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Exhibits and Shows

Exhibits and Shows

eec Nos Pos Exhibit - (February 2020 - October 2020) Nizhoni Ranch Gallery

Steve has always had special appreciation for the Teec Nos Pos design.  The design is one of the most difficult to weave aside from Bisti.  So it is no surprise Steve has collected some of the most beautiful Teec Nos Pos rugs ever woven.  Some experts agree Teec Nos Pos design, as far as quality goes hit it's peak in the late 1920's and then into the 1930's.  Let's fast forward to the 1980's.  Steve met a family of weavers, Grace Nez and her 7 daughters in the Navajo area who wove mostly the Teec Nos Pos design.  Steve began working with them to elevate the design style and quality.  When Steve re-introduced Churro wool back into the weaving world, the Nez Family hit the stratosphere.  The only limitation the Nez Family encountered was space.  Hogans are one room with low ceilings.  Steve knew if they had a place large enough to handle multiple looms the Nez weavers could all weave at the same time.  Steve also knew if the ceilings were high enough, the Nez Family could weave big rugs.  Steve and Gail helped the Nez Family build a hogan just for weaving.  Grace especially wove incredible weavings - one of her biggest was 10' x 15'.
Teec Nos Pos Navajo Weaving : Grace Nez : Churro 500 : 10' x 15' - Getzwiller's Nizhoni Ranch Gallery


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IN TRANSITION Exhibition - The Transitional Period 1890's - 1910 (September 2019 - February 2020) Nizhoni Ranch Gallery AZ

Time changes life for everyone, and that’s especially true for the Navajo. During the last part of 19th century, trading posts opened up and traditional life for the Navajo began to evolve rapidly; especially when it came to Navajo weavers. It was with the changes to wool, newly available dyes, and the transition from wearing blankets to floor rugs; that gave way to this “transitional” period and thus, Transitional Rugs were born.  

Continue Reading, see Images and video of the In Transition Exhibit Gallery Show

Transitional Native American Rugs on the Wall at Nizhoni Ranch Gallery



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The Heard Museum exhibit COLOR RIOT !, How color Changed Navajo Textiles (April - September 2019)

We are proud to participate in this exhibit!  Some of our most visually interesting weavings are featured in this excellent show - 14 to be exact.  We hope everyone interested in Navajo weavings has an opportunity to see this exciting event!

Continue Reading and see Images of the Show


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MASTER WEAVINGS OF THE NAVAJO CHURRO COLLECTION (March 2019-August 2019 Sonoita AZ NRG)

Steve and Gail's love of Navajo weaving started as a passion for collecting, that morphed into a business and then into a gallery.  In the 1990's they started the Navajo Churro Collection - providing the weavers with Navajo Churro Wool that was custom spun and hand dyed with the finest natural and aniline dyes available.  The real artistry comes from the weavers magically putting the wefts into a spacial design - that is at times beyond belief.    

Continue Reading and see Images of the Gallery Show


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TIMELESS TREASURE OF TWO GREY HILLS (2017-2018 Sonoita AZ NRG)

Historically traders encouraged unique and signature designs for Navajo rugs in their particular area.  In the case of Toadlena and Two Grey Hills they worked to enhance marketability and cultivate regional styles.

This exhibit highlights differing phases of influence on the Navajo weaver.  Showcasing historic textiles we have collected over the years, as well as those commissioned from weavers we have worked with over the last 45 years.

Continue Reading and see Images Gallery of Show


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One Trader’s Legacy: Steve Getzwiller Collects the West (2017- ) Wickenburg AZ DCWM

Steve Getzwiller, cowboy, collector, and Indian trader-started his lifelong passion for collecting the west and Native American artifacts nearly 50 years ago, beginning as a teenager with his exposure to the Amerind Museum and mentor Charles C. Di Peso. A natural trader, he has become known for his work with weavers from the Navajo Nation. While Getzwiller has collaborated with multiple museums to present exhibitions of historic and contemporary Navajo Textiles, One Trader’s Legacy marks the first time that Getzwiller’s personal collection of rugs, paintings, pottery, baskets, Apache Material, saddles, guns and more will be on public view.

Continue Reading and see Images Gallery of Show

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NAVAJO TEXTILES AS MODERN ART (2017 Sonoita AZ NRG)
  Our goal for this exhibition is to present a wide variety of Navajo textiles which represent many facets of Modern Art, from minimalism to multi-dimensional design concepts. There is always the question of what came first? Whatever the theory - The Navajo Weaver is part of the mix and was generally far ahead of their time.  Read here the article Encore! Encore! Encore! by Susan Sorg about this great show.

Continue Reading and see Images Gallery of Show



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THE DAZZLED EYE EXHIBITION (2017 Tucson Desert Art Museum)

Featuring selections from world-renowned collectors Steve and Gail Getzwiller, The Dazzled Eye contrasts these works of woven art with American Op Art by exploring the popularity and history of Navajo Eyedazzlers and optical weavings. This exhibition will also show how these works by Navajo weavers epitomize Navajo aesthetics and a mindfulness of movement.

Continue Reading and see Images Gallery of Show

The Dazzled Eye Exhibit - Look, Learn, and Shop!


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PAINTING WITH WOOL EXHIBITION  (2016 Sonoita AZ NRG)

PAINTING WITH WOOL, is an historic event for Steve and Gail Getzwiller, as it is the second exhibit and sale at their own gallery. A large turn out made it a great success and the gracious presence of Elsie Bia, Master Weaver, again demonstrating at her loom, was the frosting on the cake.

Continue Reading and see Images Gallery of Show

The Painting With Wool Exhibit - Look, Learn, and Shop!


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EXHIBIT: WOVEN HOLY PEOPLE (2016 Sonoita AZ: NRG)

Woven Holy People was an historic event for Steve and Gail Getzwiller, as it was the first exhibit and sale at their own gallery. It turned out to be a great success and so, more exhibits are planned.

Continue Reading and see Images Gallery of Show

The Woven Holy People Exhibit - Look, Learn, and Shop! _________________________________________________________________
EXHIBIT: WOVEN NATION (2014 Tubac AZ)

Paying homage to the Navajo Nation's greatest weavers and the art from their historic past. This exhibit celebrates the Navajo Nation's Weaving Art, like no other! Historic Blankets Child's Blankets, and Serapes, early regional styles of the Navajo Nation showing the various Trading Post Regions of the Navajo Reservation.

Continue Reading and see Images Gallery of Show

The Woven Nation Exhibit

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EXHIBIT: NAVAJO WEAVING IN THE PRESENT TENSE (2010 San Jose CA)

Navajo Weaving in the Present Tense: The Art of Lucy and Ellen Begay is the first retrospective exhibition by Navajo weavers Lucy Begay and her only daughter Ellen Begay. Drawn primarily from the private collection of Gary Beaudoin, the exhibit features eighteen, one-of-a-kind artworks woven by Lucy and Ellen over the past twenty years.

