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Weaving an Artistically Southwest Collection

The sleek lines of the DeJong residence fit snugly into the desert landscape. Designed in , it was awarded the American Institute of Architects (AIA) Santa Fe Design Excellence Award.
View of the front entrance.
View from the front portal.

Approaching the home of Susan and Conrad DeJong, one is immediately struck by its sleek, fluid lines, which echo the surrounding desert mountain terrain.

The dynamic interior spaces are equally striking; inviting an interplay of shadow and light against a variety of surface textures.

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This setting is the perfect complement to the museum-quality Navajo textiles that fill the house; their geometric motifs and timeless designs in perfect harmony with their environment.

The DeJongs’ collection is unique for its broad range of blankets and rugs from the s to the present, with recent interest focusing on blankets and serapes—the former having greater width and the latter greater height.

Each example has been carefully selected for its pattern, colors, rarity, and aesthetic merit, resulting in a collection considered by many to be one of the best of its type in private hands. Aware that great design spans time and cultures, the DeJongs have combined their textiles with contemporary art; juxtaposing them throughout the house, both in their casual spaces and in their formal gallery designed to capture optimal natural light.

A pair of drawings by (–) offer a visual contrast with the contemporary dining area and view to the portal and hills beyond.

A Zuni pot signed by Josephine Nahohai and decorated with symbolic creatures rests on the counter. A Laguna pot is placed on an ebonized oak table with lattice and glass central inset; the table and chairs are from Berman Rosetti, Los Angeles, California.

The combination of antique textiles, baskets, pottery, glass, and contemporary art and sculpture creates a relaxed, comfortable setting.

While creative in their own right, the DeJongs were assisted with the placement of art and choice of furnishings by interior designer Ron Scolman of Santa Fe and Minneapolis.

Resting on the far left end of the sofa is a sand painting weaving, circa , by Gladys Manuelito. Woven with the intent to preserve ceremonial imagery, such blankets are rare because of their sensitive subject matter.

This example depicts part of the “Night Way Chant” with Yei figures and sacred plants. On the wall behind is a late classic-period child’s blanket. On the table in the foreground is a contemporary flute by Native American Ira Funmaker. The larger of the two pots is a circa Santo Domingo Pueblo pot from the Walkir Art Collection.

An early twentieth-century Sunday (fancy) saddle blanket (below) and a wedge-type design blanket by Julia Upshaw (right) are on the sofa. The dining room with its suspended treble clef lighting device is seen beyond.

The seeds of this collection were planted over thirty years ago, when Minneapolis-based concert flutist Susan DeJong began playing for the Santa Fe Opera in In her spare time, she traveled throughout the panoramic Southwest, exploring the back rooms of trading posts such as Teec Nos Pos in the Four Corners area and Toadlena in New Mexico.

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While she purchased fine basketry and small pots, her first love was for exquisitely handcrafted contemporary weavings from the Navajo Reservation in New Mexico and Arizona. As she learned more about Navajo textiles, Susan began to turn her attention to weavings of the nineteenth century, purchasing only “the very finest” she could afford.

Her resulting collection extends across the early historical period to transitional and modern pieces.

As Susan explains, blankets have always been central to Native American life; as a protective layer from the elements, as trade items, and as signifiers of traditional culture. The earliest surviving Navajo blanket is a fragment dating to ; its decorative elements consist of horizontal striping.

Perhaps the most recognized blankets with this design motif are the Chief Blankets, woven for Navajo tribe leaders and also highly prized as trade items among other tribes. Though crafted throughout the history of Navajo weaving, the finest extant examples were made in the s to s during what is referred to as the “classic period,” of which there are three phases.

Blankets from the first phase (–) have simple broad horizontal bands and stripes of natural brown and white wool with the addition of indigo. Red was introduced into the designs of the second phase (–) in the form of stripes or rectangular blocks. In the third phase (–s), diamond designs, with quarter, half, and full form, were introduced, often with serrated or stepped edges.

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    • At this stage, additional natural colors, such as yellow and green, were added to the palette.

    A Germantown Chief Blanket, circa , hangs above a selection of Native American baskets.
    A selection of Germantown “eye dazzlers” line one of the hallways, with contemporary landscape paintings by Dennis Nechvatal () as the focal point at the end.

    By the s, the first federally licensed trading posts were established, providing an outlet for the Navajo to trade their goods for supplies.

    The railroads followed in the s, giving greater access to outside goods such as brilliant dyes for homespun wools, and vibrant synthetic yarns produced in Germantown, Pennsylvania. Increased trading opportunities also provided the Navajo with exposure to the jagged-edged patterns of Saltillos serape blankets worn by the Mexican caballeros. These two influences resulted in what came to be known as Navajo “eye dazzlers” or “Germantown” blankets, terms used that describe the explosive palette of colors in elaborate, jazzy designs, often with saw-toothed elements.



    The nature of weaving also changed once traders began to sell factory-made Pendleton blankets (named for the major commercial producer, Pendleton Mills) in the s.

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    With the need to produce their own textiles now diminished, the Navajo focused on making blankets and rugs for a growing tourist trade. Traders had disdained what they considered the gaudy dyes of the eye dazzlers, and so colors were simplified for market demand. Rugs made during this “trading post era” are also recognized by the distinctive geometric designs associated with each post, some with patterns influenced by Oriental rugs.

