The J.B. Moore Catalogue and the Evolution of Navajo Crystal Style Weavings

Navajo weaving is a centuries-old art form that began around the late 1600s. Anthropologically, it is gathered that the Navajo (Diné) people learned the art of weaving from Pueblo Native Americans. According to Navajo mythology, they learned to weave from Spider Woman, or Na'ashjé'ii Asdzáá. She is a revered deity who played a vital role in the creation and nurturing of life by weaving the web of the universe. Spider Woman taught the Navajo how to weave and create beauty that honors the interconnectedness of all things. The earliest Navajo weavings were primarily utilitarian in nature, created for clothing, blankets, and ceremonial purposes. The use of wool from the Churro sheep, which the Spanish introduced to the region in the 1500s, played a vital role in the development of Navajo weaving techniques. As cheaper machine-made blankets made their way out west on the railroad, Navajo weavers transitioned from weaving blankets to making rugs for the wall or floor.

 

>> Learn more: All About Navajo Rugs & The Fascinating History of Navajo Rugs: The different periods of Navajo Weavings 

 

The J.B. Moore Catalogue: A Pioneering Force in the Market

In 1896, J.B. Moore purchased the Crystal Trading Post located high in the Chukka Mountains of New Mexico. As an entrepreneur and trader, he recognized the potential of Navajo weavings as an art form and marketable commodity. Moore published the first known catalogue of Navajo rugs in 1903. This groundbreaking catalogue showcased a variety of Navajo weaving styles and patterns, with a particular focus on a unique aesthetic that would eventually become known as the Crystal style. His simple paper catalogue with "plate numbers" for each design style were sent throughout the United States, particularly to customers on the East Coast.

During this period, Navajo weavers began to incorporate new design elements into their weavings in response to the demand for more decorative and colorful pieces. Under the influence of Moore in the early 1900s, the Crystal rug was a distinctive bordered geometric composition, often with hooks, frets, and whirling logs. The central diamond-shaped medallion, which is one hallmark of the Crystal style, was likely inspired by Persian/Oriental rugs, which were popular among collectors at the time. Early Crystal weavings mostly featured the natural, undyed wool of sheep (black, brown, white, grey) with small pops of red or vegetal dye. There are many surviving rugs from this era, and to this day weavers frequently take inspiration from these well-known designs.

Early Crystal weavings are considered the predecessors to the famous Navajo Storm Pattern Design. Even in very early Crystal weavings, you can see hints of design elements that would eventually become essential to the Storm Pattern Design, including a strong central element connected by diagonal stepped lines to elements in each of the four corners. Moore's “Plate IX”, obviously a Storm Pattern but not labeled as such, was first printed between 1903 and 1911.

J.B. Moore Crystal, circa 1910 (notice the early hints of the Storm Pattern design)

J.B. Moore Crystal, Plate XXIII, circa 1910

J.B. Moore Crystal, Plate XXIV, circa 1920

The Evolution of the Crystal Style

After J.B. Moore sold the trading post, the Crystal rug style dramatically changed in color and design, creating two distinct periods of Crystal weavings: J.B. Moore Crystals and modern Crystals. Beginning in the 1940s, the Crystal rug became known as a banded, vegetal-dyed weaving without a border. The J.B. Moore Crystal period had been over for many years when Don Jensen bought the trading post in 1944. Jensen was eager to promote a “new” style of Crystal rug.  He was aware of what Cozy McSparron and the Lippincots had done at Chinle and Wide Ruins with regards to the use of vegetal dyes and blanket revival designs. Jensen followed their lead and encouraged the region’s weavers to adopt a borderless banded design with natural earth tone colors derived from vegetal dyes. 

Modern Crystal Weavings

Below is a summary of the most common design elements found in Crystal style weavings from the 1940s to today:

1. Wavy lines and geometric motifs: The distinguishing characteristic of the Crystal design are wavy lines, created by alternating weft colors along with geometric elements left over from the J.B. Moore period. Crystal style weavings incorporate other geometric shapes such as diamonds, triangles, and zigzags, which are often arranged in a banded design.
2. Minimalist borders: Unlike the more elaborate borders found in other regional styles, Crystal style weavings often feature simple, unadorned borders that emphasize the rug's central design.
3. Vegetal dyes: Many Crystal style weavings use vegetal dyes made from plants, which can produce a range of subtle colors that complement the natural tones of the undyed wool.

Crystal by Mona Laughing

The J.B. Moore catalogue and the rise of the Crystal style played a significant role in shaping the trajectory of Navajo weaving history. Moore's catalogue was instrumental in popularizing Navajo weavings outside the Southwest region, creating a wider market for these exquisite works of art. His marketing efforts introduced the concept of the "Navajo rug" to a broader audience and positioned the art form as a desirable collector's item. The J.B. Moore catalogue continues to be an essential reference for collectors and enthusiasts across the globe.

Today, Navajo weavings remain a symbol of cultural heritage and artistry, with the Crystal style standing out as a testament to the Navajo weavers' ability to adapt, innovate, and create beauty.

Shop Crystal Style Navajo Weavings