Experience Exceptional Art in Clay | Classic to Contemporary
Welcome to King Galleries Pueblo Pottery and Native American Indian Tribal Art.
We are one of the nation’s premiere galleries for Native American Indian Ceramic Arts.
Our mission is to provide our customers with the highest quality artwork at an excellent price, backed with professional customer care.
Education is one of our primary goals to appreciate the amazing historic legacy of this art form. Our focus is primarily on signed historic Pueblo pottery combined with the works of contemporary and emerging potters.
In October 2016 we will celebrate our 20th year in business, and our 18th year on the internet! Each year we host numerous gallery showings and art events and the new artwork is always online the opening day of the show! We update the New Additions page frequently & you can join us for shows online or in the gallery by viewing our Events page.
King Galleries is pleased to represent the Pueblo pottery of many of today’s leading potters. Over the years, we have taken the time to get to know each of our gallery artists. As each new piece comes into the gallery it is important that we are able to convey the individualistic time and thought that goes into the pottery vessel.
It is important with contemporary pottery to understand the designs and motivation of the artist and their work. Equally, with the “signed historic pottery”, it is critical to present the historic legacy and significance of these pieces from the past.
Today, we are lucky to work with the artists not only in a business manner, but also as friends. This unique connection has guided us since our inception and it continues to be our commitment to represent work by potters who create the highest quality and greatest innovation.
Toni Roller is known for her classic shapes and exquisite stone polished pottery. A daughter of Margaret Tafoya, Toni has developed her own distinctive style and this wide shoulder bowl is one of her original forms. It is fully polished and has four bear paws incised into the surface. The bear paws are symbols of a Pueblo story where a bear lead the people to water during a drought. The bowl was made in 1989 and it is in excellent condition with no chips, cracks, restoration or repair.
Charmae Natseway is known for her exceptionally painted pottery and use of distinctive forms. This is one of her few traditional style seedpots. The piece is a flat shape and very delicately painted. There are four Mimbres inspired rabbits as the design. All the different colors are derived from natural clay slips. They are surrounded by fineline and geometric patterns. Charmae is both an exceptional potter and also among the best Acoma painters. The fine lines and precision of her imagery is always a perfect match of form and design.
This jar brings together many of the best elements of Les Namingha’s pottery. The jar is a classic Hopi storage jar shape with the wide shoulder and sloping neck. The top half is painted with a complex pattern of stylized katsina masks. They are detail and appear as the jar is turned. Separating the various masks are the detailed Pueblo designs. There are elements that remind one of the jewelry of Charles Loloma or Boyd Tsosie. Other sections bring to mind the connection of the various katsinas and the seasons, such as with the small moon. As the jar is turned there is the surprise on the bottom with a series of geometric patterns in circular abstract form. They are almost like enlarged fingerprints on the bottom of the jar. Who is holding up the vessel to view this beautifully perfect balance in the complexity of the top designs. Les has named this piece, “Pueblo Ceremony”. It is made from native clay and painted with acrylic and it is signed on the bottom.
Toni Roller is a daughter of noted potter Margaret Tafoya. The bowl is from 1977. It is highly polished and has a carved avanyu on the shoulder of the bowl. As the bowl is turned there is a complexity of designs with cloud and lightning imagery. The bowl is signed in the clay on the bottom and it is in very good condition with no chips, cracks, restoration or repair.
This is a classic water jar shape by Autumn Borts-Medlock. It is carved then stone polished and fired black. The entire surface is fully carved with a water serpent which encircles the jar. The body of the avanyu has cloud and rain patterns and there is a beautiful flow of imagery as the piece is turned. The coloration from the firing is also unique, as it is fired black, but in the light has a golden black color! The glassy polish and the complex carving make this exceptional smaller piece of her pottery. Note as well the depth of carving for a piece this size!! The jar is signed on the bottom in the clay.
This jar is an classic shape for Al Qoyawayma. The jar has a high round shoulder. The entire piece is fully polished tan with one carved area of design. The image is a stylized mosquito, inpsired by the designs painted on the Kiva Murals and pre-historic pottery throughout the Southwest. Note the various levels of carving on this piece and the four directional symbolism in the center of the figure. All the various colorations are natural clay slips which are matte and polished. The lid adds to the overall symmetry and elegance of the jar. It is a stunning piece with a simplicity in form but complexity in the design.
This large cylinder shaped jar by Richard Ebelacker is a technically difficult form to create using the coil method for building the jar. The difficulty arises from trying to make the walls so straight and even! The jar was then carved with a water serpent (avanyu) as the design. Richard often carved with a distinctive flare to his designs as they flowed and undulated around the bowl creating equally beautiful designs no matter which way the piece is turned. The jar was then stone polished and traditionally fired. This jar is in excellent condition with no chips, cracks, restoration or repair.
