Most Navajo rugs do not have a fringe. By most, I mean 99.5%. If the piece you’re looking at has a fringe, you ask that seller how they determined that the piece was Navajo made. I don’t care if they think their sainted grandmother bought the rug from J.L. Hubbell, if it has fringe, it probably isn’t Navajo. Navajo rugs are warped in a continuous figure eight technique and the weaving fills the entire warp. The picture at left shows a rug being woven. If you look carefully at the ends of a Navajo rug, you will see the ends of these loops.

The Navajo Churro Collection Rugs are contemporary Navajo rugs that we commission from the best Navajo Master Weavers working today. The native Churro sheep wool, the hand dying process and the dyes themselves (natural and aniline) add value to the weaving. Also, each weaving is accompanied by provenance – a Churro Certificate with a photo of the weaver and detailed information about the Navajo rug. You can read more in depth information about The Navajo Churro Collection here.

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The absence of fringe still might not mean you are looking at a Navajo rug or blanket, though. Sometimes, Mexican weavers will tuck the warp ends in to make it look continuous, even if it is not. In these cases, the weaving is usually thicker at the ends and then thins out.

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places to sell antique native american rugs

The Bisti Navajo rug is the rarest of these Regional rugs, which are often made with more than nine borders. Many Bisti rugs have a thin checkered border. They display definite Oriental influences. Bisti rugs originated in the 1890s at a trading post southwest of Two Grey Hills. In 1896, J.B. Moore purchased the trading post and renamed it, Crystal, after a mountain spring of pure sparkling water.

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These early weavings made before the 1870s are very rare, bringing tens of thousands of dollars-or more-from collectors and museums. The so-called Chief’s Blanket is a specific style of manta that went through a distinct design evolution. First Phase blankets were made from about 1800 to 1850 and consisted simply of brown (or blue) and white stripes with the top, bottom and center stripes usually being wider than the others. Second Phase blankets included small red rectangles at the center and ends of the darker stripes and were made about 1840 to 1870. The Third Phase type, between 1860 and 1880, saw the addition of stepped or serrated diamonds of color to the center and ends of the wide stripes. In weavings of the Fourth Phase, made from 1870 through the early 1900s, diamond motifs became larger and more elaborate, often overtaking the stripes as primary design elements. Revivals of chief’s blankets-usually made as rugs-have been popular since the 1950s.

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southwest area rugs
southwest area rugs

The major exceptions to this rule, however, were weavings that portrayed Yeis, or Navajo Holy People, and weavings that recreated sacred ceremonial sand paintings. A small number of weavers made Sand Painting Rugs as early as the 1890s in the area around Two Grey Hills. Most famously, the medicine man Hosteen Klah made a series of sand painting rugs with the help of his mother and nieces between 1919 and 1936. Nevertheless, sand painting rugs were very rare before the 1960s when weavers in the Ganado area began producing them in larger numbers. Although they are not sacred objects in themselves, rugs showing sacred sandpainting images have always been somewhat controversial within the Navajo community, and many weavers still decline to make such representations. Yei pattern rugs feature images of the Holy People drawn from ceremonial sand paintings but do not recreate an entire painting.

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After World War II, however, more weavers began making pictorial weavings, frequently filling a small rug with a single scene. Types that have been especially popular since the 1970s include landscape scenes which usually feature red cliffs or mountains, blue sky and clouds, juniper and pine trees, hogans, farm animals, trucks, and people. Another common format is called the “Tree of Life” pattern, consisting of a corn stalk rising from a Navajo wedding basket, with birds adorning the leaves of the cornstalk. Despite the obvious symbolism of patterns such as the “Tree of Life,” most pictorial motifs had no specific religious meaning; they simply were objects common in the culture or of special interest to the weaver.

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