**Originally Listed At $500**
Patrick Swazo Hinds (Tesugue Pueblo, 1924-1974). "Eagle Dancers" stone lithograph on paper, 1972. Edition number 43/70. Hand-signed, numbered, and dated in pencil at the bottom. Patrick Swazo Hinds' "Eagle Dancers" is part of his Tesuque Pueblo portfolio. In this composition, Swazo Hinds presents a pair of Tewa Eagle Dancers engaged in swooping bird-like movements while wearing elaborate avian outfits replete with feathered "wings" and beaked headdresses as well as kilts trimmed with seashells that create a lively jingling sound as they dance. A captivating vision in a brilliant color palette of buttery yellow, cornflower blue, black, grey and white hues - replete with impressive artistry, style, and ethnographic meaning and symbolism. Size: 22" L x 30" W (55.9 cm x 76.2 cm) Size of frame: 30.875" L x 38.6" W (78.4 cm x 98 cm)
Pueblo peoples revere eagles and believe that they represent the links between the earthly world and the supernatural world. Their gift of soaring flight is thought to provide a means of delivering the requests, prayers, and thanks for what the katsinas have delivered.
Artist Biography: "Patrick Swazo Hinds was a renowned artist and painter whose work combined Native motifs with a modern style that became an expression of his heritage and culture. As a child, he was adopted and moved to California where he pursued his education in art. He attended Hill and Canyon School of Arts in Santa Fe, New Mexico; California College of Arts and Crafts in Oakland; Mexico City College; and the Art Institute of Chicago. He also served in the U.S. Marines during the Korean War, and later worked as a teacher before becoming a full-time artist. Over his lifetime, Swazo Hinds's works have been shown in numerous exhibitions, including at the San Francisco Museum of Modern Art, and are in the permanent collections of the Institute of American Indian Arts and the National Museum of the American Indian.
As an important person in the California art scene, Swazo Hinds departed from the traditional style and painted highly abstracted pieces that emphasized his connection to his Pueblo culture, which he visited every summer after his adoption. He stated, 'I have worked hard to learn to paint and now I have chosen to paint the Indian . . . and his religion and his culture as I understand it. I can paint an Indian as ugly as I want, because there is pain, there is sorrow, there is suffering. I can paint him beautiful, because that is there, too.'" (Autry Museum of the American West website)
This edition consisted of 70 numbered impressions on buff Arches paper, plus two Tamarind Impressions, and seven artist's proofs. In addition, a few trial proofs exist and are recorded at Tamarind. Note: this example has the Tamarind blindstamp on the lower right.
Provenance: ex-private Bishop Family Trust collection, the Trust of the late Bill Bishop, a noted antiquarian with shops in Scottsdale, Arizona and Allenspark, Colorado, USA, acquired before 2010
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#173167
Condition
This stone lithograph is hand-signed, numbered, and dated in pencil at the bottom. It also has a Tamarind Institute blindstamp on the lower right corner. The impression is very strong with bold color and vivid imagery. The print is set in an attractive custom frame under glass and has not been examined outside the frame. This said, it appears to be in excellent condition. The frame is also in wonderful condition save a few minor scuffs/nicks. Fitted with a suspension wire and ready to display. A gorgeous piece.