Tuesday, July 22, 2025

A Long Beard Kachina from the Collection of the Artist Max Weber

Antique Longhair Kachina Doll

Angak’china known as the First Kachina and/or the Beautiful Kachina, commonly referred to as the Long Beard, Long Hair and even Loose Hair. 

This carving is being offered to our Two Graces collectors at $9,500.*

Longhair Kachina Verso

Hopi Kachina aka Katsina 8” tall  ca.1880-1910 red cottonwood root, clay, mineral paints, feathers and cotton string

Longhair Kachina Hanging on wall


The height of eight inches, is a standard size, it has a very large presence whether you have a collection of several Kachina Dolls or only this one, it is a knockout. A true American Folk Art carving, simple and well made this antique Kachina Doll will bring lasting joy to any collection.

Historic Photograph of Longhair Kachina Ceremonial Dancers


Referred to as a Volz style kachina doll carving from the time frame of 1870-1910. The trading post of Frederick Volz was located at Canyon Diablo near the First Mesa of the Hopi Villages. A large collection of these dolls were acquired by the Fred Harvey Company in 1901. Among these dolls there is a ‘dance motion’ created by the carver which this doll truly appears to have.


The deep green pigment of the face indicates an early carving, the later usage of a blue color (using a fugitive ground flora material) often fades to a soft warm grey. 


The Angak’china’s purpose is to bring rain, it is a common occurrence that during their dancing that rain will begin to fall. This of course may be due to when they dance which is typically during monsoon season. The long-beard is also seen at other Pueblo villages and is a popular entity at Zuni Pueblo. During a 1990 visit with several friends to Zuni a Kachina dance was about to take place, over fifty Longbeards along with 50 Mudhead Koyemsi Kachina figures came out into the Zuni Plaza and began to dance in the rain. I foolishly asked if the dance would take place due to the rain. Told that the point of the dance was for there to be rain, (I tend to not ask such questions any longer). The ‘singing’ (which sounded like a low hum) is meant to bring positive messages of Life to the Pueblo people.


Historic Mask of a LongHair Kachina


A Thorough Condition Report 


The loose hair represents gently falling rain, the row of various squares of colors across the lower portion of the mask representing a rainbow. The top portion of the head at the hairline is quite worn and chipped, oxidation of the cottonwood shows this to be quite old damage. Remnants of feathers, cloth(?) and string protrude from the top of the head.

Over the missing black hair fringe (Sokum’kalmungwa) there would have been soft white eagle feathers hanging from the three knots of the string at the lower portion of the face mask. Where the beard once was the paint is very much worn from the abrasiveness of the horsehair rubbing against it. 

Overall the face mask (maskette) is painted a green known as Sakwa, usually a copper carbonite minerał paint, or a terre verde, chromium oxide, malachite. Other theories reference the mixing of a yellow ochre pigment with an indigo. Green (not blue) of the masquette is referenced in the Smithsonian publication of 1899/1900 Twenty-First Annual Report.

A cotton string was attached around the neck to facilitate hanging the doll in a Hopi home. The string and entire body of the doll was then painted over with the traditional tuma, white clay used as a wash or ‘primer’. The string at some point broke away but in the front is still embedded in the clay wash. An eye hook was put into place in order to hang the doll, probably by Max Weber.  A fresh length of cotton string has been tied in place, anyone acquiring this carving may of course remove the eye hook, however a professional restorer should be consulted.

The tuma filler at the underarm areas has worn away, but each arm is firmly attached. There is an indication of old rabbit skin glue (rabbit skin glue has a telltale brown look to it) in the armpit of the right arm. The left forearm is missing, this is an old break from being played with by the original child owner. The complete right arm slopes gently to an early version of a hand, which is sans any indication of wrist or fingers. Breakage and lost arms is common among all kachina dolls, examples of early dolls will more than likely have missing parts. If a new owner chooses to have the forearm restored this can be done by a **professional restoration person. Personally I have chosen to leave it as is.