Continue Reading and see Images Gallery of Show

Navajo Weaving in the Present Tense Exhibit



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Southwest Design Conference (2007 Santa Fe NM)

The Southwestern Design Conference  was a special event held in 2007 in Santa Fe New Mexico - a Showcase for the best Southwestern Interior Design Ideas. It was also an offshoot of the Western Design Conference in Cody Wyoming.

Continue Reading and see Images of the Show

Southwest Design Conference




EXHIBIT: THE NEXT PHASE (2006 Wickenburg AZ)

This exhibit was truly history in the making! The Next Phase offered a revival of woven Navajo blankets "actually Navajo Blankets"!!! for the first time, in well over 100 years!!! The entire exhibit featured Navajo Blankets woven in the style of the Classic Blankets, an accomplishment never achieved before.

Continue Reading and see Images Gallery of Show

The Next Phase in Navajo Blankets Exhibit


Cody Wyoming Western Design Conference (2006)

The road to fine wearable Navajo Shawls was a slow process. Steve Getzwiller in the 1990s began working with the Marianito family and coaxed them along the path to weave finer and finer blankets. He would bring historic textiles from before the turn of the century for them to examine. Kathy Marianito and her sister-in-laws would study them and figure out how the wool was warped and the weft was laid into the weaving to build a supple blanket.

Continue Reading and see Images of Fashion Show and Photoshoot

Cody Wyoming Western Design Conference




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EXHIBIT: TREASURES OF THE NAVAJO HORSEMEN (2003 Wickenburg AZ)

Steve and Gail Getzwiller were very enamored with Navajo Saddle Blankets and very anxious to share their collection at the Desert Caballeros Western Museum.Following the saddle blankets through the timeline of the Navajo people reveals where some rugs were woven, what time period, and sometimes the purpose of the weaving. Saddle blankets were the last blankets the Navajo wove for themselves. Early designs reflected the simple wearing blanket elements and later designs were traceable to regions of the reservation.

Continue Reading and See Images Gallery of Show

Treasures of the Navajo Horsemen Exhibit


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EXHIBIT: 2001 - THE GETZWILLER COLLECTION OF CONTEMPORARY NAVAJO WEAVINGS 1975-2000

“The Navajo Churro Collection” was part of a major exhibition at the DESERT CABAKKEROS WESTERN MUSEUM in Wickenburg Arizona. The exhibition represented Steve’s accomplishments and contributions to Navajo Weaving from 1975-2000, featuring the best weaving examples resulting from the collaborative work between Steve and some of the finest Navajo weavers of our time.

Continue Reading and see Images Gallery of Show

The Navajo Churro Collection Exhibit


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EXHIBIT: ART & HISTORY WOVEN TOGETHER (1999 Wickenburg AZ)

'The Steve and Gail Getzwiller Historic Navajo Textile Exhibition at the Desert Caballeros Western Museum in Wickenburg Arizona' 1999. Art, Artists, Dyes, Design, Earth, Energy, History, Landscape, Life, Loom, Medline, Native People, Pride, Sacred, Sheep........ NAVAJO Art & History Woven Together.... ambled from one area to the next - weaving a story of Navajo History.

Continue Reading and see Images Gallery of Show

Art & History Woven Together Exhibit
  • Beth Barth
Native American Art -  Timeless Textiles - December/January 2017

Native American Art - Timeless Textiles - December/January 2017

For ease of reading online……

 

TIMELESS TEXTILES

(Sonoita, AZ)

Over the past 40 years, Steve Getzwiller has compiled a broad collection of Navajo weavings that includes Two Grey Hills examples.  These are considered to be among the finest of Navajo textiles and are marked by their simple color palette, geometric designs and the artist’s mastery of carding and spinning.  Through April 2018, Getzwiller’s in Sonoita, Arizona, will display nearly 50 historic and several contemporary examples from his collection in the exhibition Timeless Treasures of Two Grey Hills.

The pieces on display will reflect the history and influences of the regional style throughout time.  Earliest examples include works by master weavers Daily Taugelchee and Bessie Manygoats, while newer textiles are by Helen Bia, Elsie Bia, Carrie Yazzie, Cara Gorman, James Sherman and more.

In his 2002 book Diné: A History of the Navajo, Peter Iverson, a leading Native American history scholar and regents professor of history at Arizona State University, explains. “[T]he Depression affected the course of Navajo weaving during the 1930’s.  Adverse economic times did not encourage the market.  Nevertheless, the Santa Fe Railway, the Fred Harvey Company and other boosters of Southwest tourism continues to bring new and return visitors to the [Two Grey Hills/Toadlena] region.  The founding of the Gallup International Ceremonial and the development of museums in Arizona and New Mexico furnished important venues for the display of high-quality work.”

He further writes that trading posts struggled during that time, especially with the passing of trader J. L. Hubbell in 1930.  Newcomers, such as Bill and Sallie Lippincott at Wide Ruins and Cozy McSparron of Chinle, however, continued to promote regional styles and even encouraged new aesthetics in the weavings, such as the use of vegetal dyes.

“Even under these difficult circumstances, Navajo weavers continued to create extraordinary work,” writes Iverson.  “Daisy Taugelchee of the Toadlena/Two Grey Hills area, arguably the greatest of all Navajo weavers, came into her own as a remarkable artist.  Other area weavers, such as Bessie Manygoats, contributed to the outpouring of weaving that established Toadlena/Two Grey Hills weaving as the premier Navajo regional style.”

According to Getzwiller, the Two Grey Hills style was officially established in the 1920’s.  Many of these earliest examples can only be attributed to specific weavers, as the names of the artisans were not kept.  “So [the weavers] defined themselves by developing their own style,” says Getzwiller.  “That is how we’re able to attribute the textiles---by having an understanding of their particular style of design.”

For instance, the works of Taugelchee are known for her super fine weaving, while the pieces of Manygoats often contain a three-column, floral design.  “[Manygoats] was way ahead of her time in design, innovation wise,” says Getzwiller.  “That’s what made her work so appealing to dealers and the collectors in that time period.”

Primarily the pieces in the style are done with natural wools, but in the 1940’s and ‘50’s, traders such as Willard Leighton at the Two Grey Hills Trading Post inspired the use of color in the work.  Leighton, in particular, is noted for encouraging weavers to incorporate turquoise as an accent color in the piece.  For example, a textile attributed to Katherine Nathaniel from around the 1950’s features borders and squares done in the color.  There also was the addition of reds in some weavings of the area.

