15" x 17" and 12" x 15"
In 1493, on Columbus' second voyage to the Americas, Spanish horses were brought back to North America, first in the Virgin Islands, and, in 1519, they were reintroduced on the continent, in modern-day Mexico. From there, they radiated throughout the American Great Plains and, shortly thereafter, to Navajo land. At that point, the Navajo people began a love affair with the horse that persists to this very day. Much like the introduction of Ford’s Mustang, the horse represented freedom, mobility, and speed. Elsie Holiday projects the love of the horse and their offspring through her Mother and Child reunion basket set. Might that be Paul Simon playing on the eight track?
Elsie Stone Holiday - Basketweaver: Considered one of the best of the best Navajo basket weavers, Elsie Stone Holiday married into the famed Douglas Mesa family of weavers. Weaving baskets has become almost an addiction for her. "When I go two or three days without weaving I get anxious to get started again," she says. She weaves 12 hours a day, 5 days a week. "Sometimes I think, 'How long can this last?'", she wistfully states, but for now she is content with her art, finding immense satisfaction in creating premier quality baskets.
Learning the art of basket weaving from the family that is famous for the Navajo basket renaissance is certainly an advantage for Elsie Stone Holiday, and she has added talent and dedication to that advantage, with remarkable results.
Elsie knew how to weave rugs before she married, so weaving baskets was fairly easy for her to master. She learned from such renowned artists as Sally and Lorraine Black, Rose Esplain, and her mother-in-law, Betty White Holiday. Then she simply made the art her own by using her natural intuitive creativity.
The mother of six children, Elsie has only been weaving for about eleven years, since her children became old enough to allow her the time. Now they watch her, and sometimes help with the non-weaving tasks connected to the work, learning as they do so.
Elsie gathers the sumac strips used for her weaving along waterways in Hanksville or Moab, Utah, and Farmington, New Mexico. She says the reeds grow well along irrigation ditches, and are most pliable in the spring and fall months. She gathers about a six-month supply and then takes them home and readies them for weaving by stripping off the bark and splitting the reeds. Then Elsie does something few other weavers care to do- she takes the split reed and pulls it through a hole in a can, to strip away any excess, making the strips uniform size. It is this, and her propensity for a uniform, tight weave, that makes Elsie's baskets premium quality. If she notices any irregularities, Elsie picks out her weaving and begins again. She truly cares about making her baskets as perfect as possible.
Elsie's technique is not her only fine point, she also has a wonderful imagination for new design ideas. Elsie is modest when praised for her work and eager for any suggestions. She has an enthusiastic desire to please those who buy her baskets.
Elsie's father is a practicing medicine man, but it is her mother-in-law who has helped her with her weaving by performing ceremonies for her. A crystal gazer, Betty knows much about traditional Navajo medicine. She sprinkled corn pollen on a spider web and placed it on Elsie's head, all the while saying a prayer. The spider web represents the weaving done by spider woman, an important personage in Navajo mythology. Elsie confirms the validity of the ceremony by proclaiming how much it has helped her in her weaving.