The painted zigzag or rick-rack sash at the waist is crisp with a continuous lyrical flow to it. At the right side of the kilt the classic woven design with cloud symbols has similarities to other dolls made during the time frame of 1880-1920. The kilt itself is asymmetrical, (this was pointed out to me by the only other person we’ve shown the doll to).

Which brings us to the legs, using an ochre pigment over a black coal pigment, they are painted in a delightful way with two stripes at opposing angles on each upper portion of the leg. The left foot, although not noticeable from looking at the top of it, was broken (four breaks) around when the doll was being played with. The pieces were recovered and more than likely put back into place by either the maker or family member for the child. The right foot has a hairline crack and too was repaired around the time of its origin. As any well made Hopi Kachina should, it stands solidly on it’s own. 

New information has come forward that the doll is carved of Red Cottonwood root, the red cottonwood tree once grew along the Colorado River and was the primary source for carvings until the source was over harvested. White cottonwood is what carvers switched to.

Provenance


From the estate of Joy Weber (1927-2016) Santa Fe resident, handed down to her from her father the artist Max Weber (1881-1961). 

Portrait of Max Weber

Weber was known for having brought the styles of Cubism and Fauvism to the United States. After attending the Pratt Institute of Art in Brookly, NY, in 1905 Weber went to Paris, where he continued his  studies at the ateliers of the Académie Julian, the Académie Colarossi, and the Académie de la Grande Chaumière. His early mentors, teachers and friends included Arthur Wesley Dow, Henri Matisse, Henri Rousseau, Guilliame Apollinaire, Pablo Picasso & Robert Delaunay. The ethnographic collections he saw in Europe were an influence on him as they were for many of the artists of the period. Ethnographic works were so influential on the artists in the early to mid-1900's that the Museum of Modern Art presented an entire exhibition of the artworks they inspired alongside the original material. The two volume publication for this exhibit is a vast resource, 'Primitivism in 20th Century Art, Affinity of the Tribal and the Modern' William Rubin 1984.

From 1909-1911 he became a part of the Alfred Stieglitz circle of artists exhibiting at Gallery 291. He exhibited at the Society of Independent Artists, the Whitney Museum of American Art, the Museum of Modern Art and the Jewish Museum. During the early 1920’s at the Art Students League in New York, Weber taught art classes to a prestigious ‘who’s who’ of student artists.

'Chinese Planter with Green Leaves' 1907 Max Weber
Note the Santo Domingo Pueblo style pitcher at right

'Mexican Statuette' 1910 Max Weber
Note the figure identified as Mexican is actually from Cochiti Pueblo


While in Paris, Gertrude Stein is known to have purchased a Weber painting. Weber’s Taos connection is to the Grande Dame herself, the ever influential Mabel Dodge Luhan who purchased three of his paintings in NYC. Many years later one of these paintings was included in the 2017 exhibition at the Harwood Museum  “Mabel Dodge Luhan and Company: American Moderns and the West”. His connections to Andrew Dasburg, Georgia O’Keeffe, Alfred Stieglitz, and Mabel Dodge Luhan put him in the realm of what some consider the Taos circle of artists, although it is thought that he turned down an invitation to visit Taos by Mabel and was not directly involved with any of the Taos groups he was very much aware of them. It would be best to consider him in ‘The Circle of Stieglitz’. The writings of Weber are thought to have influenced Georgia O'Keeffe in her abstract 'Infinity' studies.

Examples of Southwestern Pueblo Pottery are in a few of Weber’s still life paintings.

How, where and why Weber would have collected this particular Kachina doll is somewhat baffling until you begin to understand his deep spirituality and delve into his writing “Essays on Art” 1916. 

'in situ' the Kachina hanging on the wall by the cabinet of crystal in the home of Joy Weber


The collections (in particular the Cabinet of Curiosity style collections) in Europe particularly in Paris along with Museums across Europe were known to include Kachina Doll carvings. The cubist artists in particular, greatly admired carvings by the Hopi & Zuni people of the Southwestern United States.