Timeless Treasures also includes work by Helena Taugelchee Nez Begay, who was a weaving instructor at the Toadlena Boarding School.  A circa 1945 photograph of her at the loom depicts a rug that Getzwiller owned for 15 years before Iverson discovered the image while researching his book.  The rug will be on display in the show.


Article courtesy Native American Art Magazine

  • Beth Barth
Native American Art - Eye Dazzlers - February/March 2017

Native American Art - Eye Dazzlers - February/March 2017



For ease of reading online……

EYE DAZZLERS

A NEW EXHIBITION AT THE TUCSON DESERT ART MUSEUM explores the exquisite weaving collection of Steve and Gail Getzwiller.
 
Feb / Mar 2017 - Tucson, AZ
"Gaudy", barbaric," "an aesthetic debauch" -- many Western critics in the late 1800s found Navajo eye dazzler weavings with their vivid synthetic-dyed colors and pulsating designs jarring and ill-fitted to their Victorian decor.  Not until the Op Art movement in the 1960s did collectors and artists alike go wild for these textiles that produced similar tricks on the eye but were created far earlier by Navajo weavers. 


At the Tucson Desert Art Museum through May 28, THE DAZZLED EYE: Navajo Weavings from the Getzwiller Collection  examines the rich history of Navajo eye dazzlers and optical textiles, contrasts these works of woven art with those from the Op Art Movement, and explores how mid-century artists helped to bring recognition to the generation a of Navajo weavers.  This exhibition features nearly 40 historic eye dazzler and optical weavings from dozens of unnamed Navajo weavers as well as contemporary weavings by Selena Yazzie and Francis Begay.


THE DAZZLED EYE is curated by Alyssa Travis, Tucson Desert Art Museum associate curator, and has been made possible through a generous loan from Steve and Gail Getzwiller, world-renowned collectors and owners of the Nizhoni Ranch Gallery in Sonoita, Arizona, that specializes in historic, early regional and contemporary Navajo weavings. "My appreciation stemming from my collaboration with the Tucson Desert Art Museum is for the opportunity to share with the public weavings that I have collected and cherished throughout the years.  I have been fortunate to do this in the past several years and very much look forward to sharing other aspects of my collection in the coming years," says Steve Getzwiller.


Commenting on the exhibition, Travis said,"Eye dazzler weavings are a powerful expression of changing times for the Navajo.  In the 1870s, the Navajo had just been through a tragic, four-year confinement at Bosque Redondo in eastern New Mexico and were adjusting to life on the reservation.  The Churro sheep whose wool they had depended on for yarn had been killed, and now they had access to these new commercial yarns and synthetic dyes brought to them via the new Santa Fe Railroad.  They responded to these changes with a vibrant art, on that sadly didn't receive much appreciation for another 80 years.  This exhibition explores not only the rich history of these weavings, but also how the popularity of these weavings has grown throughout the years."


"The museum is proud to present the exquisite collection from the Getzwiller's that brilliantly showcases the history of these timeless creations," says Rhonda Smith, director of the Tucson Desert Art Museum.  "The Navajo weavers were arguably some of the earliest to use the woven art as canvases to experiment with optically stunning and challenging illusions, far in advance of our own Op Art movement in the '60s after the Color Field and Op Art Movements and minimalism had caused a shift in the American aesthetic that people finally had their eyes opened to how genius this generation of Navajo weavers had been.  They began noticing how these Navajo women in the late 1800s were creating works that were very visually similar to the art of the 1950s and 1960s." 


Lifelong collector, Steve Getzwiller first developed interest in Navajo weavings in his late teens when Amerind Foundation director Charles Di Peso took him under his wing.  "Dr. Charles Di Peso was the director at the time and was a very good friend of my family.  As a kid I virtually had the run of that museum, exposing myself to all manner of American Indian material and became totally enamored with the Navajo weavings," says Steve Getzwiller, "As an 18-yer-old I traded my childhood collection of Winchester .22 rifles and haven't looked back from there."  He has been collecting ever since and has worked closely with Navajo weavers for the last 35 years, often working with grandmothers, mothers and daughters of the same family.  His personal collection includes Navajo Churro, historic, Navajo weavings and contemporary Navajo rugs.


Through May 28, 2017


THE DAZZLED EYE:Navajo Weavings from the Getzwiller Collection 


Tucson Desert Art Museum
7000 E. Tanque Verde Road, Tucson, AZ 85715
 
Photos:
1. Third Phase Style Moki Blanket, 1880, 4-ply Germantown yarn, 61 1/2" x 46"
2. Steve and Gail Getzwiller, world-renowned collectors of weavings.  Photo courtesy Nizhoni Ranch Gallery
3. Third phase chief blanket variant, Navajo, 1880. 4-ply Germantown yarn, 56" x 78"
4. Double saddle blanket, Navajo, circa 1930s, Lincoln wool with aniline dyes, 6 1/2' x 30"
5. J.B. Moore Plate II Blanket, Navajo,  circa 1864-1875, 3-ply Germantown yarn, 71" x 42"
6. Saxony blanket, Navajo, circa 1875, natural dyed 3-ply Saxony, Bayeta and flannel with likely Churro wool, 52" x 77"

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View images from this exhibit.  Click here
  • Beth Barth
Native American Art - Transitions - December/January 2020

Native American Art - Transitions - December/January 2020


GALLERY PREVIEWS
THROUGH FEBRUARY 2020 | NIZHONI RANCH GALLERY | SONOITA, AZ

Transitions

On view now at Nizhoni Ranch Gallery in Sonoita, Arizona, are approximately 50 transitional weavings that are available for purchase.

In the last part of the 19th century as trading posts began to open and lure consumers who were visiting the Western United States, there was a shift in the Native American art market from creating wearing blankets to weaving floor rugs. This period, which spanned approximately 40 years, from the 1880s to the 1910s, has become known as the transitional period with the textiles made by Navajo weavers reflecting the same name.

On view now at Nizhoni Ranch Gallery in Sonoita, Arizona, are approximately 50 transitional weavings that are available for purchase. The appointment-only gallery will highlight the work that has become recognized for its beautiful wool, out of the box designs and having an ideal price point for collectors.

The exhibition will remain on view in the gallery through February 2020.  

