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list-maker, so I had it all catalogued. I decided to put together photographs of the pieces and take them to the museum in Taos. I was all fear and trembling,” she admitted, laughing at the memory. “I went in, looked around, and then went right back out to the car!”
Her collection was a labor of love, and she couldn’t imagine that it would interest the experts. ‘‘Then I told myself, ‘Barbara, you’re an idiot! You’ve done all this work, now get back in there’!”
Never again has Mrs. Stinson questioned her judgment of the value she saw in those mementos of the Southwest. The director looked at the photographs and called in the curator, and they immediately set about arranging an exhibit.
In the programs for exhibits of her collection, the experts have said this:
• about the jewelry — “Some were admired and acquired for their prize-winning aesthetics, others for their character or history. All are marvelous examples of Native American workmanship and design.”
• about the Pueblo pottery — “Some of the very finest wares by reknowned craftspeople.”
• about the miniatures — “They display a meticulous craftsmanship and have a universal appeal.”
• of the collection as a whole — “It allows the viewer to enjoy varied and highly-crafted domestic objects produced in the American Southwest by the principal cultures of that region over a 100-year period of development and change. Moreover, these artistic objects also allow the viewer to see deeply into the cultures represented. Motifs, choice of design elements, size and subject matter all help contribute to a better understanding of these first Americans.”
And for Mrs. Stinson? What has she gained from this lifelong labor of love? “The pleasures derived from building this collection are many,” she explained. “The wonderful months spent roaming the West, the excitement of finding an especially fine piece, the constant gain of knowledge and appreciation of beauty, and the many friends among the craftsmen, artists, traders and collectors.”
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