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Featured New Additions

Tuesday, May 23, 2017   

Lonewolf, Greg – Cottontail Rabbit Black Seedpot

Greg Lonewolf is the son of Joseph Lonewolf and is known for his intricately incised miniatures.  This seedpot has a cottontail rabbit as the design on the top.  On the sides are four Mimbres style rabbits which are etched into the polished surface.  All the additional colors are derived from  natural clay slips.   It is signed on the bottom.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 750.00

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Monday, May 22, 2017

Manymules, Samuel  – Long Neck Water Jar with Melon Rib Shoulder

This a very traditional style water jar shape by Samuel Manymules.  It is coil built and slipped with a red clay and then traditionally fired.  The jar has a long neck and a slightly turned out rim.  On the shoulder there is a “double rainbow” band, which is pushed out in the clay. The low shoulder of the jar is a series of sixteen sharp, angular melon ribs.  Each rib is pushed out in the clay, which adds to the difficultly of its creation.  The color is red and brown with blushes of black around the surface. The color is created by the traditional outdoor firing.  After the firing the jar is the covered with pine pitch in the traditional way expected of Navajo pottery.  It is extraordinary vessels like this which keep Samuel among the top Navajo potters working today.

$ 2,300.00

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Saturday, May 20, 2017

Moquino, Jennifer – Six Sided Box with Birds

This is an intricately designed lidded box by Jennifer Moquino.  The entire box and the lid are fully polished.  Each of the side panels has a different bird etched into the clay. There are Pyrrhuloxia, Scaled Quail, Blue Jay, Northern Cardinal, Gambel’s Quail, Greater Roadrunner.  Each is intricately etched into the clay and then there additional clay slips added to create the various colors.  The lid of the box is exceptional with a Stellar’s Jay on the top.  It is highly detailed and stunning in its design sitting on the tree branches.  It’s not often that we see a box this size from Jennifer, or one so intricate!  Jennifer is extraordinary in her use of realism on her pottery and capturing a moment in time.

$ 2,600.00

Moquino, Jennifer & Jason Ebelacker – Water Jar with Kirin Dragons

This is a collaborative jar by Jennifer Moquino and Jason Ebelacker.  Jason is a great-grandson of Margaret Tafoya and he make, polishes and fired the vessel.  Jennifer then etches the surface with her intricate designs. Together they have been winning awards for their exceptional collaborative works.  Jennifer made a smaller Kirin jar several years ago for one of our shows.  This one is larger and more complicated with four interconnected Kirin dragons.  Why the Kirin?  The Kirin is a mythical hooved chimerical creature known in Chinese and other East Asian cultures, said to appear with the imminent arrival or passing of a sage or illustrious ruler.  Jennifer has long been fascinated with Asian culture and tying imagery like the Kirin to that of the Avanyu in Pueblo culture.  Here, they are highly detailed and check out the expressions on the faces!  The deep black and very highly polished surface of the jar add to the overall impact of the piece.  All the various colors are from natural clay slips.  Jennifer is extraordinary in her use of realism on her pottery and capturing a moment in time.

$ 7,700.00

Moquino, Jennifer & Jason Ebelacker – Bowl with Asian Tigers

This is an intricately designed lidded box by Jennifer Moquino.  The entire box and the lid are fully polished.  Each of the side panels has a different bird etched into the clay. There are Pyrrhuloxia, Scaled Quail, Blue Jay, Northern Cardinal, Gambel’s Quail, Greater Roadrunner.  Each is intricately etched into the clay and then there additional clay slips added to create the various colors.  The lid of the box is exceptional with a Stellar’s Jay on the top.  It is highly detailed and stunning in its design sitting on the tree branches.  It’s not often that we see a box this size from Jennifer, or one so intricate!  Jennifer is extraordinary in her use of realism on her pottery and capturing a moment in time.

$ 2,500.00

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Friday, May 19, 2017

Garcia, Jason – St. Pasquale Bailon Tile

This tile by Jason Garcia is one from his early “Saint” series. This is St. Pascuale Bailon. On the back he has written that St. Pasquale is the patron saint of the Eucharist, Italian women, Sheperds and cooks.  His feast day is May 17.  On the front he had depicted St. Pasquale inside a Pueblo home with food on the stove and oven during the Feast Day.  Note as well the Buffalo Dance going on out the window and the traditional raincloud in the sky.  He created a series of these tiles for one show and this is “#4” in the series.  The tile is made from native clay.  It is in excellent condition with no chips, cracks, restoration or repair.  All of the colors are derived from Native clay and it is traditionally fired. It is signed on the back.