Nizhoni Ranch Gallery
Through February 2020
Sonoita, AZ 85637
(520) 455-5020 • www.navajorug.com

  • Beth Barth
Floor Covering Weekly - Nizhoni Ranch Offers Handmade Woven Rugs - May 7, 2017

Floor Covering Weekly - Nizhoni Ranch Offers Handmade Woven Rugs - May 7, 2017

Floor Covering Weekly - May 7, 2017

Nizhoni Ranch offers handmade woven rugs

Monday, May 7, 2018


This Ganado-Klagetoh weaving was created by Navajo Master Weaver Rita Clah.
By Caroline Alkire

[Sonoita, Ariz.] Woven rugs are wonderfully unique, and while they are (of course) great for spring and summer décor, these rugs are more than just a floor covering — they're art. 

No one understands this concept better than Steve and Gail Getzwiller, who, drawn to the beauty and complexity of woven rug design, began meeting with Native American weavers in the 1970's. Steve listened to their stories and soon started collecting Navajo rugs.

In the months following Steve was able to create a business out of his passion, and Gail started a website to grow it. In 2000, the Getzwillers opened up Nizhoni Ranch Gallery in southern Arizona. The ranch now sells handmade Navajo rugs.

"First and foremost, the differences between a rug made on a machine and one woven by hand cannot be overstated. Classic or contemporary, Navajo weavings will last through many years of use, as opposed to a machine-made rug," explained Steve. 

"Navajo Rugs are handmade with the spirit of the Mother Earth and the Navajo People,” explained Gail. “Navajo Rugs bring a peaceful spirit into your home."

Below, FCW has outlined a few of the rugs Nizhoni Ranch carries.

The Churro 1518, woven in the fashion of an Old Style Crystal, was created by Navajo Master Weaver Elsie Bia and is the second place 2017 Gallup Inter-Tribal Ceremonial award winner.



"The Moki Blanket offers a unique narrow striped styling that generally alternates between dark blue and black or brown rhythmic banding," explained Gale. "One of the most historic Navajo weavings, they’ve been in use since the early 1700's."



Nizhoni Ranch Gallery, located in Sonoita, Ariz., features rugs, weavings and pottery handcrafted by Navajo Master Weavers.

Nizhoni Ranch Gallery
Through February 2020
Sonoita, AZ 85637
(520) 455-5020 • www.navajorug.com

  • Beth Barth
Western Art Collector - A Beautiful Place - July 2010

Western Art Collector - A Beautiful Place - July 2010



For ease of reading online……

A BEAUTIFUL PLACE

Steve Getzwiller's Nizhoni Ranch Gallery showcases Southwest classics

July 2010:  Who could argue with the joy of living surrounded by beautiful things? Think about the satisfaction of filling a home with art you are passionate about, collecting each piece with care. While it’s a reality for some and a dream for others, it’s become a way of life, and a living for a man who shares his knowledge and enthusiasm with others from all over the world.

 Surrounded by mountains in the rolling grasslands of Sonoita, Arizona and about an hour southeast of Tucson, Steve Getzwiller welcomes you to his Nizhoni Ranch Gallery. When it comes to Navajo textiles, Getzwiller is recognized as one of the premier collectors and dealers in the country. For nearly 40 years, this native Arizonan has been at the forefront of contemporary Navajo weaving. He’s traveled from one end of the Navajo nation to the other, working with and encouraging scores of weavers to advance their art, taking it “to the next level,” as he calls it. That includes bringing back traditional dyes which have not been used for well over a century.

 With Getzwiller’s support, these Native American artists use Churro wool, silk and alpaca fibers, with combs and nimble fingers instead of a palette and brush, to create dazzling works of art. Not only does he collect and sell but also demonstrates how wonderful it is to live with Navajo textiles. His home and gallery is direct marketing in its purest form. “I’ve elected to market from a place with one stop sign and very successfully,” he says with a smile. “It makes a wonderful showplace,” he says, gesturing around the spacious and magnificent home. “The objective is to show people how they can live with fine Native American artwork within the context of their own homes.”

“We’ll start in the entryway, work our way through the gallery and look at all the different options to be considered. We’ll take weavings out onto the porch to view them in natural light, where this exclusive palette of color really becomes apparent; here someone can visualize how it would look hanging in their own space, and they love it!”

While he spent his first 30 years working with some of the finest galleries, and still does with a few, his business model now follows that of Lorenzo Hubbell.

 More than a hundred years ago, Hubbell’s trading post in Ganado was a destination for the Easterners traveling through “Indian Country” giving them not just a place to stay, but an experience, for which he would not accept payment. Getzwiller says Hubbell would tell his guests instead to “come into my rug room, and I will knock your eye out.” That quote was foremost in Getzwiller’s mind when he found the hilltop adobe house in Sonoita. “When I first saw it, with its guest house, I knew that it would be perfect for this approach to marketing.

 My key objective is to be able to pay the weavers more and offer the best value to the collector.” When you arrive at this territorial-style home, open an iron gate and walk across the courtyard where you may catch a glimpse of one of the resident roadrunners on a bubbling fountain. You enter Nizhoni Ranch Gallery through heavy oak doors and the space captures your attention immediately. “A lot of people have commented on the museum-like quality within,” says Getzwiller, and he’s right. It’s a home and a gallery, filled with comfortable and classic southwestern style.

“The furniture in the entryway is Arts & Crafts, but prairie style,” explains Getzwiller. On the walls are antique Navajo bridles and a hall tree with buffalo horns holding hats, along with custom-made spurs, completing the feeling you’re definitely in the presence of a true Westerner, descended from generations of pioneers and ranchers. Then, passing through the former library where shelves are now filled now with pottery, baskets, and weavings, you come to the expansive 20 x 40 foot gallery space, with an incredibly beautiful mesquite floor. A feature strip inlaid inches from the walls and running completely around the room is out of darker, crosscut mesquite from the San Pedro River area, the same area his grandfather homesteaded in 1903. Completing the look is the massive mesquite Arts & Crafts designed mantel with corbels and an inlay matching the floor. The furniture here is classic Arts & Crafts, as the lamps cast a warm glow throughout the room. “Lighting to me is as important as the art in a designed setting,” he says.

Historic southwestern basketry of the Apache and Pima tribes are displayed throughout.

“I’ve been collecting baskets for over 35 years,” he says, “and these are all pretty choice There are also just enough paintings to enhance the southwest flavor. Getzwiller is proud of his Edward S. Curtis orotones, photographs printed on glass and backed in gold, with Navajo and Apache-themed images. An Ace Powell painting hangs over the fireplace, and there are several by Jack Van Ryder. “He was a popular Tucson artist in the 1920’s and 30’s. These are all southwest themes, such as the Catalinas and Superstition mountains.” It’s hard to beat the spectacular vistas though, which you see out the huge picture window.