The Photograph is of Max Weber in his studio, at top right there is a portion of what appears to be a Kachina Doll.
The size of this piece can be compared to the size of the light switch cover below it. I've added the comparison of the Weber Estate Kachina Doll as it was from the estate sale website after expanding it. Either image could be almost anything but in the case of the estate image I went with my gut and asked for a better photograph. In the case of the piece in the studio photograph we will never know if there was another Kachina doll or more in Weber's collection.

To see a thing is to see its inherent spirit… To see an artwork casually or en passant, is a very pleasant experience; but to come in touch with the vision, the spirit of its maker, is seeing in participation, and then it is not a gratification but an exaltation.

Max Weber for Photographic Art, 1916


*Due to the Provenance, Age and Condition of this carving we believe the price point to be below current value.

** Professional Restoration, means just that, this is not a do-it-yourself project. I have been restoring Kachina Doll carvings and other historic wooden items since 1981.


An example of a longhair kachina from the November 2024 Paris Auction at Qiquelo 'Les Kachinas de Leo Scheer'
(in US dollars this comes to just under $13,000.)

This carving sold through Sotheby's 2 years earlier at $10,700, in 2023
Same height of 8" tall, (no further information was given)

The carving at left, missing both forearms and it's left foot is in the collection of the Brooklyn Museum
It is 6 3/16" tall, dated 1868-1900
The carving at right is the Kachina Doll we are offering from the estate of Max Weber

'The Fisherman' 1919 Max Weber
(note the right arm and left hand grasping a pole, they are extremely similar to the hands and arms of Kachina doll carvings)

THE FOURTH DIMENSION FROM A PLASTIC POINT OF VIEW’ 

In plastic art I believe, there is a fourth dimension which may be described as the consciousness of a great and overwhelming sense of space - magnitude in all directions at one time, and is brought into existence through the three known measurements. It is not a physical entity or a mathematical hypothesis, nor an optical illusion. It is real, and can be perceived and felt. It exists outside and in the presence of objects, and is the space that envelops a tree, a tower, a mountain, or any solid; or the intervals between objects or volumes of matter if receptively beheld. It is somewhat similar to color and depth in musical sounds. It arouses imagination and stirs emotion. It is the immensity of all things. It is the ideal measurement, and is therefore as great as the ideal, perceptive or imaginative faculties of the creator, architect, sculptor, or painter. Two objects may be of like measurements, yet not appear to be of the same size, not because of some optical illusion, but because of a greater or lesser perception of this so-called fourth dimension, the dimension of infinity. Archaic and the best of Assyrian, Egyptian, or Greek sculpture, as well as paintings by El Greço and Cézanne and other masters, are splendid examples A Tanagra, Egyptian, or Congo of plastic art possessing this rape sualtof a Canagra, Fee, anile ongo, mediocre piece of sculpture appears to be of the size of a pin-head, for it is devoid of this boundless sense of space or grandeur. The same is true of painting and other flat-space arts. A form at its extremity still continues reaching out into space if it is imbued with intensity or energy. The ideal dimension is dependent for its existence upon the three material dimensions, and is created entirely through plastic means, colored and constructed matter in space and light. Life and its visions can only be realized and made possible through matter. The ideal is thus embodied in, and revealed through the real. Matter is the beginning of existence; and life or being creates or causes the ideal. Cézanne's or Giotto's achievements are most real and plastic and therefore are they so rare and distinguished. The ideal or visionary is impossible without form; even angels come down to earth. By walking upon earth and looking up at the heavens, and in no other way, can there be an equilibrium. The greatest dream or vision is that which is re-given plastically through observation of things in nature. "Pour les progrès à réaliser il n'y a que la nature, et l'œil s'éduque à son contact." (*For progress to be made there is only nature, and the eye is educated through contact with it). Space is empty, from a plastic point of view. The stronger or more forceful the form the more intense is the dream or vision. Only real dreams are built upon. Even thought is matter. It is all the matter of things, real things or earth or matter. Dreams realized through plastic means are the pyramids and temples, the Acropolis and the Palatine structures; cathedrals and decorations; tunnels, bridges, and towers; these are all of matter in space-both in one and inseparable. 