    The relaxed atmosphere of the living room and concert hall segue into the more formal marble-floored gallery.

    In the front room, a selection of baskets, pottery, and clay figures create an eclectic display in contrast to the smooth plaster of the opposing wall. Three rare Navajo blankets are draped on the back of the sofa: an s “Slave Blanket” in colorful pastels that reflect Hispanic influence; an “late classic” blanket with a striking white background; An s Chief Blanket with band and lozenge design.

    On the floor, a s Teec Nos Pos Navajo rug from the Four Corners trading post shows the distinctive influences of Oriental rug design. An s Germantown eye-­dazzler blanket beckons from the gallery.

    Conrad and Susan DeJong in their concert hall. On the wall behind them are two circa classic Moki blankets, identified by their indigo and dark brown alternating stripes.

    English artist Glenn Brown’s Saturday Night Fever, , hangs above the harpsichord and circa double music stand.

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    A Teec Nos Pos pictorial Yei-figure rug with unusual bird motif is on the floor.

    The juxtaposition of old and new. A J. B. Moore Crystal rug, circa , shows influences of Oriental rug designs. It features an unusual dark brown background, which creates a dramatic effect.

    Beside it is John Buck’s woodblock print, Father and Son.

    The DeJong’s home includes a gallery in which examples from their textile collection are displayed as works of art alongside modern studio work. The blankets and rugs are regularly rotated, with those not in use stored in a cedar-lined vault.



    The Crystal trading post rug (front left), circa s, is one of Susan’s favorite’s. It is unusual in its pictorial imagery depicting four men, one smoking a cigar, driving model T automobiles. Beside it is Dennis Nechvatal’s Power Grid of , composed of metal tin can lids, paint, and wood. The contemporary image is paired with an unusual diagonally striped blanket, circa , “The only one I have ever seen like this,” says Susan.

    In a case on the opposite wall is Mary Bero’s Heart Throb, embroidered with words describing different emotions connected with love.

    This s Germantown eye dazzler with variegated yarn is “an outstanding piece,” says Susan.

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    • The vertical window plays against the architectural elements of the blanket.

    Susan describes this circa pictorial Navajo rug as her favorite. “Everyone goes wild over this,” she says. “The artistry is really wonderful and visually striking.” The combination of figures and colors is also quite unusual.

    The imagery and color scheme is complemented by Deborah Oropallo’s Red.

    “I love this area,” says Susan, which is no surprise given its views of the mountains and the room’s bright atmosphere—the result of the expansive windows and contemporary table and chairs designed by Dakota Jackson.

    Other twentieth-century design elements, such as the s Italian designer lamp and James Rosenquist print, Kabuki Blushes, are balanced with early-twentieth-century African masks and an Apache figurative basket.

    Architect Pedro Márquez of Santa Fe rests against the front portal.

    Because of her passion for collecting, Susan amassed more blankets and rugs than she could display.

    As part of the solution, in , she started Southwest Accents and began to buy and sell Navajo textiles for a private clientele and to participate in select shows. In , she assembled over forty of her finest textiles and arranged for them to tour museums in the upper Midwest. The exhibition, A Century of Navajo Weaving, documented the history of Navajo weaving from to the present.

    She subsequently put together a smaller version that traveled to schools in Minnesota under the auspices of Young Audiences, a program that brings music and art to children. This show not only displayed the artistry and culture of the Navajo, but enabled students to try their hand at weaving and designing their own textiles.

    Susan says that it gave her great joy to share her collection and to have it used as an educational resource.

    Because they want their collection to be shown to its best advantage, Susan and Conrad believe the style and design of their home is important. When they decided in to plan a future move to Santa Fe, they contacted twenty architects before selecting local architect Pedro Márquez (right).

    “Pedro gave us more than we ever expected,” say the DeJongs. Completed in , a year later the house won an American Institute of Architects (AIA) Santa Fe Design Excellence Award.

    In addition to creating a structure that complemented the collection, Márquez paid tribute to the couple’s musicianship (Conrad was a professor of theory and composition for thirty-one years at the University of Wisconsin-River Falls), symbolized in part by the treble clef lighting fixture above the dining table.

    Biography of michael jackson Born in Malaysia, Lim moved to the United States when she was 19 years old. Eventually, while living in Seattle, she started her own public relations firm to assist specifically non-profit organizations. Upon moving to Santa Fe, New Mexico, Lim decided to take her career in a new direction and began freelancing for a newspaper before becoming an editor of the magazine Santa Fe Trend. Lim soon decided that the next step in her career as a writer would be to write a book. It came out September of last year with the goal of informing readers about creating a home that is a sanctuary that nourishes the spirit and revitalizes a person.

    He also incorporated a space for performances. Fittingly, Márquez, an accomplished composer-crooner of cowboy ballads, together with Susan, gave the first recital at the house dedication in June The DeJong residence is now known not only as a place where some of the finest Navajo textiles may be found, but it has become an intimate setting for arts fundraisers and musical soirees.

    Sunamita Lim is a Santa Fe freelance journalist and editor of Santa Fe Trend.

    This article was originally published in the Summer issue of Antiques & Fine Art magazine (established ), which is affiliated with (launched in ).