Indeed, the scene itself is like a painting, a comment Getzwiller has heard many times, viewed from leather chairs and sofas in this room where you just want to soak it all in. Then, you’re drawn outside through French doors on either side of the massive fireplace, to a porch which in true territorial style wraps around with entrances from many of the rooms. The word “porch” doesn’t do it justice, but the Spanish word “portal” gives it more a sense of the old Southwest feel, and an extension of the gallery. Everywhere at the Nizhoni Ranch Gallery are magnificent Navajo textiles. Rugs are not
just for the floor, but hang on walls, bold and stunning in their designs and richness of colors.

Smaller textiles are on tables, underneath lamps, pottery or baskets. Weavings are draped over backs of the classic Arts & Crafts chairs and used as lap blankets. It’s art which is not only tastefully arranged, but constantly changed as pieces are sold or collected. Each visit is different from the last, with new things to see and appreciate. The dining room features an Arts & Crafts Handell chandelier, while antique saddle blankets grace the backs of chairs surrounding the 13-foot table. Glass front cabinets filled with antique and contemporary Navajo weavings are throughout the gallery, with one in the dining room holding more recent acquisitions.The long table serves a dual purpose for Getzwiller showing clients photos of works still on the loom, the talented artists who make them, or simply looking up the history of a piece.

This room is home to the registries documenting the more than 1,200 weavings from the “Navajo Churro Collection” dating 1995 to present. One set of albums documents the first piece to the most recent. Another reflects each artist from their first to their most current creation. “The objective is when I am no longer able to pursue this, that this documentation is available to museums which will house this material.”

With antique blankets, Getzwiller has a tremendous respect and admiration for those unknown weavers so long ago. “Even though I have dealt in antique weavings for many years, it’s always bothered me that the women who created these beautiful works of art are unknown. Because I’ve handled so many of the older pieces, there are instances when I can actually identify a weaver’s hand by their style and technique. But, they’re anonymous because in those days, records were not kept.” He doesn’t want the same thing to happen to the weavers he’s come to know. “It’s important to me that the women I work with be recognized, so people will know who they are a hundred years from now. Weavings from the Navajo Churro Collection are already earmarked for museum collections, and have been referred to as the classics of the future.”

“Our gallery and home is a destination for collectors. I am able to give quality time to each person that visits the gallery. We have clients not only from all around the country, but all over the world. I give them an experience they aren’t going to get anywhere else. The setting is wonderful, but it’s the sum total of it all that makes it so special.”

He admits Nizhoni Ranch Gallery is awkwardly named from a marketing perspective. But, it’s not until you experience the gallery in its scenic setting, or relaxing on the portal, listening to the wind, the quail and an occasional cactus wren, when you understand its true meaning. You see, Nizhoni is Navajo for “beautiful place”…and what a perfect name for this gallery that’s also a home.

Written by: Susan Sorg
Photographs by: Jeff Newton

  • Beth Barth
The Wickenburg Sun - Getzwiller entertains crowd at DCWM - November 2017

The Wickenburg Sun - Getzwiller entertains crowd at DCWM - November 2017

Getzwiller entertains crowd at DCWM

By Patsy Root
Nov 22, 2017

Steve Getzwiller is not only a master collector of Western art, he can keep a crowd entertained and asking for more, just by sharing his experiences as a collector. Eyes are repeatedly drawn to the images of artists Getzwiller has encountered on his quest to acquire unique pieces of art throughout the Southwest. His collection is varied and stunning.

An upright baby grand piano from a bar/hotel in Tombstone joined his collection quite by accident, according to Getzwiller.

“I went in there to pick up the rifle housed above the piano, so I took the piano too,” Getzwiller said.

Most items in his collection have been acquired in a more intentional approach, especially the many unique, handmade Native American rugs displayed in the learning center. According to Getzwiller and his wife Gail, many of the larger rugs on display took over three years to complete, and the Getzwillers developed good relationships with the families who created them over the years.

“They created for us this beautiful little rug,” said Gail Detwiller. “It has roses all around the edges, and starting at the bottom it shows little rosebuds, then as you move around to the top the roses open up and bloom. They said it was like their relationship with us, how it became bigger and blossomed.”

Images of the family members who created many of Getzwilller’s rugs can be seen throughout the display as well as in a continuous video running on-screen at the west end of the learning center.

A large assortment of handmade Native American baskets is placed around the collection, adding color and a feeling of authenticity to the room. Personal family photographs, those on loan from friends and fellow collectors, and various interesting pieces combine for a tasteful expression of art in the southwest over the years.

Gun collectors will be especially interested in the numerous Winchesters in the Getzwiller collection, spread throughout the center in glass cases against the walls, in addition to the large one over the piano.

In viewing the Getzwiller collection, one experiences the sights and sounds, the feel of wind and dust in the desert, yet artfully, relationally, transporting the viewer to ancient and new places in the history of the southwest through the eyes of the people who have made it what it is today, a grand collection.

Getzwiller’s collection can be seen at the Cultural Crossroads Learning Center at 21 N. Tegner Street until June 3.

The center is open Monday through Friday from 10 a.m.-7p.m. For more information call (928) 684-2272 or at info@westernmuseum.org.

  • Beth Barth
Forbes - Navajo Rug Gallery Weaves Ancient Art And New Technology Together With Bitcoin - March 2018

Forbes - Navajo Rug Gallery Weaves Ancient Art And New Technology Together With Bitcoin - March 2018

Steve Getzwiller, Owner of Nizhoni Ranch Gallery

Navajo Rug Gallery Weaves Ancient Art And New Technology Together With Bitcoin

By Kate Harrison, March 7, 2018

Steve Getzwiller is a 7th generation rancher who grew up just east of Tucson, Arizona. As a child, he spent a lot of time at the Amerind Foundation in Dragoon, a museum and research center for Native American arts and culture. Inspired by the director of the foundation, Archaeologist Charles C. Di Peso, Getzwiller went on to study anthropology at the University of Arizona, and became a potter and turquoise trader. But his real passion was Navajo Rugs, and as soon as he could afford to, he became collecting them and wholesaling rugs to top galleries around the U.S. to be able to afford more expensive ones for himself.

Nizhoni Ranch Gallery

In 1995, Getzwiller launched an online website, and in 2000, he opened his own physical gallery, The Nizhoni Ranch Gallery, in Sonoita, AZ. Today, he does about $1 Million of business a year, half through the website and half through his physical store. Getzwiller's Navajo rugs are sold around the world to collectors, business people and rock stars.

The Personal Touch

Navajo weavers today are carrying on a 300-year-old tradition of weaving blankets and rugs. Their unique upright loom uses a traditional weaving technique that cannot be mechanized. The loom is warped with one continuous wool thread and the weft is woven through it, one thread at a time. “It is a very time consuming and meticulous process,” Getzwiller explains, “Small rugs can take a full week to weave, while larger Navajo rugs can take years to complete.”