Max Weber for Camera Work 1916

The treasure hunt of finding such a magnificent Hopi Kachina Doll has been thrilling

Hopi Kachina, Coyote Claw (Long Beard Kachina drawing study for painting) 1934 Emil Bisttram

The need to explore primitive and American Indian art by Abstract Expressionist painters during the 1940s is well documented. Less known is the interest in American Indian art manifested by earlier painters such as Max Weber, Marsden Hartley, and John Sloan. Their interest has been overlooked because such art was not central to the formulation of their styles, nor did they write about it with the degree of urgency exhibited during the 1940s. In fact, except for a few words about Hopi katchinas mentioned by Max Weber in 1910, American Indian art did not receive serious attention until about 1920. Nevertheless, attitudes concerning primitive art, and values found therein, provide us with important insights into the artistic motivations of the early modernists. 
Modem Uses of American Indian Art Matthew Baigell 1976






Thursday, May 1, 2025

A Self Guided Walking or Driving Tour of Lilacs Blooming in the Taos Historic District

 A Self Guided Walking or Driving Tour of Lilacs Blooming in the Taos Historic District

Robert Cafazzo

Two Graces

105 Barela Lane in the Taos Historic District

575-770-5580

Today in Taos at the Rebecca Salsbury James (Strand) house, a storm moving through with little to no rain touching the ground.


It’s May 1, 2025, what better way to enjoy a day out and about then to go in search of lilacs in bloom. The arrival of spring in Taos brings with it the blossoming of lilacs everywhere. Lilacs in springtime are ubiquitous in Taos, they are as iconic as the Hollyhocks of summer. Whether set against a Taos blue sky, an adobe wall, or draping over a coyote fence, lilacs are a much loved sight in Taos.


This past winter season has been quite dry, spring time rains haven't appeared yet either, I was truly hoping that a bit of rain and moisture would bring forth lovely bouquets of lilacs all along the streets of Taos. Lo & Behold the lilacs are appearing without a drop of moisture in sight, they continue to persevere and are currently in bloom everywhere. Small businesses in Taos have also been persevering, through one of the worst years most of us have ever seen 2024 into the spring of 2025 has been rough with most of the small businesses reporting to be 40% down in sales if not more. Yet, most of us continue to keep our doors open through the worst of it, some will tell you business during the pandemic was better than it is right now! We remain hopeful and truly want your experiences, all of them whatever you choose to do, that you enjoy what we have to offer here in Taos. So, please pop into our shops with a cheerful Hello, and be supportive, (we thank you).


The artist Rebecca Salsbury James began a campaign in the 1940’s to plant Lilacs as a way of beautifying Taos Plaza. Rebecca had accompanied Georgia O’Keeffe for their first visit to Taos, remaining here throughout her life. Her home La Casa Feliz is located at the end of Bent Street, where you can still see her lilacs as they bloom each year.


The Los Jardineros Garden Club of Taos, encourages gardeners in Taos to plant more lilacs. Lilacs have a typical blooming period of up to three weeks. Many of these brilliant bushes and hedgerows of blossoms can be found while driving the side roads of Taos. 


Here is my route suggestion of a scenic walk or safe drive for viewing lilacs in the Taos Historic District:

Start at the northern end of Salazar Road, head to La Loma Plaza at Valdez and Ranchitos Road, drive on to La Loma Street. Over to the next block onto Valverde Street, there are also some lovely lilacs in bloom on Geronimo Lane near the Hanuman Temple. On Valverde Street you’ll pass behind the Taos Library and Town Hall to reach the Taos Living Center where you can see from the road beautiful lilacs in bloom. 


