Featured New Additions
Tuesday, October 24, 2017
Monday, October 23, 2017
Kevin Naranjo creates beautifully incised pottery with realistic scenes. This miniature jar is amazingly intricate with designs. The rim has cloud pattern and below that is an eagle feather design. There is a central medallion with a realistic bear. Around the side of the bowl as it is turned there is an eagle, bear paw tracks and at the very bottom an avanyu (water serpent). To accentuate his designs Kevin creates sienna areas in contrast to the black. This highlights the rim, bear paw tracks and eagle. The bowl itself is very highly polished which gives added dimension to the designs. The jar is signed on the bottom in the clay.
Russell Sanchez continues to revive historic shapes with is intricate designs and complex slips. This unique box is reminiscent of the boxes from the 1920’s made at San Ildefonso Pueblo. Boxes are always difficult to make and often crack during drying or the firing stage because of the pull against the flat walls. This box has a deer on one side and a coyote on the other. On the opposite sides are circular medallions with black mica clay which are etched into geometric corn patterns. They medallions are surrounded by black (jet) hei-shi beads. The two animals have turquoise insets. The base of the box has a “foot”, much like many of the early San Ildefonso vessels. Here the foot is matte and etched with little dots. It gives the piece a bit more height and there is something charming about it, especially in person. The lid of the box has a fully polished bear with an inset piece of turquoise and etched flower designs on the corners. The red clay used on the box is a deep red, which is the new clay Russell has been using. It is signed on the bottom in the clay, ‘Russell Sanchez”.
Iris Nampeyo is a daughter of Fannie Nampeyo and a well known for her elegant asymmetrical vessels with corn as part of the design in relief. Iris began using the corn in relief on the surface of her pottery in the early 1980’s. The corn is symbolic of being part of the Corn Clan. The surface of the bowl is stone polished and the corn on the front is in applique relief. The husk of the corn is sharp and the matte area extends around to the base of the jar. The matte areas are in contrast to the remainder of the piece which is polished. The opening is asymmetrical which is in keeping with the organic style of the form. There is a simplicity and elegance in her pottery. While she no longer makes pottery, her vessels remain classic. This piece is signed on the bottom in the clay and it is in excellent condition with no chips, cracks, restoration or repair.
Saturday, October 21, 2017
Loren Ami’s pottery is inspired by traditional Hopi designs and forms. He learned to make pottery from Dextra Quotskuyva and the canteens were one of the special pieces she taught him to make. Each piece is coil built, painted with native clays (red) and bee-weed (black) and outdoor fired. This canteen has a classic shape and it is fully polished. The design is painted on the front and has a cloud, water and plant pattern. The red areas are stone polished and there is a bit of mica in the red clay. This piece is signed on the back with his name and a spider design. It is from 1997 and it is in excellent condition with no chips, cracks, restoration or repair. Loren is certainly one of the traditionalist Hopi-Tewa potters to watch.
Camille “Hisi” Nampeyo learned to make pottery from her mother, Dextra Quotskuyva, a sister of noted painter Dan Namingha and a descendant of Nampeyo of Hano, Annie Healing and Rachel Nampeyo. She is known for her use of traditional imagery and the delicate painting of her designs. This tall jar is painted with a migration pattern. This is a classic pattern which Hisi paints with numerous delicate lines. Note the quantity of the thinly painted lines on this jar! The black is painted with bee-weed (a plant) and the jar is traditionally fired. It is signed on the bottom. It is in excellent condition with no chips, cracks, restoration or repair.
Friday, October 20, 2017
Grace Medicine Flower is one of the masterful potters of Santa Clara Pueblo. She began with sgraffito (etching) technique in her pottery around 1970 and was always creative in her forms and designs. This is one of her distinctive large black pieces that is fully carved. The top of the bowl has six swirling melon ribs extending downward. The side of the bowl is fully carved with triangular and rectangular cloud patterns which circle in on themselves. Within each of these sections there is a small area which has a carved kiva step pattern. The entire surface of the bowl is fully polished to a high shine and fired a deep black. It is a testament to Grace’s creativity throughout her career that each of her pieces is unique and she was always trying to expand her styles and make each piece unique. The bowl is signed on the bottom in the clay. It is from 1991. It is in excellent condition with no chips, cracks, restoration or repair. While Grace has now retired from pottery, her work remains elegant and stunning!