Dolores continues to amaze us with her “poly-tonal” incised blackware. This is a style which she originated by modifying the classic “black” pottery with polishing and rubbing techniques to create various shades of black and grey. Technically, this is an amazing and time involved process as the surface areas are either polished or slipped with mica or rubbed until they are almost a gunmetal coloration. The designs are created by either incising or etching into the surface and this is combined with painted designs. This plate has a stone polished rim and there is an avanyu encircling the piece. The central medallion is both polished and micaceous and there is a prayer feather pattern. Between the rim and the central medallion it is amazingly complex with bird feather, kiva step, painted and incised designs! WOW! There is a lot for one small plate! The back of the plate has a star-like pattern with a grouping of kiva step designs and the use of micaceous clay.
This is a striking collaborative jar by Jason Garcia and Madeline Naranjo. Madeline made the bowl, carved the design and polished the various sections. Jason painted the design. The imagery tells the story of making a piece of pottery, then polishing and finally firing the jar. Note the complexity in the design as the jar is turned! The section with the pottery firing is exceptional! They did a fantastic job with their collaboration. This is a striking example of two potters working together to create something exceptional!
Dextra Quotskuyva is certainly one of the great innovators among Hopi-Tewa potters. Her work began with more classic imagery and then has evolved over the years to more unique and stylized designs. This bowl is a collaborative piece with her grandson Lowel Chereposy. Lowel is a son of Hisi Quotskuyva Nampeyo. The bowl was made by Lowel and painted by Dextra. The design is a very tightly painted bird pattern. Note how the bird head is to the left and the bird tail is to the right! It is signed on the bottom by both artists. It is in very good condition with no chips, cracks, restoration or repair.
Michelle Tapia-Browning is a daughter of noted potter LuAnn Tafoya and a sister of Daryl Whitegeese. While she is better known for her photography, she is also a gifted potter. This bowl is coil built, carved, stone polished and traditionally fired. The bowl is carved with a rain and mountain pattern. While Michelle makes very few pieces of pottery, her work is classic and beautifully polished.
This engagement basket is a classic piece by Mary Cain. It is fully polished, including the handle! It is always amazing that the handles don’t crack or break in the polishing or firing process. The bowl part of the piece is fully carved with a water serpent as the design. It is in excellent condition with no chips, cracks, restoration or repair.
This owl figure by Margaret and Luther Gutierrez is a classic of their style. They are always whimsical and this one has a lot of additional detail on the body and the head. There are additional geometric patterns on the back as well. They always painted the owls so that they eyes were different. Typically Margaret would have made the piece and Luther, her brother, would have painted it. It is in very good condition with no chips, cracks, restoration or repair. It is signed on the bottom, “Margaret/Luther”.
Felipa Trujillo began making storytellers and pottery in the 1930’s. This bowl is one of her classic pieces with traditional cloud motifs and lizards in relief on the surface. The classic rain cloud patterns seen on the bowl are reminiscent of the classic Cochiti pottery of the late 1800’s. It is the use of the lizards and other animals in relief which was a new “addition” beginning in the 1950’s. This bowl is in good condition with no chips, cracks, restoration or repair. It is signed on the bottom.
The shape of this long neck jar by Russell Sanchez come from the pieces made by his great-aunt, Rose Gonzales. The jar has a wide shoulder and a long neck. The neck has been two-toned tan and green. Separating the two clay colors are two bands of multi-colored hei-shi beads. The body of the jar is fully polished and impressed with four bear paws. This is one of the few times we have seen bear paws on his pottery! Russell said that he hasn’t done bear paws on pieces since the 1980’s. The lid is also a bear, which completes the concept of the entire piece! The hei-shi beads are made by the Calabaza family of Santo Domingo Pueblo. The jar is signed on the bottom in the clay. It’s fascinating how Russell uses these historic elements to keep them alive on his contemporary pottery.
Nathan Youngblood has created his own distinctive “polychrome” style of pottery with the use of the red, tan and buff surfaces on his pottery. This jar has an oval shaped mouth. The body of the jar is fully carved with cloud and rain designs and it is polished red. The neck and base are fully polished tan. Note the depth of carving on the jar, few potters carve as deep and with such precision. The shape of the oval mouth on the jar is also unusual. On his red and tan pieces, after they are fired, he uses screwdrivers to scrape the background area and the side of the carving. This can take almost as much time as the carving or polishing itself! Amazing the amount of time that goes into each vessel and yet how stunning they appear!