From Valverde St. cross over Camino de la Placita to Lund Street, there you’ll also find Lilacs in bloom on Theodora Street, Sierra Vista Road, and Hinde Street. 


The Sierra Vista Cemetery (505 Paseo del Pueblo Norte) is awash in lilacs, stroll around to see for yourself. Lilacs are commonly planted in cemeteries as they need little, to no upkeep. Lilac colored clothing was considered proper mourning attire, the flowers were worn as a sign of a lost love.


North onto Paseo del Pueblo Norte turn left onto the northern end of Camino de la Placita and keep an eye out for all the lilacs in bloom that you can see from the roadside until you arrive at the Our Lady of Guadalupe Church. Once again walk around to see the gardens there. Continue on up ‘Placitas’ turn onto Ledoux Street and right onto Ranchitos Road then up on over to Quesnel Street where you’ll see the Couse Meadow and more lilacs all around you.


Cross Kit Carson Road to Morada Lane up to the Mabel Dodge Luhan Home (240 Morada Lane), from the large parking area you can view hedges and rows of more lilacs in bloom. Back onto Kit Carson Road drive east, quickly turning left onto Las Cruces Lane, where you will see some of the very best gardens proudly on display. Back to Kit Carson Road heading east drive to the Thom Wheeler Studio Gallery (939 Kit Carson Rd.). From here, turn back towards Taos until you reach Burch Street turn left here, right onto Los Pandos, then right onto Montoya Street and left back onto Kit Carson Road notice more lilacs at the Couse-Sharp Historic Site (146 Kit Carson Rd.). Turn north onto Paseo del Pueblo Norte to see the lilacs at Kit Carson Park & Cemetery, the Taos Art Museum at Fechin House (227 Paseo del Pueblo Norte) and the El Pueblo Lodge (412 Paseo del Pueblo Norte). 


As lilac season begins to fade in late May, many areas will be past their prime. Lilacs on Bent Street are always worth seeing. 


This route is meant to show you lilacs in bloom right now in the Taos Historic District.


Lucy McCall, a Taos herbalist and Associate Instructor at UNM said, “People are just coming into consciousness of foraging for edible flowers, herbs, and plants. I’ve used lilacs as a febrifuge to reduce fever by steeping lilacs in warm water to make a tea. Not too hot or you’ll lose the lovely aroma. They also have astringent qualities. Lilacs used as a flower essence open up all the chakras for those who practice Kundalini.” Aromatherapy usage of lilacs also helps to ward off depression, creating an uplifting emotional and spirituality quality.


Lilac flowers may also be used to make a simple syrup to enjoy as a refreshment with sparkling water or they can be made into a vodka based beverage much like a homemade limoncello.


Here is my recipe for a delicate and not too sweet,

Lilac Shortbread Cookie


1 Stick of Unsalted Butter

1/4 Cup Powdered Confectioners Sugar

1 Cup Flour

2 Tspns Blueberry Syrup

1 Tspn Vanilla

1/4 Cup Dried Lilac Flowers


Cream the Sugar and Butter

Add the rest of the ingredients, adding the Lilacs last

Roll the dough out between sheets of Parchment Paper to 3/8 inch thick

Use a simple cookie cutter or slice into wedges

Place onto a parchment paper lined cookie sheet

Bake in the oven at 325 degrees for 12-14 minutes until they begin to brown at the edges.


British artist David Hockney has said: “Do remember they can’t cancel the Spring.”


I hope this encourages you to go out for a walk or drive, and take in the

scented air of Lilacs blooming in Taos. 


I've previously written about Lilacs in Taos on a post in 2012. This one includes the best areas in the Taos Historic District to see lilacs blooming right now in May 2025. All photographs posted here are my own.


Mary Cassat Lilacs in a Window 1883