The is a small fully polished seedpot by Camilio Tafoya. The seedpot was made in 1975 and it is fully etched with designs. It is polished red and on one side there is a deer who is watching the leaping field mice on the other side. Separating the two sections are a feather pattern. The seedpot is signed on the bottom in the clay. It is in excellent condition with no chips, cracks, restoration or repair.
Thursday, October 19, 2017
Tammy Garcia is known for her contemporary designs and use of traditional clay. This jar incorporates her evolving style of carving her pieces in various layers. This jar is has a single large quail head carved on one side. The red and tan clay slips create the various colors. The remainder of the jar has plant and dragonfly designs. Note the small plant design on the rim of the jar and how the wings of the dragonflies curve over the shoulder! Exceptional! Tammy has won numerous awards for her pottery for nearly the past 30 years. Her creative work in clay, glass and bronze is found in museums worldwide. It is exciting to see how her contemporary work continues to move Pueblo pottery forward with it innovations.
This is a stunning and complex polychrome jar from Dolores Curran. She continues to create intricately incised and painted pottery. She was inspired to create these red polychrome incised and painted by her husband, Alvin Curran. He was known for his incised San Juan style pottery in the 1990’s. This jar has incised butterfly and flower designs around the neck. As the design gets closer to the shoulder, there are incised clouds and rain designs. What is incised mean? Incised is just a bit deeper carving than the sgraffito or etched designs, but not as deep as carved designs. There is a tightness and precision required of incised designs and it a skill with which Dolores excels. Around the shoulder is a carved avanyu and below that are stylized bowls with prayer feathers. Near the base are cloud and rain designs painted on the polished red surface. Note even the little red-on-red dragonflies! The design on the lid is a plant pattern and there are painted dragonfly and cloud designs on the lid. When the lid is turned over there is an incised turtle underneath! The entire jar combines polished, matte and micaceous surfaces. All the colorations are from natural clay slips. It is an extraordinary amount of time to create pieces this intricate both in design and in the various clay additions. The jar is signed on the bottom in the clay. Simply perfect!
Wednesday, October 18, 2017
Blue Corn is often best known for her polychrome pottery, she also made exquisite black-on-black pottery. She learned to make pottery from Maria Martinez at San Ildefonso. This wide bowl is fully polished and painted with 53 feathers on the top of the bowl. The contrast of the matte feathers and the highly polished surface works perfectly! The bowl is a great shape for the design as there is just a slight dip from the shoulder to the neck which gives added emphasis to the feather pattern. The bowl is signed on the bottom in the clay “Blue Corn, San Ildefonso”. The bowl is in good condition with no chips, cracks, restoration or repair. There are a few light surface scratches seen in the photos.
This charming miniature red jar by Grace Medicine Flower is fully polished and incised. The design is a central medallion with a hummingbird and iris. As the jar is turned there is another hummingbird on the back with two more iris flowers. There are additional cloud and rain designs along with an eternity band. The jar is a wonderful shape with just a slight turn out of the neck! It is from the 1990’s and it is in excellent condition with no chips, cracks, restoration or repair. It is signed on the bottom in the clay, “Grace Medicine Flower”.
Tuesday, October 17, 2017
This is an open bowl by Robert Tenorio. The bowl is painted on the outside with a classic Santo Domingo (Kewa) design. The inside has three flowers. They are each connected and the leaves have a rain design. The background is fully painted black, giving the bowl a negative space appearance. The bowl also has a “spirit line” or a break in the painted line around the rim. This goes back to historic Kewa pottery when the artist would use the spirit line to release their spirit or connection from the vessel. The bowl is in very good condition with no chips, cracks, restoration or repair. The bowl is signed on the bottom in the clay. It has an interesting provenance, as it comes to us from the collection of Richard Spivey, known for his books on Maria Martinez. The bowl was made as a Christmas gift to Richard and his wife in 1980. In the clay on the bottom it says, “To Mr. & Mrs. R. Spivey. May our friendship float on by spirit as well as by heart. Robert Tenorio”. Beautiful.
This is a unique large figurative piece by Marie Z. Chino. It is a chicken and note the use of her classic fineline designs which create the wings. The body and tail are painted with feather patterns. The unique part is that the chicken is signed by Marie Z. Chino and her daughters Rose and Grace. The piece is in very good condition with no chips, cracks, restoration or repair. It comes from the collection of Richard Spivey, known for his books on Maria Martinez. Richard was good friends with Marie and her family and so that is probably why it is signed by all three.