This jar is an unusual shape by Linda Tafoya-Sanchez. The jar has a wide shoulder but the neck is offset and there is an indention in the jar leading up to the neck. The unique form creates a “shawl” of classic feathers surrounding a cloud design over a kiva pattern. The neck is also carved into the negative space with a lightning design. Below the shoulder is a band of micaceous clay and the bottom is fully polished. The jar is polished to a glassy appearance! The variation in the form create unique spaces for the light to reflect! Linda is a granddaughter of Margaret Tafoya and the quality and creativity in her carving are readily apparent on this vessel! It is signed on the base.
Andrew and Judy Harvier work together under the name “Nana Kaa”, which means Aspen Leaves in Tewa. This is one of their collaborative pieces. It is a fully polished seedpot with an incised butterfly as the design. It is from 1984 and it is in excellent condition with no chips, cracks, restoration or repair. It is signed, “Nana” on the bottom.
Noreen Simplicio is known for her whimsical pottery which is inspired by classic Zuni designs. This seedpot has a classic heartline deer design around the shoulder of the piece. The deer are looking upwards and are separated by a fineline prayer feather pattern. The top of the seedpot has three lizards, two of which are climbing out of the top of the piece! The third one appears to be sunning itself on the top of the seedpot! They are charming and her work always seems to elicit a smile! The seedpot is in excellent condition with no chips, cracks, restoration or repair. It is signed on the bottom.
Sandra Victorino is a niece of noted potter Dorothy Torivio. Sandra has her own unique style of “op-art”, where the patterns start small, then get larger and then smaller again on the vessel. These pieces reflect the variety and intricacy of her pottery designs. This jar has the white clay painted with the black bee-weed (a plant) and a red clay slip. The jar is intricately painted with a op-art style kiva step and fineline geometric pattern. Sandra creates a beautiful sense of balance between the form and design.
Diane Lewis is known for her tightly painted miniature pottery. This is one of her classic seedpots, but very tiny in size! The seedpot has a Mimbres style deer on the top. It is surrounded by polychrome rain and plant designs. All the various colors are natural clay slips. It is an exciting modern interpretation of classic Acoma imagery.
Sylvia Naha created pieces with the white clay polished surface painted with bee-weed (black) and native clay slips. Throughout the 1980’s, Sylvia was considered among the most innovative of the Hopi potters. Her pieces were classic in form and amazingly intricate in design. This jar is a “miniature” version of complicated “shard” pattern pottery. Half of the seepdot has a lizard and stalk of corn. The other half is a very intricate pottery shard design. The shards have various images taken from both Sylivas pottery (like the turtle) and traditional Hopi-Tewa pottery. It is in excellent condition with no chips, cracks, restoration or repair. The jar is signed on the bottom with a feather and an “S”.
This tile by Jason Garcia is part of his Corn Maiden series which features young women in traditional dress for the Corn Dance and placing them in a modern context. This tile has two Tewa women relaxing in the river during the sumemr. The pueblo can be seen in the background and there is the traditional rain cloud in the sky. Each piece is a hand built clay tile, made from native clay. All of the colors are derived from Native clay.
This is a spectacular large jar by Diane Lewis-Garcia. While she is known for her miniatures, this large jar captures her dynamic painting style. There are numerous birds encircling the jar. They are each intricately painted with various clay slips and complex designs. The jar has a beautiful flow of imagery as it is turned. Each of the birds is inspired by Acoma, Mimbres or Pueblo iconography. All the various colors are natural clay slips. It is an exciting modern interpretation of classic Acoma imagery.
This intricate seedpot by Grace Medicine Flower is from 1982. It is fully polished and has two medallions of design. They are each intricately etched into the clay with hummingbirds and flowers along with traditional feather designs. There are additional colored clay slips added to the surface. The piece is signed on the bottom in the clay. It is in excellent condition with no chips,cracks restoration or repair. It is elegant and stunning!
This jar by Alice Cling has a narrow base and has an asymmetrical rim. The idea is that the rim looks like the mountains and mesas in the Southwest. This jar is fully polished red and then fired outdoors. The stunning variation in the color are from the smoke and fire. The colors on this piece are extraordinary as there are areas which range from red to deep black! The piece was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery water proof. Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”
This jar by Vernida Polacca is an elegant shape with a round body and a slightly turned out neck. Vernida is a granddaughter of Fannie Nampeyo. This jar is delicately painted with a migration pattern as the design. Note the precision of Verndia’s painting. It fits perfectly on the thin walled jar.
This miniature wedding vase by Harriet Tafoya is very highly polished. It is painted on both sides with a cloud and prayer feather pattern. The remainder of the piece is fully polished. Harriet, and her sister Annie Baca, are both known for their miniature pottery.