$ 350.00

Garcia, Jason – St. Francis Tile

This tile by Jason Garcia is one from his early “Saint” series. This is St. Francis of Assisi.  On the back he has written that St. Francis is the patron saint of ecologists, animals, birds, merchants, zoos and Santa Fe, NM.  He created a series of these tiles for one show and this is “#1” in the series.  The front of the tile shows St. Francis in front of the pueblo buildings.  There are small birds, which represent not just that he is the patron saint of birds, but also Jason’s son Jacob’s Tewa name.  The tile is made from native clay.  All of the colors are derived from Native clay and it is traditionally fired.  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the back.

$ 350.00

Garcia, Jason – “Anasazi Gothic” Clay Tile

This large tile by Jason Garcia is entitled, “Anasazi Gothic”.  Of course it is a play on Grant Wood’s “American Gothic”.  Here, the Ancestral Puebloan couple are holding an hoe and a jar.  Behind them is a cliff dwelling, which is intricately painted.  The colors are all derived from natural clay slips and the tile is made from native clay.  The tile is signed on the back with Jason’s name in Tewa.

$ 900.00

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Thursday, May 18, 2017

Lewis, Eric – Tile with Cloud Spirals

This small tile is by Eric Lewis.  The tile is part of a series of miniatures tiles he has made. Eric has taken the classic Acoma Pueblo designs and enlarged them and made them into bold graphics.  This tile has a stylized cloud spirals and angular mountain designs.   His innovative designs make him a younger potter to watch!

$ 50.00

Victorino, Sandra  – Snow & Rain Design Seed Jar

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 has a checkerboard snow pattern swirling down from the rim.  There is also a red lightning pattern and a very fine-line painted rain design.  The imagery starts small at the neck and then gets larger and then small again at the base.  The intricacy of the designs and the use of the op-art imagery adds to the sophistication of the jar!  Sandra creates a beautiful sense of balance between the form and design.

$ 525.00

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Wednesday, May 17, 2017

Gonzales, Rose – Wedding Vase with Mountain Designs

Rose Gonzales is often considered the first at San Ildefonso Pueblo to make carved pottery. However, over the course of her career she created a variety of styles including plainware, painted and carved pottery. This wedding vase is from the 1960’s. It is painted with a plant design on two sides and a very intricate mountain design on the sides.  Note the use of the linear lines for the mountain!  The wedding vase is fully polished it is not often that we see a wedding vase by Rose.  This piece is signed on the bottom in the clay “Rose”.  It is in very good condition with no chips, cracks, restoration or repair.  There are some scratches near the base of the piece.   Rose’s legacy an certainly be seen in the work of Tse-Pe, Dora Tse-Pe and Russell Sanchez.

$ 750.00

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Tuesday, May 16, 2017

Namingha, Les – Spiraling Hopi Birds Jar

This is delicately painted jar by Les Namingha which is both ancient and modern.  The jar is one of his classic shape with the round body and slight neck and tiny opening.  The body of the jar is painted with a spiraling series of Hopi birds.  They bodies of the birds are painted with various traditional Hopi designs and in various colorations. Both birds are different and distinctive in style.  Below the birds is a classic interlocking line design and near the base a snow pattern.  The overall coloration is striking on this piece.  It is signed on the bottom.

$ 2,600.00

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Monday, May 15, 2017   

Appleleaf, Martha Fender – Green-on-Black Water Jar

Martha Appleleaf learned to make pottery from her mother, Carmelita Vigil Dunlap. Today she continues to create distinctive pottery with traditional designs.  This is a classic shaped water jar with a sharp shoulder and a micaceous clay rim. The jar has been painted with a green clay slip, which has a very subtle green coloration after the firing. The design is a feather pattern around the shoulder and a prayer feather design around the neck.  Below the shoulder are tadpoles. The jar is signed on the bottom in the clay.