Navajo weaver Cecelia Nez will work on a rug for years.
Nizhoni Ranch Gallery

By their intrinsic nature, these rugs cannot be commoditized. Their weaving is personal and the resulting rugs are works of custom art. Getzwiller emphasizes these qualities in every aspect of his business and they inform his marketing. Each rug comes with a weaver’s profile and background information on the traditional process used.

In the store, Getzwiller works to highlight various artists. On March 11, for example, the gallery will host Elsi Bia and her 11-year-old grand-daughter at The Timeless Treasures of Two Grey Hills opening. They will be demonstrating Navajo weaving at an upright loom. Another granddaughter, Natalie Tso, will be weaving her first rug. Getzwiller notes: “We try to keep these demos fresh and exciting, and not only present historic material, but also present and preserve the art of Navajo weaving today.”

As part of his commitment to the personal, he also emphasizes customer service. He focuses 100% on customer service, treating every sale as a personal relationship to be nurtured. “Even all our sales online have the personal touch, as each sale is completed with a conversation with the client and subsequent follow-up,” he explains.

  • Beth Barth
Native American Art - Modernist Weavings - April/May 2017

Native American Art - Modernist Weavings - April/May 2017

Modernist Weavings

Native American Art 5/2017 Page 100

Native American Art - May 2017 Page 101

Native American Art - May 2017 Page 102

Native American Art - May 2017 Page 103


For ease of reading online……

Native American Art Magazine

April / May 2017

MODERNIST WEAVINGS

A new exhibition, Navajo Textiles as Modern Art - Then and Now, is ongoing at Nizhoni Ranch Gallery in Sonoita, Arizona.  The exhibition - a companion exhibit to the Dazzled eye: Navajo Weavings from the Getzwiller Collection at the Tucson Desert Art Museum in Tucson, Arizona - focuses on the modern aspects of Navajo Weavings, and illustrates the importance of Native American design on the very fabric of American art styles. 

Pieces in the gallery show included strong examples of eye dazzler weavings, which emerged during a difficult transition period for the Navajo. 

"They were adjusting to their new life on the reservation after a devastating four-year forced confinement by the United States government at Bosque redondo, a desolate area on the Pecos river in eastern New Mexico," the museum catalog states. "During Bosque Redondo, nearly one in four people would die due to malnutrition, exposure or rampant illness.  In 1868, they were allowed to return to their ancestral lands in Northeastern Arizona and northwestern New Mexico.  However, they were no longer able to provide for themselves without assistance from the US government; Kit Carson had destroyed their crops, poisoned their water holes, stolen their horses, and killed their sheep years earlier in an effort to starve the Navajo into submission."

These hardships greatly affected the navajo people, including their weavings, which fundamentally changed due to limited resources.  For instance, yarns were hard to come by.  Only two sources were available to weavers:  Germantown yarns, and unraveled yarns from American flannel or low-grade cloth called bayeta.  These new sources of yarn were often dyed synthetically from commercial dyes and, although they were not natural or traditional, the inspired weavers to create new designs wit the expanding color opportunities.  Additionally, the difficulties of the previous years deeply affected many of the weavers who began to push the boundaries outward. 

These developments led to an artistically rich period, during which blankets and other weavings greatly influenced american art, including modern art, which wouldn't kick into high gear for several more decades at the 1913 Armory Show in New York City. 


"This sort of thing, how Native American art preceded modern art, is not broadly understood subject no matter what way you look at it, which is why exhibits like this are really important," says Nizhoni Ranch Gallery owner, Steve Getzwiller, who adds that some of the most famous modern artists, including drip painter Jackson Pollock and many prominent Op artists, have cited Native American designs as important influences on their work.  "We're trying to make the point that Native American art, particularly Navajo weavings, were very influential on the art world.  When I show my collection - and I've been a passionate collector for 45 years - people are always amazed to see the connections to modern art." 

TWILL SERAPE NAVAJO WEAVING : HISTORIC : PC-39Weavings in the gallery show include a twill serape-style blanket from roughly the 1890s. The piece features two distinct rainbow patterns:  fields of jagged chevrons sandwiching in a tighter, thinner arrangement of smooth lines.  The coarser twill, which was common for saddle blankets at that time, was used here for a wearing blanket, Getzwiller says.  "You can see that the design flows really well," he adds.  "It makes quite a wonderful statement."

GERMANTOWN OPTICAL NAVAJO WEAVING : HISTORIC : GHT 2203An 1880s four-ply Germantown rug will also be on view.  The blanket features a repeating diamond motif, but with halves and quarters of diamonds that don't entirely match up together, creating an optical illusion-like quality to the design and its masterful execution.  "It's amazing and I'd never seen anything like it," getzwiller says.  "I acquired it 15 years ago from a dealer in Washington.  How that optical illusion was created, I couldn't begin to tell you.  Only a small handful of weavers could have mastered that."

PC-81 Great Star PictorialSimilar optical effects can be seen in a Great Star Chant Way Germantown pictorial from the 1880s.  A five-pointed star rests in a red field in the center of the blanket, and around it is a diamond pattern that repeats outward in a variety of colors. "It just radiates when you look at it," the gallery owner says.  "The way it's made really gives you the feeling of movement."

SERAPE : LATE CLASSIC : HISTORIC : GHT 1923In a late classic blanket with unique Spider Woman design, an ocean of red is rendered around abstracted lines and a central diamond shape.  Getzwiller says that these blankets at that time - roughly the 1880s - were designed to be worn, which meant the central design would have been prominently displayed on the wearer's back.  "You can see that really strong with this piece," he says. "Spider Woman was the mythological woman who taught them to weave.  A blanket this nice would have likely not been made for trading purposes, but for someone else.  It's really stunning."

PICTORIAL CHURRO GOAT : HISTORIC : PC-65A later work, from around the 1930s, features the silhouette of a churro sheep's head.  the imagery hints at a vital part of Navajo history, when Kit Carson and others tried, and ultimately failed, to exterminate the sheep in a terrible campaign against the Navajo.

The Nizhoni Ranch Gallery exhibition will feature as many as 70 works, many of them historic pieces, but also a number of weavings by contemporary artists such as Selena Yazzie, GH, and Cecelia Nez.  

The exhibition at the gallery continues through June 30, and the museum exhibition in Tucson runs through May 28. 

  • Beth Barth
Phoenix Home and Garden - Master Weaver Helen Nez - March 2015

Phoenix Home and Garden - Master Weaver Helen Nez - March 2015

Phoenix Home and Garden - Helen Nez weaving seen - March 2015


While enjoying Phoenix Home & Garden Magazine Gail recognized a familiar weaving. What a nice surprise to see a weaving by Helene Nez displayed so beautifully.
Helene's weaving "Churro 344" was finished in 2002.
Look'n Good.


