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                <text>Dates: 1850-1900&#13;
Size: 148 x 233 cm; 10 warps(comma) 36 wefts&#13;
Description: This is an example of a phase III chief's blanket. Such wearing blankets are considered the high point of traditional Navajo weaving. All chief's blankets are woven with a greater width than length and are characterized by broad horizontal black and white stripes with three perpendicular bands. Chief's blankets were traded by the Navajo to other indigenous groups(comma) including the Ute(comma) Plains groups(comma) and Pueblos. Phase III chief's blankets are the most elaborate style and are characterized with three serrated or terraced diamonds/triangles on each of the thick bands. This blanket was bought in 1947 from Annie Wauneka(comma) the daughter of Chee Dodge. Wauneka was the first female member of the Navajo Nation Council and instrumental in bringing education and health issues to the attention of council delegates and Navajos in general.</text>
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                <text>Dates: 1880-1890&#13;
Size: 110.5 x 152 cm; plain twill weave with areas of diamond and herringbone&#13;
Description: Prior to 1880 the majority of Navajo weavings were garments meant to be worn. This is an example of a one-piece dress style that was once identified as Puebloan. It is made with aniline(comma) indigo(comma) cochineal and other natural dyed wool. The one-piece dress(comma) or manta(comma) is folded in half at the center and sewn along the edge. It is then worn over the left shoulder(comma) leaving the right shoulder bare(comma) and secured with a belt. The manta could also be used as a shawl.</text>
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                <text>Dates: 1875-1880&#13;
Size: 110.5 x 144.5; 8 warps(comma) 32 wefts&#13;
Description: The design on this blanket with three bands of patterning and narrow brown and beige stripes between is characteristic of a Phase II woman's-style blankets. Such designs are equivalent to a Chief's blanket(comma) but woven with smaller stripes and bands. The label is misleading since there is no evidence that blankets of this style were only worn by women. This example is a combination of homespun wool with natural(comma) aniline(comma) vegetal (indigo)(comma) and carded colors to create shades of brown(comma) grey(comma) blue(comma) yellow(comma) and red.	</text>
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                <text>Dates: 1860-1880&#13;
Size: 286.5 x 132 cm; 11 warps(comma) 46 wefts&#13;
Description: This combination of handspun wool with natural dyes and commercial red and yellow yarn was collected by Stanley Stokes in 1880 and incorporates some traits of the transitional period. During the late 19th century Navajo weaving went through a period of transition where the market changed from creating wearing blankets to weaving rugs for Anglo-Americans. This new trade was funneled through trading posts where synthetic dyes and machine produced wool and yarn were made readily available. Rugs from this transitional period (1868 to 1900) are characterized as more coarsely woven with very bright colors. </text>
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                <text>Dates: 1953&#13;
Size: 217 x 125 cm; 10 warps(comma) 26 wefts&#13;
Description: The Nazlini style of Navajo rug is a variation of the regional Chinle style developed in the 1930's. Similar to the Pine Springs and Wide Ruin regional styles developed during the same period(comma) the Chinle style consists of banded designs without borders created using earth tone colors. Common designs in Chinle bands include chevrons(comma) stars(comma) squash blossoms(comma) and diamonds. The Nazlini variation incorporates stylized plant motifs in place of repeating geometrics for some bands. This rug was woven by Mary Van Winkle of natural and aniline dyed wools to create shades of black(comma) white(comma) grey(comma) brown(comma) red(comma) yellow(comma) and green.</text>
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                <text>Dates: 1880-1890&#13;
Size: 344 x 328.5 cm; 11 warps(comma) 52 wefts&#13;
Description: Eyedazzler designs are known for their unusually bright colors and intricate designs that create an optical effect. The bright colors are a result of Germantown(comma) PA(comma) wool yarns that were traded/supplied to Navajo weavers predominantly during the Transitional Period (1880-1895). Blankets from the Transitional Period are characterized by banded ends. This example was made of commercial yarn and consists of 6 distinct patterns woven like a sampler. The large rug could have been used to demonstrate a variety of rug patterns available at one of the trading posts.</text>
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                <text>Dates: 1960&#13;
Size: 172 x 107.5 cm; 12 warps(comma) 34 wefts&#13;
Description: The Ye'ii Bicheii rug is similar to the Ye'ii design but the figures are portrayed in profile and symbolize human dancers representing deities rather than the deities themselves. These dancers are participants in the Nightway Chant(comma) which is a nine day Navajo healing ceremony. At the lead of the dancers(comma) in a white mask(comma) is the Ye'ii Bicheii(comma) or “Talking God” who appears on the last day of the ceremony. Often the design incorporates a Medicine Man (Hatathli) at the head of the line(comma) facing the lead dance(comma) and a Clown(comma) or Water Sprinkler(comma) at the end of the line of dancers. The Ye'ii Bicheii rug design is not as common as the regular Ye'ii version.</text>
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                <text>Dates: 1870-1885&#13;
Size: 202 x 153 cm; 15 warps(comma) 64 wefts&#13;
Description: This rug is tied to the Hubbell Trading post established in Ganado(comma) Arizona(comma) in 1876 by Lorenzo Hubbell. Hubbell was one of two major traders integral in promoting Navajo weaving in the Euro-American market. Initial designs made at the Post incorporated traditional Navajo weaving designs(comma) while in the early 20th century styles began to incorporate popular Near East motifs. The Hubbell Revival (or Old Ganado) style of rug is characterized by stepped diamonds and embellished triangles. The color of such rugs is typically dominated by red with black(comma) gray(comma) and ivory details. This example was originally thought to be a traditional (pre-trading post) blanket(comma) but was made with Germantown(comma) PA(comma) and handspun indigo yarns in a pattern that is found on one of the Hubbell Trading Post design paintings.</text>
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