born of Water Crystal Area YEI BE CHEI dANCER Representing the emergence/creation story of the Navajo, surrounded by flowing energy Most likely woven in the Two Grey Hills area of the Navajo Reservation. All handspun, hand carded designs All handspun, hand carded hand dyed Lincoln wool. native wool. Circa 1930 Circa 1920 Size : 66”’ x 49”(1.68M x 1.25M) Size : 52” x 82”(1.32M x 2.08M) PAGE 13 PAGE 12

9. CORN PLANT YEI Corn plant Yei representing all things good and life giving. Other symbols include feathers, birds,and corn – emanating positive energy to the world. All handspun, hand carded, hand dyed native wool. Circa 1925 Size : 50” x 69”(1.27M x 1.75M) FOXTAIL YEI Male and female Yeis, male Yeis have foxtails hanging from their waist. The date on the weaving tells us it was probably commissioned for the 1939 World’s Fair, as weaving demonstrations were often part of the World’s Fairs during this time. All handcarded, handspun, and hand dyed native wool. HISTORIC Size : 76” x 43”(1.93M x 1.09M) Circa 1939 TREE OF LIFE YEI PICTORIAL Featuring two monumental Corn Yeis with Spider Woman Crosses and 3 small Navajo Blankets in the middle. All hand carded, handspun, hand dyed native wool. Circa 1920s Size 49” x 86” (1.24M x 2.18M) SANdPAINTING TEXTILE Rainbow Yei Female Yeis are holding Prayer Staffs – surrounded by Guardian Yei. All handcarded, handspun, and hand dyed native wool. 4’3”x6’3” (1.29M x 1.19M) Circa 1940s PAGE 15 PAGE 14

10. These two weavings were most likely made by the same weaver. i.e. feathers, gourds, jacla necklaces, and medicine bag straps. HISTORIC dRAGONFLY YEI YEI BE CHEI Dragon Fly Yeis with floating Rainbow Bars and Arrows attached to the Guardain Yei symbol. All handcarded, handspun, and hand dyed native wool. Black is natural black from the first shearing of lambs underbelly. All handcarded, handspun, and hand dyed native wool. Size : 42” x 41”(1.06M x 1.04M) Circa 1930s Size : 35.6” x 51”(.90M x 1.29M) Circa 1930s YEI BE CHEI FOXTAIL YEI BE CHEI Vegetal Brown. All handcarded, handspun, and hand dyed native wool. Size : 47” x 36”(1.19M x .91M) PAGE 16 All handcarded, handspun, and hand dyed native wool. 40.5”x 68” (1.02M x 1.72M) Circa 1930s Circa 1930 PAGE 17

11. These two weavings were most likely made by the same weaver. i.e. style of Yeis, medicine bundles & feathers. MOTHER EARTH/FATHER SkY SANdPAINTING WEAVING Mother Earth & Father Sky images are at the bottom of the weaving surrounded by Rainbow Bars. Two Yeis dancing above with a stylized corn plant between them. All handcarded, handspun, and hand dyed native wool. Circa 1930 Size : 41” x 54”(1.04M x 1.37M) HISTORIC LukACHukAI YEI All handcarded, handspun, and hand dyed native wool. Size : 31” x 40”(.78m x 1.01M) Circa 1930 SANdPAINTING TEXTILE Male Shooting Way with Monster Slayer Twin All handcarded, handspun natural native wool. Black is carded wool from the under belly of black lambs. Tan is a vegetal color hand dyed by the weaver. Circa 1930 Size : 31.5” x 51”(.80M x 1.29M) LukACHukAI YEI All handcarded, handspun, and hand dyed native wool. Size : 42” x 70”(1.06M x 1.77M) Circa 1940 PAGE 19 PAGE 18

12. SANdPAINTING TEXTILE Night Skies from the Shooting Way Chant Made with Germantown yarns. Circa 1930s Size : 47” x 47” (1.193M x 1.193M) RAINBOW YEI HISTORIC Sashes represent rain. All handcarded, handspun, and hand dyed native wool. Size : 5’9” x 7’(1.75M x 2.13M) Circa 1930 WHIRLING LOGS WITH HOLY PEOPLE SANdPAINTING Whirling Logs represent the 4 Sacred Mountains, 4 Cardinal Directions and the 4 Seasons. The 4 gods of the East, West, North & South are portrayed. (Talking God, House God, and 2 Humpback Gods). Mountain mahogany root background would place the weaver in the Teec Nos Pos area. All handcarded, handspun, and hand dyed native wool. Circa 1930 Size : 58” x 72” (1.147M x 1.83M) YEI BE CHEI All handcarded, handspun, and hand dyed native wool. Size : 54” x 72”(1.373M x 1.183M) Circa 1930 PAGE 21 PAGE 20