Monday, October 16, 2017
This is a jar is a highly polished piece by Geri Naranjo. She is known for her miniature pottery and intricate designs. Here rim is matte and has been two-toned sienna. Around the shoulder are a water serpent (avanyu) and feather pattern. There is an additional cloud design near the base. The jar is signed on the bottom in the clay, “Geri Naranjo”. It is in excellent condition with no chips, cracks, restoration or repair.
The is a small but intricate seedpot by Camilio Tafoya. The seedpot was made in 1980’s and it is fully etched with designs. It is polished red and the top is etched with a star pattern and four rabbits. Rabbits were a them often used by Camilio on his pottery. The bottom of the seedpot has a water design. The various colors of green and white are from natural clay slips. The seedpot is signed on the bottom in the clay. It is in excellent condition with no chips, cracks, restoration or repair.
Saturday, October 13, 2017
This is a striking larger jar by Dolores Curran. Before she began making her carved pieces, she was well known for her delicately painted buff-on-red pottery. The jar is highly polished red and painted with a buff clay for the design. Amazingly, she would paint each piece up to five times to get the color of the matte painted areas deep and consistent enough! This jar has a water serpent around the neck. Around the shoulder are two bands of feathers. Note that three of the feathers on each are filled in with a matte red clay slip. Separating the feathers are very tightly painted cloud patterns. Below the shoulder are small cloud, rain and lightning designs. So why doesn’t Dolores make this style anymore? She ran out of the cream colored clay slip for the painting, and so only uses it as an accent on her new work! As well, this is a larger sized piece of her painted pottery, as she mostly made miniatures due to the time consuming nature of the painting. The jar is signed and dated on the bottom. It is in excellent condition with no chips, cracks, restoration or repair.
This is a large jar by Virgil Ortiz inspired by traditional Cochiti designs. The jar has a high shoulder for the form, which works great to allow the most space for his dynamic designs. This jar has a rainbow and cloud pattern around the neck. Below the shoulder are classic Cochiti plant and wild spinach plant designs. Virgil has modernized them into striking graphics which somehow blend both the historic and modern into one. The use of negative space and the cream colored clay slip as a background adds to the intensity of the black designs which are painted from the wild spinach plant! There is a space on the rim of the neck where it is unpainted, which is the “heartline”, which Virgil always paints on his clay vessels. The jar is signed on the bottom.
Friday, October 13, 2017
Lucy Lewis is one of the great Matriarch potters of the past century. This jar is coil built and painted using bee-weed, a plant. The design consists of four heartline deer. This imagery is a classic to both Acoma and Zuni pottery, with the heartline signifying the center or “heart” of the animal. This jar is thin walled and delicately painted. It was traditionally fired so the white has much more of a pearlescent coloration, which creates added depth. The jar is signed on the bottom, “Lucy M. Lewis”. It is in very good condition with no chips, cracks, restoration or repair.
This is a large double shoulder water jar by Cavan Gonzales. He is a descendant of Maria Martinez, through her son Adam Martinez. Cavan is one of the few potters today who continues to make traditional polychrome pottery. This jar is slipped with a cream colored clay and then painted with black and red clay slips. The design is a rain, snow and cloud motif which encircles the jar. The rim is fluted and then painted with a red clay slip on the inside. The jar has been traditionally fired and it is signed on the bottom in the clay.
Thursday, October 12, 2017
This is an unusual carved bowl by Maria Martinez and her husband, Julian. Maria would make the pottery and Julian would paint, or in this case, carve, the design. Much of the carved pottery they created was in the early 1930’s. It is “negative space” carving, as opposed to the linear carving later from Santa Clara. As well, there is definitely a visual difference between their carved pottery and that of others from the same period. This bowl has a rain and cloud or thunder pattern carved into the clay. In the background area where the clay has been carved away the same red slip was applied but left matte. For Maria and Julian, the carved pottery was never as popular as the painted ware and was also more time consuming. They made them for a very short period and there remain very few in existence. This bowl is from the 1930’s and it is signed on the bottom in the clay, “Marie + Julian”. It is in good condition with no chips, cracks, restoration or repair. It is definitely a unique piece of history by these exceptional artists!
This is a very unusual bowl by Susana Aguilar. The piece is from the late 1920’s as it was only in 1925-6 that the potters there began making redware. This piece is painted red-on-red and then outlined with a white clay slip. The design is a water serpent which encircles the bowl. There are clouds surrounding the avanyu. The contrast of the matte red on the highly polished red works well for this bowl. It is signed on the bottom in the clay, “Susana”. The bowl is in good condition with no chips, cracks, restoration or repair. There is some loss of the matte red and white on the back of the design.