In recent years, the efforts of a few dedicated breeders have revived the Churro genetics and fleece quality. However, the circle was not complete, as the wool wasn’t getting into the hands of Navajo weavers. The most successful effort to reintroduce Churro wool to the Navajo loom was accomplished by native Arizonan, Steve Getzwiller. He set out to revive some of the older design elements as well as some rare and natural dyes. The reintroduction of Churro wool brought those lustrous qualities back to the finished weavings, completing the circle and reconnecting some of the weavers with their past. “The Navajo Churro Collection” was born.

  • Beth Barth
Cowboys and Indians - Dream Weaver - August/September 2013

Cowboys and Indians - Dream Weaver - August/September 2013

      


For ease of reading online……

‘DREAMWEAVER’

Cowboys & Indians Magazine
August/September 2013 Issue
Feature Article about
the Nizhoni Ranch Gallery
in Sonoita Arizona.

Steve Getzwiller’s truck serves as a mobile office during his monthly journeys to the Navajo reservation. As he turns off the Arizona highway onto little more than a dirt trail, bouncing across the deep ruts created by the long-gone spring rains, his cowboy hat slides back and forth across the dashboard.

He knows just about every spot on the rez where he can get a cell phone signal. When he has one, he takes the opportunity to check in with his wife, Gail, back home in Sonoita, Arizona, or with the Navajo weavers he is going to visit in their homes and hogans. This quiet cowboy, whose ranching heritage goes back generations through Arizona and New Mexico territorial days, clear back to the Republic of Texas, is considered one of the premier collectors and dealers of Navajo weavings in the country. But for him, these visits aren’t purely business.

“It’s more a family relationship than a business one,” he says. “It’s a collaborative partnership, and when you consider I’m working exclusively with the same weavers for 10, 20, 30 years, which tells you something about the relationship.” Which is, truly, a deep one. Getzwiller started working with the mothers and grandmothers of some of the women now weaving for him today. And over time, they have come to trust him.

“There’s definitely mutual respect,” he says. “I’m their banker, employer, counselor, friend. Their problems become my problems.” Getzwiller knows the region well. He grew up on a ranch in the southeastern corner of Arizona and spent a lot of time as a kid around the Amerind Foundation in Dragoon, a museum and research center for Native American arts and culture. Archaeologist Charles C. Di Peso, who directed the foundation for 30 years until his death in 1982, helped to spark the young man’s  imagination, inspiring him to study anthropology at the University of Arizona and start collecting weavings at the first opportunity. “I was able to afford my first Navajo weavings when I was 18 by trading my childhood collection of .22 rifles,” he says. “After I got out of college I just went out and started living it…traveling to the reservation and buying and selling pawn jewelry and Navajo weavings.” In those days, he made the eight-hour trek twice a month, as one of several hundred licensed traders. “In the early days, when all the trading posts were there, there was a lot of distain for me, (from the other traders) even though I worked closely with them, brokering the sale of several trading post rugs for them,” he recalls. “The traders used to call me a ‘hogan hopper’ because I started working directly with weavers. Interestingly enough, I’m one of the last ones standing.” Part of Getzwiller’s success can be attributed to the fact that, from the beginning, he was not simply interested in the sale, but also enabling the women to market their work to the world. He encouraged them to experiment and expand their designs while keeping many of the traditional patterns. His philosophy dovetailed with the Diné to preserve their own culture while incorporating the best of others into it.

“The goal of my life’s work in Navajo weaving has been to see how far I can push the envelope, how much I can improve contemporary Navajo weaving, bringing it to its highest level possible,” Getzwiller says. “That’s what was accomplished at the turn of the 19 th century by a very few dedicated traders with the Navajo, such as Juan Lorenzo Hubbell and J.B. Moore.” Hubbell, who established his first trading post on the Navajo Nation in 1878, worked with Navajo weavers to increase their sales and become self-sufficient by showing them the classic patterns that could yield the highest profits and encouraging high standards, from quality dyes to tightly woven fibers. J.B. Moore, who owned a trading post in Crystal, New Mexico, emphasized marketing, offering a printed mail-order catalog and branding distinctive regional designs.

For all he’s done, Getzwiller has been likened to a contemporary Hubbell or Moore. He encourages the use of the traditional Churro wool, which comes from a sheep species that was nearly wiped out twice by the federal government but still managed to survive. (The fifth-generation cattleman even purchased his own flock, which is now in the care of a Navajo family.) He has also introduced silk and alpaca fibers to traditional weavers, creating a new market of “wearable art.”

Getzwiller has further encouraged weavers to use some of the most valuable and historic natural dyes, such as indigo, lac and cochineal, instead of the more readily available commercial aniline dyes. “I’m definitely not a ‘chips and swatches’ kind of guy!” he says with a grin.“Many of (the dyes the weavers use) are based on some of the more successful things that have come from the last 100 years or so of Navajo weavings.”

Whether the resulting rug designs are muted or vibrant, Getzwiller offers the same advice when it comes to incorporating them in your home. “Remember, its art,” he says. “In my recommendation… with any dealings of art, paintings, whatever…I suggest that you don’t base your upholstery on your art. I always recommend you stay as neutral as you can (with the furnishings) so everything works together.” Steve and Gail’s home is a perfect example. Thirteen years ago, they moved from his childhood home and ranch in Benson, Arizona to the grassy oak-covered hills of Sonoita. While it added another hour to Steve’s monthly commute to the reservation, the adobe hilltop home became the perfect showcase for his weavings. “My business model is unlike anyone else’s that I’m aware of,” as he gestures around the massive room where he spends time with clients. Here, weavings are not just on the beautiful mesquite floor, but also hanging on the walls alongside Western paintings and draped on the backs of chairs. The room is furnished with pieces from the classic Arts and Crafts period that embrace and enhance the beauty of Navajo textiles.

The Getzwiller home doubles as their Nizhoni Ranch Gallery (nizhoni is Navajo for “beautiful place.”) When customers are seated in comfortable leather chairs, gazing out on the grasslands of Sonoita, they often blown away when Getzwiller presents with a flourish a dazzling blanket or rug. “With regard to collectors coming here, we’re by appointment only, which is sometimes intimidating to someone because they feel an obligation,” the dealer says. “But, it’s primarily so that Gail and I can give our full attention to them, as much as we possibly can. I enjoy sharing, and this,” he says, gesturing around the room again, “is what they came for.” He calls it an “ambitious Mom & Pop”, with Gail handling a lot of the business and bookkeeping end of things, as well as keeping up with the website. A large monitor connected to their e-mail accounts is always up and running in the kitchen, allowing the couple to see questions and orders coming in. “We make sales on a daily basis on the Internet,” Getzwiller says, “and I’m having fun with the website, pushing that envelope too.” Over the years, Getzwiller has handled thousands of weavings, many of them fine antiques from different periods. Which is why he decided to establish the Churro registry, to record each piece along with the artist who created it. “There’s no way of knowing who the earlier weavers were,” he says. “I can identify certain weavers by their weaving style and quality, but not who she was. But, in a hundred years we’re going to know who all the ladies I’m working with are, because there’s going to be a record. And that’s important to me.”