13. CORN STALk YEI All handspun, hand carded hand dyed native wool. Circa 1920 Size : 25” x 40” (.63M x 1.01M) SHIPROCk YEI Guaridian Rainbow With Corn & Sacred Plants All handspun, hand carded native wool. HISTORIC Size : 58” x 34” (1.47M X .86M) Circa 1940s GERMANTOWN YEI SAMPLER Made with Germantown Yarns. Circa 1900-1910s Size : 18” x 10”(.457M x .254M) YEIS WITH SNAkES ANd SACREd PLANTS All hand carded, handspun, and hand dyed native wool with some Germantown Yarn. Size: 39” x 21.5” (.99M x .546M) Circa 1940s PAGE 23 PAGE 22

14. WEAVINGS BY MASTER WEAVER HELENE NEZ from her mother, Master Weaver Grace Nez. She started weaving when she was 19, now a master weaver herself. “I am where water meets, born for Tangle clan. My nali is Comanche Warrior and my grandparents are Bitter Water. “Sandpaintings are my favorite design. In the sandpainting, the rainbow is special to the Navajo. It represents rain that washes away pain and gives us moisture for life. When I started the corn people it was pretty difficult, but that is one reason why I wanted to do it, so I can know myself, I can accomplish it.” said Helene. Helene Nez, born in 1977 learned weaving NAVAJO CHuRRO COLLECTION Indian Inter-Tribal Ceremonial from 2006 to 2014. Most of her weavings take up to 2 years to make, otherwise she probably would have more honors. Her weavings have been on exhibit in the Desert Caballeros Western Museum in Wickenburg, AZ. Helene has won 6 Major Awards at the All ARROW PEOPLE SANdPAINTING SHOOTING WAY CEREMONY Navajo Churro Collection Best Of Category & Best Of Division 2006 Gallup All Indian Inter-Tribal Ceremonial BLuE CORN PEOPLE SANdPAINTING SHOOTING WAY CEREMONY Never Before Done In Textile Form Navajo Churro Collection Best Of All Weavings 2013 Gallup Inter- Tribal Ceremonial All Natural Vegetal Dyes 52”x 73” (1.32Mx1.85M) Circa 2006: 2 years on the loom Churro 679 Corn Yeis are vegetal dyed Indigo Green. Size 5’ x 6’ (1.27M x 1.524M) YEI PICTORIAL WITH TEEC NOS POS BORdER Navajo Churro Collection All hand dyed Churro wool with subtle silk highlights. Circa 2000 : 1.5 years on the loom Circa 2013 2 years on the loom Churro 1302 Size 4’ x 9’ (1.21M x 2.74M) Churro 241 PAGE 25 PAGE 24

15. MARIAN NEZ SELENA YAZZIE Marian Nez born in 1967, is Helene and Cindy’s big sister. She was taught to weave by her mother and grandmother. A master weaver, she has won many awards and her weavings were exhibited in the Desert Caballeros Western Museum in Wickenburg. Her talent for weaving is ev- ident in this weaving, notice how perfect the circles are in the center sandpainting design. Circles are one of the most diffi- cult design elements to weave. started weaving when she was 7 years old, learning weaving from her mother and grandmother. Selena Yazzie was born in 1963 and Best of Textile for this weaving and another in 2012. Her weavings were on exhibit in the Desert Caballeros Western Museum in Wickenburg, AZ. She says her kids have been a major influence in her life and her weav- ing is the one thing that keeps her going in life. She is best known for her Pictorial and Sandpainting weavings. Master Weaver Cara Gorman is her cousin. She has won many awards including NAVAJO CHuRRO COLLECTION BEAuTY WAY SANdPAINTING WEAVING Selena Yazzie Navajo Churro Collection, 1st Place, Best of Category & Best of all Weavings 2015 Gallup Inter-Tribal All Indian Ceremonial BISTIE STYLE WITH SANdPAINTING CENTER Marian Nez Navajo Churro Collection Circa 2015 : 2 years on the loom. Size 85” x 59” (2.159M x 1.49M) Churro 1426 1st Place & Best Of Category 2013 Gallup All Indian Inter-Tribal Ceremonial Two Year On The Loom Size: 6’ X 9’ (1.892M x 2.74M) Churro 1345 PAGE 27 PAGE 26

16. SANdPAINTING TEXTILE Navajo Churro Collection Juanita Tsosie (1930-2011) Round Rock Area TEEC NOS POS YEI PICTORIAL CINDY NEZ Colors of the Corn People repre- sent the Four Cardinal Directions. Navajo Churro Collection The Desert Caballeros Western Museum Exhibit 2000 Circa 2009 Size 66” x 74” (1.67M x 1.87M) Churro 158 NAVAJO CHuRRO COLLECTION Pastel colors are all natural dyed silk. Circa 2000 1.5 years on the loom. Size 60” x 88” (1.52M x 2.23M) Churro 237 HOLY GIRL PICTORIAL Navajo Churro Collection Emily Malone CINdY NEZ Yellow is natural dyed silk. Circa : 2012 Size : 4’ x 6’ (1.21M x 1.82M) Churro 738 awards including “Best of Show” Gallup All Indian Tribal Ceremonial 2003, for an in- tricate multi-pattern Teec Nos Pos Weaving. Cindy’s weavings were also exhibited in the 2000 Exhibition at the Desert Caballeros Western Museum in Wickenburg, Arizona. A master weaver, she has won many PAGE 29 PAGE 28