Wednesday, October 11, 2017
This exceptional seedpot by Joseph Lonewolf is from 1995. The piece is entitled, “Birds of Prey”. It includes the story card which Joseph made for each of his miniatures. Joseph wrote partially of this piece,
“Meticulously designed and colored to perfection are two large birds of prey, a Golden Eagle and a Bald Eagle. Both eagles adorn the front side. Depicted in bust form, the Golden Eagle seems to be staring at something with his sharp vision. Portrayed in the foreground is a Bald Eagle. Behind the eagles is a highly polished red slip that encompasses all surfaces of this pottery. Sketched and cream colored on the back side is an open winged butterfly symbolic of beauty. A medallion depicting a side view positioned geometric designed fish. Directly above the winged beauty and medallioned fish is a side view open beaked eaglet depicted in bust form”
This piece is perfectly polished. This period of Joseph’s work, he would etch away the clay to create realistic animals. On the two eagles, note the eyes and the feathers, which are very intricate for the size. All the various colors are derived from natural clay slips. There is a painterly style to his sgraffito designs. The intricacy of the two birds is perfectly in contrast to the simplicity of the highly polished red clay slip. Beginning in the early 1970’s, Joseph Lonewolf revolutionized the world of Santa Clara pottery by incorporating his sgraffito (lightly etching the surface of the clay) and incised (more deeply cut into the clay) designs. The piece is signed on the bottom and includes the signed artist card. It is in excellent condition with no chips, cracks, restoration or repair.
This is a very small seedpot by Grace Medicine Flower is from 1975. It is fully polished and etched on the entire surface. There are two eagles as the design. They are actually quite intricate for the size of the piece. Note the detail in the wings and on the body! The background matte area is also fully designed with very small circles. The piece is signed on the bottom in the clay. It is in excellent condition with no chips,cracks restoration or repair. It is from the collection of Richard Spivey who is known for his books on Maria Martinez. The piece was given to him as a Christmas present by the artist in 1975.
Tuesday, October 10, 2017
Elizabeth White was an aunt of noted potter Al Qoyawayma and taught him to make pottery. She originated the use of the ear of corn as a design in repousse (pushed out from the inside) on her pottery. Her pottery is all signed in the clay with her Hopi name Polingaysi, which means, “butterfly sitting among the flowers in the breeze”. This jar is one of her corrugated pieces. I asked Al Qoyawayma why she created the corrugated surfaces and his response was,
“I think Elizabeth liked experimenting. She used at least three kinds of textured surfaces. The “corrugated” simulation, the “basket bowl” and of course the “simulated corn” texture. In the basket bowl she would press the clay into the basket to get the texture of the basket and then finish with a smooth rim.”
This jar is “corrugated”, meaning that she would not smooth down the coils but would impress them with her finger or a tool to create the layered surface. The result is certainly one that almost does have a basket appearance! This jar is also made from the traditional Hopi red clay. It is in excellent condition with no chips, cracks, restoration or repair. Interestingly, Polingaysi was a school teacher and taught at Hopi and Navajo schools for almost 40 years. On retirement from teaching, she became an artist, a poet, and a philosopher. Her career as a potter was begun late in life, after her retirement, so there is very little of her work available. It is a classic of her work and an important addition to any collection! It is definitely a charming piece of her pottery!
This is a creative and contemporary style bowl by Dextra Quotskuyva. She 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 piece is from the mid 1980’s, which can be seen not just in the clay colors, but also in her signature. The bowl is one of a series she made in which she explored a variety of surface textures and techniques. This bowl is incised and has a linear mesa design carved near the rim. Each of the rectangles are a different clay slip and are much in the style of the way Charles Loloma used angular stones in his jewelry to represent the Hopi skyline. Below the mesas are the fields, ground, and the turquoise inset for the water. The top of the bowl opposite the painting is etched away and textured to represent the sky. It is an interesting and striking piece of her pottery. Note not only the use of so many colored clays, but also the delicately painted designs on the end of the painted pattern! Exceptional. The black is painted with bee-weed (a plant). The bowl is traditionally fired so that there are blushes and color variations around the surface. It is signed on the bottom with bee-weed, “Detra” with an ear of corn representing the Corn Clan. The jar is in very good condition with no chips, cracks, restoration or repair. Dextra has been the subject of a retrospective of her pottery at the Museum of Indian Art and Culture called, “Painted Perfection“.