Preserving the past while looking ahead to the future is a priority for this cowboy who sees the art form gradually and quite literally dying out. While he is currently working with weavers from ages 17 to 90, he understands the outside world with its focus on instant gratification is now part of reservation life. Spending months…even years…on one weaving will become a thing of the past. And, Getzwiller realizes his own role as trader will someday end, as his two grown children pursue careers of their own in much different fields. “One of my goals at this point in my life is to share my collection through various museum exhibits,” he says. “I’ve done a few in the past, but I’m going to make a concerted effort to share various aspects of the collection, which will help the public understand what a great art form these pieces represent.” As he sits back, reflecting on what he’s accomplished, his eyes hold a satisfied look. “My job is the best one I know of, because it enables me to do what I most enjoy doing,and that’s working with Navajo weavers and seeing what can be accomplished in new areas with their work,” he says with a slow smile. “This is absolutely a truly American art form. But we’re all only keepers of these things for a few decades. And then, we’re gonna share them one way or the other.”

  • Beth Barth
Living West - Blanket Statement - May/June/July 2003

Living West - Blanket Statement - May/June/July 2003

By Bonnie Gangelhoff, Photos by Terence Moore

For ease of reading online……

BLANKET STATEMENT

Navajo weavings and Mission furniture fill this Arizona home with authenticity

When Steve Getzwiller was 19, he traded his childhood collection of hunting rifles for four Navajo rugs at a trading post in Phoenix, AZ He didn’t necessarily get the better deal. “ But I didn’t have any further use for the guns. And I sure wanted those rugs badly,” Getzwiller says. Today, many more brilliantly hued Navajo textiles blanket the walls of this home, 45 miles southeast of Tucson, AZ, on a 70-acre horse ranch which he shares with his wife, Gail. The ranch lolls on the edge of the Whetstone Mountains where oak trees dot lush rolling hills and sprawling skies host dramatic violet and pink sunsets.

More than 30 years have passed since the young Getzwiller, the son of rodeo cowboy Marion Getzwiller, traded in his guns for rugs. And today what began as a pastime has turned into a vocation: Getzwiller makes his living as a dealer in Native American textiles and basketry. He buys and sells both historic and contemporary Navajo weavings and is considered an expert on the subject. In 2000 the Desert Caballeros Western Museum in Wickenburg, AZ, featured his personal collection of Native American rugs in an exhibit.

The Getzwiller’s’ adobe home, the original structure constructed in 1911 in the Territorial style, is filled with dozens of Navajo rugs and weavings that dominate the 5,000-square-foot residence. The textiles are stacked, spread, and sprinkled throughout various rooms, with rugs gracing the floors, and blankets hung on the walls as well as draped on beds and sofas.

Woven from sheep’s wool in rich earth-tone hues of crimson red, indigo blue, and earthy brown, they add warmth to the spaces. Their bold geometric designs were created mostly on the Navajo reservation in Arizona, Colorado, New Mexico, and Utah in such popular patterns as Two Grey Hills, Teec Nos Pos, and Ganado. Handcrafted textiles like these sell anywhere from $200 to $20,000 and may take a year or more to produce.

To balance the bright colors and busy designs of the rugs, the Getzwiller chose clean-lined period Mission furniture for their home. Mission furniture originated in the early 1900s, a part of the American Arts & Crafts movement which is currently undergoing a healthy revival. The marriage of the Navajo rugs and the historic American furniture, made of heavy wood, is a good one. Take the entryway, where two Navajo rugs dating from the 1920s greet visitors. One weaving hangs on a wall behind a Mission-style table and another covers the tile floor of the entry. The strong geometric patterns of the sepia-toned textiles blend well with the minimalist lines of the sturdy brown oak furniture.

Likewise, in the living area, a detailed pictorial Churro wool tapestry sprawls across the wall above a rare desk manufactured by L.& J.G. Stickley. The simple but practical Stickley piece dates from the early 1900s and offers a subtle complement to the eye-catching textile. The Stickley brothers, who believed in the inherent beauty of natural wood and leather, helped popularize the Arts & Crafts movement in the United States. Stickley furniture is still manufactured today at a plant in Manlius, NY, but the Getzwillers prefer to purchase older pieces through dealers and auctions.

The union of the rugs and furniture, as well as Arts & Crafts lamps and Native American basketry and pottery displayed throughout the residence, imparts a rustic, western feel sans cliché. No statues of howling coyotes or cornball cowboy curios here. Authenticity matters too much to Getzwiller, who is currently helping to preserve and revive 19th-century designs made from the wool of Churro Sheep.

He regularly commissions Navajo weavers to produce highly detailed rugs from the wool. Every month he climbs into his Chevy Suburban and heads to the reservation, spending a week working with a select group of weavers. Getzwiller has also reintroduced the use of cochineal dye, a crimson red-purple dye that is extracted from the bodies of small insects imported from Mexico, among other places. “Cochineal is one of the two natural substances used for dark red in the world. To the Spaniards it was more valuable by weight than gold,” he contends.

As much sense as this interior design makes for his ranch home, it’s hard to believe that the house was once completely filled with Victorian furniture. Getzwiller used to tell customers that it proved Navajo rugs could blend with any style of furniture. But he knew the Arts & Crafts-era pieces would strike a better balance with his textile collection, so eventually the Getzwillers sent the Victorian pieces off to auction houses in California and Massachusetts. As the furniture sold, they turned around and purchased the Arts & Crafts period pieces. “It was just like the time I traded guns in for rugs,” Getzwiller says. “The only way I could afford to begin collecting the new pieces was to trade in the old ones.”

 

Houston-based Bonnie Gangelhoff is editor of Southwest Art magazine. (Resources: Hubbell Trading Post, Ganado AZ; Steve Getzwiller’s Nizhoni Ranch Gallery; L.& J.G. Stickley Furniture: Robb & Stuckey, Scottsdale, AZ; Baker Knapp & Tubbs, Los Angeles and San Francisco, CA.) May/June/July 2003 – Living West Magazine

  • Beth Barth