The Spanish Colonial furniture, tinwork, Rio Grande blankets and Colchas represent the resourcefulness and endurance of Hispanic settlers.
The architecture of the original building which reflect traditional building methods, is as culturally significant as the objects on display.
"Tripod" Bulto, untitled, with 2 faces.
Patrocino Barela, ca. 1950. Taos, NM. H: 41.9 cm, W 50 cm.
Patrocino was one of Taos' most important artist of the 20th century. As a wood sculptor, he was unique in his art, which was predominately religious but outside the "Santero tradition" of Northern New Mexico.
Black cross with straw inlay of smaller crosses; a vertical straw stripe on each arm and 4 horizontal stripes on long pieces.
Felix was awarded Master's Award for lifetime achievement by Spanish Colonial Arts Society in 2007. Artist also creates painted bultos.
Felix A. Lopez , Espanola, NM. ca. 1980. H: 60.9 cm, W: 40.9 cm.
Straw appliqué and straw inlay are described as "poor man's gold." It is a process where pieces of wheat straw were split and scraped to bring out their luster. A home-made glue consisting of pine sap was used as a gesso to treat the wood and to glue the straw to the wood.
Tin cross with old wallpaper, glass.
Angelina Delgado Martinez, ca. 1980. W 31.7 cm, H: 38 cm.
Hispanic tinwork evolved in the Southwest after 1846 when tin became readily available as a recycled material. Between 1860 and 1890, the need for tin frames, sconces, and boxes grew.
Domestic arts and crafts of Hispanic life in New Mexico reflect influences from Native American, European, Mexican, American and Asian cultures. Today, these domestic arts are continued by artists and craftsmen whose heritage is expressed in works where simplicity an inherent part of their beauty.
Historically, the remote agrarian communities of northern New Mexico were self-sufficient. By necessity, life and the tools to survive were crafted and adorned with the few materials abundantly available in these remote areas – soft pine, stone, leather and wool.