INDIAN

Buying Indian Arts and Crafts

The sensuous curves of pottery, the delicacy of basketry, the sparkle of jewelry, or the appeal of the many other Native American arts and crafts that grace the Southwest will sooner or later foster the desire to collect. When first smitten by this urge, it is wise to consider some basic precautions and not be overcome by the sheer beauty of the collectibles. There are a great many artisans in each field, whether it be clay, wood, stone, fiber arts, or pigments; and their efforts range from naive to ultrasophisticated. Their handiwork is sold in many locations by individuals who range from uninformed to expert. In addition, some objects produced may be rooted deep in time and tradition while others are as fresh as a newly minted coin. Through this great bazaarof beauty, incipient collectors must wend their way to acquire the best. Just as a seasoned traveler would never venture into a strange land without maps, directions, and advice, so must collectors be prepared. They need to know not only reputable places to shop but what each specializes in, for one may emphasize a specific art or craft while another gives it only casual representation. Opportunities abound to meet the artists on a one-to-one basis at fairs, powwows, and exhibitions, adding enormously to the enjoyment and perception of the worth of any acquisition. The most important step is the honing of collectors' knowledge and tastes so they can recognize that the hype promoting one artist may ignore an equally gifted one. This also will help collectors recognize that a small percentage of artists or dealers will sell anything from authentic to fraudulent to illegal. An immersion in the literature increases awareness of the fashions that come and go in Native American art, just as they do in women's apparel, for what is authentic and available today may disappear overnight. And the popularity of the current hot item is or will be reflected in itsprice. One of the most valuable steps to ensuring an excellent collection is read-ing all you can about your particular interest.

Considering that the opportuni-ties to amass a good collection or a worthless one are about equal, here are a few suggestions to change the odds to favor the collector: Museums are probably the least recognized resource for collectors. Many contain exhibits on Native Amer-icans, their land, their tradi-tions, and historic examples of their arts and crafts. For exam-ple, The Heard Museum in Phoenix, the Museum of Northern Arizona in Flagstaff, and the Arizona-Sonora Desert Museum in Tucson present such information in abundance.

In addition, these museums have shops that not only handle authentic arts and crafts but also provide information about the artisans and their work. They offer a range of items (and prices) which allows beginners to examine many works and to acquire a feel for what they wish to collect; or if they have begun already, the shops help them eval-uate their initial efforts as to both quality and price. Properly used, museums are an excellent com-parative tool to evaluate what is available elsewhere.

Museums often promote ex-hibitions of Indian art work, such as the Pueblo Grande Indian Market, the Annual Guild Indian Fair and Mar-ket at The Heard, both in Phoenix; the Heritage Pro-gram of different tribes at the Museum of Northern Arizona, the Hopi Arts and Crafts Show, and the summer events at the Coconino County Art Center, all in Flagstaff.

These events allow collectors to visit the artists' booths, view or handle their work, talk to them, and purchase what they please. This invariably results in a greater appreciation of the artistry and sometimes a lasting friendship with artists.

Similar events are put on by organizations other than museums, and their purpose often is to fund a favored Indian support program. The all-Hopi show of Tutõtsvõla in Sedona is such an event, as is the Indian Fair at Litchfield Park, while others like O'odham Tash in Casa Grande and occasional events in Scottsdale are held to increase awareness of Indian arts and crafts.

A profusion of galleries, trading posts, ethnic shops, Indian stores, and curio shops carry Indian arts and crafts. A few of the galleries that carry top-end merchandise are: Lovena Ohl, Gallery 10, John C. Hill's Gallery of American Indian Art, White Hogan, and Old Territorial Shop, all in Scottsdale; the Morning Star Gallery and Mark Bahti's Indian Store in Tucson; Blair's Indian Gallery in Page; McGee's in Holbrook and Keams Canyon; the California Trading Co. in Prescott; and Dan Garland's, Hoel's, and Kopavi in Sedona. This sampling barely skims the surface of the places specializing in fine items made by name artists whose prices reflect that quality.

Stores carrying low-end merchandise are filled with reproductions, factory-made versions of Indian arts and crafts, and imports.

The stores between these two extremes are where the new collector's knowledge is particularly important because there is often an interweaving of items both good and bad. Many stores offer several levels of merchandise ranging from handmade to machine-made items and foreign rip-offs. If the store is reputable, this will be noted by labels or mentioned during the transaction. However, the personnel in these stores may not have the expertise available in galleries. If there is no separation of good and bad,

COLLECTI THE WEST

no written information about the items for sale, and there are no knowledgable store clerks — or if prices seem almost too reasonable — do some intensive comparisons before buying.

In addition to the places where the shop name is a guarantee of quality, there are organizations that help individuals buy knowledgeably.

One is the Indian Arts and Crafts Association (IACA), whose members mark their stores with a logo. These outlets are pledged to truth in selling. They handle only authentic merchandise, which is accompanied by certificates of authenticity on all important items. Their sales come with money-back guarantees, and they offer free pamphlets prepared by experts on the various arts and crafts.

Among their goals is the prohibition of spurious discount sales and the sale of competitive imports, the first because it is deceptive to the customer and the second because it exploits both the artisan and the buyer.

Pawn offered for sale is “dead,” unredeemed, and thus technically old. There is a difference between this and “old pawn.” Many people harbor the romantic notion of finding unrecognized Indian art treasures in dead pawn. This stems from thediscovery of beautiful Indian art objects buried in people's attics. But truly old pawn is snapped up by dealers aware of its value.

Sometimes one of the biggest difficulties is not what to buy but when to buy. An object that every craftsman seems to make and can be found in every store one day will disappear. It is wise to follow the rule that if an object appeals it is best not to hesitate, for unlike factory merchandise which can be ordered by the gross, coveted handcrafted articles may or may not reappear.

Having cleared the many hurdles and become more knowledgeable on the nuances and subtleties of the market, the usual collector sets about adding items.

Almost every collection is marked by pieces acquired through early and less discerning efforts. The usual inclination later on is to pitch these out and upgrade the collection, but don't do it. These early acquisitions mark the beginnings of a valuable collection, demonstrate the improvements, and may even enhance later acquisitions.

A final word of caution is to remember that when Native Americans give you information, tribal affinity does not necessarily guarantee the accuracy of the knowledge they impart. Look, listen, and compare.

One of the greatest pleasures of a collection is the intangible content of memories it carries. Each item brings back memories of trips, newfound friends, and pleasant adventures, adding another dimension of enjoyment.

Photo Workshop: Stops at historic Cameron Trading Post and the famed Hubbell Trading Post are included in Friends of Arizona Highways Photo Workshop trips to Canyon de Chelly, where thousand-foot sandstone walls preserve ancient Anasazi ruins and traditional Navajo ways, and Monument Valley with its sculptured sandstone spires and buttes. The trips, planned for fall and winter of 1997, are led by the magazine's master photographers, who provide picture takers of all skill levels with hands-on instruction to help them take photos like those in the magazine. For more information about these trips and a complete 1997 schedule, call the Friends' Travel Office, (602) 271-5904.