17. These two weavings attributed to the same weaver, possibly attributed to Despah Nez dRAGONFLY 4 dIRECTIONS SANdPAINTING TAPESTRY Attributed to Despah Nez Very finely woven. Circa 1960s-1970s Size 28” x 28” (.714M x .71M) CONTEMPORY SANdPAINTING YEI MARIE SHIRLEY (Marie Brown) Master Weaver Marie Shirley from the Chinle Area of the Navajo reservation has won many awards. Her weavings have been exhibited and published in the Fine Art of Navajo Weaving. Exhibited Heard Museum 1990s and the Desert Caballeros Museum 2000-2001 MOTHER EARTH FATHER SkY SANdPAINTING TAPESTRY Attributed to Despah Nez Circa 1980s Size 72” x 47” (1.82M x 1.193M) Very finely woven. Circa 1960s-1970s Size 28” x 29” (.714M x .73M) RAINBOW BLESSING YEI (HOLY GIRL) MARIE SHIRLEY (Marie Brown) Vegetal Dyes Circa 1980s Size 25” x 34” (.63M x .86M) PAGE 31 PAGE 30

18. YEI BE CHEI TAPESTRY Louise Yazzie (Sawmill area) 2013 All Indian Inter-Tribal Ceremonial - 1St Place Yei Be Chei Size 36” x 52” (.914M x 1.32M) CONTEMPORARY BEAuTY WAY SANdPAINTING WEAVING Anita Tsosie (1959-2007) Master Sandpainting Weaver Blue Ribbon 1995 O’odham Tash Size : 70” x 84” (1.77M x 2.13M) Circa 2013 Circa : 1995 YEI BE CHEI TAPESTRY Della Woody (Sawmill area)Premier weaver of this style. Della Woody weavings were published in the ‘Fine Art of Navao Weaving’. 1st Place Heard Museum Show – 1985 Size: 15” x 20” with frame included: 24” x 19” YEI BE CHEI LIFESTYLE PICTORIAL Pictorial of a Yei Be Chei Ceremony Anita John from the Many Farms Area Size 47” x 87” (1.19M x 2.20M) PAGE 32 Circa : 1980 Circa 2013 PAGE 33

19. NAVAJO YEI PICTORIAL Christine Chischilly (Lukachukai Area) 2nd Place 2015 Gallup All Indian Inter-Tribal Ceremonial - Yei Be Chei Size 60” x 34” (1.52M x .86M) CONTEMPORY YEI BE CHEI Velma Segay (Sawmill Area) Size 31” x 43” (.78M x 1.09M) Circa 2013 Circa 1980-90s YEI BE CHEI Lula Brown (Sawmill Area) Size 23” x 33” (.55M x .83M) FOXTAILYEI BE CHEI Lillie Smiley (Shiprock Area) Size 45” x 33” (1.14M x .83M) Circa 1987 Circa 2015 PAGE 35 PAGE 34

20. LOOkING TO THE FuTuRE YEI BE CHEI MINIATuRE TAPESTRY Textiles in an Annual Exhibit at the Nizhoni Ranch Gallery. 2017 will be the year of the Teec Nos Pos (circle of cottonwoods). We are looking forward to sharing Navajo Helen Begay (Sawmill area) Circa 2012 Size: 14” x 10” (.35M x .25M)” for a look into the best of the past and the future of Navajo Teec Nos Pos weaving. We hope you will join us again next year Ava Tsosie weaving on a Teec Nos Pos of the future. Another Navajo Churro Collection piece. Ava is one of the youngest Master Weavers we work with today, daughter of Linda Nez and Granddaughter of Grace Nez, all master weavers! TWO WEAVERS HOLdING A YEI BE CHEI WEAVING MINIATuRE CONTEMPORY TAPESTRY Louise Yazzie Bia (Sawmill area) Circa 2015 Size: 3.5” x 4.5” (.8M x .11M) MINIATuRE YEI TAPESTRY Darlene Yazzie (Sawmill area) Pristine Condition Teec Nos Pos : c. 1930s Circa 1980s Size: 5.75” x 5.5” (.14M x .139M) SPIDER ROCK CANYON DE CHELLY Home of Spider Woman The Holy Entity who taught the Navajo to weave. PAGE 36

21. NIZHONI RANCH GALLERY Steve & Gail Getzwiller SONOITA, ARIZONA 520-455-5020 WWW.NAVAJORuG.COM