This is an open bowl by Robert Tenorio. The bowl is painted on the outside with a classic Santo Domingo (Kewa) design. The inside has four deer. Each of the deer is separated by a tree and they are painted with two different colors of clay slips. Note as well that very vessel has a “spirit line” or a break in the painted line around the rim. This goes back to historic Kewa pottery when the artist would use the spirit line to release their spirit or connection from the vessel. The bowl is signed on the bottom in the clay. The bowl is in very good condition with no chips, cracks, restoration or repair. It has an interesting provenance, as it comes to us from the collection of Richard Spivey, known for his books on Maria Martinez. However, note the tag on the bottom, which indicates he acquired it from Dick Howard, who was a well known collector of Pueblo pottery.
Monday, October 9, 2017
Loren Ami’s pottery is inspired by traditional Hopi designs and forms. Each piece is coil built, painted with native clays (red) and bee-weed (black) and outdoor fired. This jar is a shape inspired by the ancient Sikyatki pottery, with a wide shoulder an a slight neck. The inside of the neck is polished with a red clay slip. The body of the piece is fully painted with a stylized feather pattern. There are red, tan and brown clay slips used on the jar! The red clay slip has some mica in the clay which creates an additional sparkle. The jar is traditionally fired which creates the blushes on the surface. It is signed on the bottom.
Rubert Angea is from the Tohono O’odham tribe in southern Arizona. His a son of Joe and Felistia Angea and his mother taught him to make pottery when he was twelve. He is the only male potter in the family who makes pieces on a regular basis. His sisters Gladys and Juanita also make pottery. The Angea family began making pottery when Joe Angea of South Hickiwan married Felistia from Kaka (Quail) Village. Felistia learned pottery making from her mother, Constance. When Felistia moved to South Hickiwan she continued her pottery making using the local white clay.
This shape and design of this bowl represents a social round dance called, “Nawoj Hah’ah”. It represents a social dance in which Indian and non-Indian alike are invited to participate. It has come to symbolize the strength that comes from unity of purpose in a community. First made by Rupert Angea, in the late 1970’s, they are now made by both the Angea Family and the Manuel Family of Hickiwan Village. They are the only ones who make this type of O’odham pottery. The clay is dug from a deposit near White Horse Pass. The red paint is hematite and the black is from the sap of the mesquite tree, which is also a traditional food source (the seed pods, not the seeds) and provides the wood that is used to fire the pot after it has been painted. The bowl is signed on the bottom.
Saturday, October 6, 2017
This jar by Les Namingha continues his series of Zuni inspired vessels. This jar has a checkerboard pattern around the neck. This is a corn pattern, with the asymmetrical neck. The black lines around the side are rain patterns. The white and red bands are further textured giving the jar a unique feel. It is a simple pattern yet works well with the shape and the coloration. Les is a descendant of Nampeyo and learned to make pottery from his aunt Dextra Quotskuyva. It is signed on the bottom.
This is one of the first pieces we have had by Debbie Clashin. She is a cousin of noted potter Mark Tahbo and a descendant of Grace Chapella. Debbie has quickly become well known for her large sized traditional Hopi-Tewa pottery. This wide jar is inspired by the shapes of the ancient Sikyatki pottery, with a low, wide shoulder. The jar is stone polished and painted with a red clay slip and bee-weed (for the black). There are four eagle tails surrounding the jar. Note the precision of her painting and the lines in the design. The jar is traditionally fired outside to create the blushes in coloration. The various blushes enhance the designs and shape of the jar. It is signed on the bottom with her name and a pipe for his “Tobacco Clan”.
Friday, October 6, 2017
Lucy Year Flower was known for her distinctive carved pottery. This seedpot is very deeply carved and highly polished. The design is a water serpent (avanyu) which is carved encircling the piece. It starts at the top and spirals around the sides. There is wonderful intricacy in the carving and note the sun face figure as well. Typical of her work, the background areas are also fully incised with deep lines. On the top there are also two small inset pieces of turquoise. It is in excellent condition with no chips, cracks, restoration or repair. It is signed, “Lucy Year Flower” on the bottom.
Jennifer Moquino is known for her clay vessels and also her amazing animal figures! This bird figure is very highly polished and fired black. The wings and back are etched with traditional style feather patterns. All the various colors are derived from natural clay slips. Jennifer continues to be one of the leading innovative potters working today!
Jody Folwell is known for her creative pottery shapes and designs. This miniature is complex with the various techniques used on the surface. The lizards are carved away int the clay and then they are stone polished. One lizard has additional etched designs. The lizards appear in “relief” on the surface of the seedpot. It is signed on the bottom, “Jody”. It is in excellent condition with no chips, cracks, restoration or repair.
Thursday, October 5, 2017
This is a small seedpot by Grace Medicine Flower is from 1977. It is fully polished and etched on the entire surface. There are five Mimbres style lizards etched into the surface. The tan background area is etched with a linear design. The piece is signed on the bottom in the clay. It is in excellent condition with no chips,cracks restoration or repair. It is from the collection of Richard Spivey who is known for his books on Maria Martinez. The piece was given to him as a Christmas present in 1977.
Rose Williams (1915-2015) wass one of the great matriarchs of Navajo pottery. Shew as from the Shonto/Cow Springs area of the Navajo Reservation. Rose was an adult when she learned to make pottery, but continued doing so for over three decades. Her children, Alice Cling, Sue Ann Williams, and Susie Williams Crank, and her daughter-in-law, Lorraine Williams, are all recognized potters. The Lók’aa’dine’é Clan (Reed People) in the Shonto/Cow Springs area has long been recognized for its pottery making, and many of the present-day potters or their spouses—Silas Claw, Faye Tso, Rose Williams, and Alice Cling—are members of this clan. This is an exceptionally large piece of her pottery in collaboration with her daughter, Susie Willams Crank. It is fully polished and traditionally fired. The shape is based on traditional Navajo pottery with the low shoulder. Around the rim is a raised relief mountain design. The jar is traditionally fired and afterwords covered in pine pitch. This was a traditional method historically to make the pottery water-proof. Today, potters continue this process as a testament to the past. The jar is signed on the bottom in the clay by both potters.
Wednesday, October 4, 2017
Jason Garcia has a unique ability to combine Comic book and Pueblo imagery on his pottery. This jar is coil built and painted with native clay slips. The design starts with his father reading one of the “Tewa Tales of Suspense” comic books. In the background is the kiva ladder and the rain clouds. As the jar is turned there is imagery of Thor and Loki. The figures are then re-imagined with the two Pueblo warriors in then next section. Note the complexity of the painting on the figures,t he ground and the clouds! Jason fills his work with such fascinating symbolism and relevance to his own family life. All the colors are derived from natural clay slips and the jar has been traditionally fired. Jason manages to bring together so many aspects of Pueblo art and culture, it keeps his work fresh and relevant!
This jar Virgil Ortiz is part of his “Modernly Ancestral” series. It continues his story about the Pueblo Revolt 1680/2180. The jar is beautifully constructed and is an unusual shape with the single spout. There are Stargazer figures on either side and wildflower patterns near the spout. The use of the figure and face continues a stylistic component Virgil has used for the past decade. The jar has the “spirit line” which is a break in the painting on the rim. It has been traditionally fired and uses native clay, native clay slips and wild spinach (the black). Virgil certainly continues to be a great innovator among the Pueblo potters!
Tuesday, October 3, 2017
The is a complex sgraffito seedpot by Camilio Tafoya. The seedpot was made in 1985 and it is fully etched with designs. It is very highly polished which creates a striking contrast with the matte and etched areas. The imagery is a deer family encircling the piece. The top has a cloud and rain design. The green and white are additional clay slips. The seedpot is signed on the bottom in the clay. It is in excellent condition with no chips, cracks, restoration or repair.
Monday, October 2, 2017
In the 1950’s Maria Martinez created a series of pieces which were simply stone polished with no design. As she primarily made the pottery and polished it this was fitting with the other pieces of her career. This wide bowl is very highly polished. It is fired a dark black but with a slivery surface in the light. The bowl is signed in the clay, “Maria Poveka”. This is a combination of her Anglo and Tewa names. Her name, “Poveka” means “Water Lilly”. It is in very good condition with no chips, cracks, restoration or repair.
Helen Shupla is certainly most famous for her exceptional melon jars. Her melon jars are the very traditional form with the ribs pushed out in the clay. This melon jar is one of her classic shapes with the round body and the slight neck. The neck was a later development in her pottery forms. Each of the 17 ribs are pushed out into the clay. She would do this by placing her fingers inside the bowl and pushing against the clay from both the inside and outside! Can you see the slight angle to each section? This is how she would turn her hand as she was pushing against the clay to create the separate ribs! The entire piece is fully polished and fired black. It is signed on the bottom in the clay. It is in very good condition with no chips, cracks, restoration or repair.