$ 850.00

Tafoya, Sherry – Large Jar with Carved Avanyu

This large jar by Sherry Tafoya is an elegant shape with a high round shoulder and elongated neck. The jar is carved around the body of the piece with a water serpent (avanyu) design.  The neck of the jar is fully polished.  The complexity of her designs is certainly reminiscent of the work of her aunt, Teresita Naranjo.  It is always nice to see a balance of form and design in pottery!  The jar is signed on the bottom in the clay.

$ 850.00

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Saturday, May 13, 2017   

Martinez, Maria – Feather Plate “Maria + Popovi”

This is a classic plate by Maria Martinez and her son, Popovi Da. Maria made and polished the plate while it was painted by her son, Popovi Da  (1923-1971). The plate is highly polished and has a feather pattern as the main design.  The surface of the plate beautifully reflects the light.  The feathers are very tightly painted, which is typical of the early pieces from the late 1950’s.   It is  signed on the back in the clay, “Maria Popovi“. The signature indicates that it was made around 1956-9.   The plate is in very good  condition with no chips, cracks, restoration or repair.

To learn more about Maria’s signatures, click here.

$ 2,300.00

Tafoya-Sanchez, Linda – Bowl with 96 Feathers

Linda Tafoya-Sanchez is a granddaughter of noted potter Margaret Tafoya and she is know for her carved pottery.  This bowl is polished on the top and the bottom.  The central section is fully carved with 96 feathers!  The feathers alternate between polished and micaceous slip.  The contrast of coloration with the mica helps accentuate the feather pattern.  As well, take a closer look at each feather, as they are very tightly cut into the clay and the lines are amazingly straight!  Linda was among the first Santa Clara potters to begin using the mica as a design element after she was given some by her San Juan Pueblo in-laws.  The jar is signed on the bottom, “Linda Tafoya-Oyenque”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 1,800.00

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Friday, May 12, 2017   

Da, Tony – Gunmetal & Sienna Jar with Seed Design (1970-1)

While the pottery of Tony Da has been well documented, it is still exciting to have a piece with such an exceptional provenance.  This gunmetal fired jar is an early piece of his pottery from 1970-71.  It is featured in the book, “The Art and Life of Tony Da” on page 57.  The jar is perfectly polished and fired to a gunmetal appearance. The rim has been “two-toned” sienna.  Note how on the black and sienna pieces there is a the sienna color (where the black has been burned back off) and then a “halo” of black and then the gunmetal. The jar is designed around the shoulder and has a seed and a prayer feather pattern.  This is a design that he did not often do in his pottery, which makes it distinctive.  The jar is signed on the bottom in the clay, “DA”.  It is in excellent condition with no chips, cracks, restoration or repair.  Over the course of a career that spanned from 1967-82, Tony helped change the world of Pueblo pottery.   He was among the first to begin etching into the surface of the pottery (sgraffito), adding stones, hei-shi and then began creating all matte carved vessels.  His pottery today is considered to be among the most sought after by collectors and museum alike.  While he started out as a painter, he made his first pottery in 1967 and his first public showing was at Gallup Ceremonials of that year.

Da, Tony – Gunmetal Jar with Avanyu & Lid (1969)

While the pottery of Tony Da has been well documented, it is still exciting to have a piece with such an exceptional provenance.  This gunmetal fired jar is an early piece of his pottery from 1969, just two years after he began making pottery!   The jar is first featured in the book, “Maria” by Richard Spivey as a full plate (the correct caption is figure 6.25).  It captures the elegance of the shape and the lid.  The second time it is published is in the book, “The Art and Life of Tony Da”.  The shape of the jar reflects Tony having  learned to make pottery from Maria.  It has a round should and an elongated neck.  It is around the shoulder that the water serpent (avanyu) is etched into the clay before the firing. The lid has a long handle and it is formed on the inside so that it fits perfectly on the jar.  The jar was fired by Popovi Da (who fired most of Tony’s gunmetal pottery) and it has a stunning gunmetal appearance.  It is only near the base of the piece that there is more of a black coloration.  The jar is signed on the bottom in the clay, “DA”.  It is in excellent condition with no chips, cracks, restoration or repair.  Over the course of a career that spanned from 1967-82, Tony helped change the world of Pueblo pottery.   He was among the first to begin etching into the surface of the pottery (sgraffito), adding stones, hei-shi and then began creating all matte carved vessels.  His pottery today is considered to be among the most sought after by collectors and museum alike.  While he started out as a painter, he made his first pottery in 1967 and it’s first public showing was at Gallup Ceremonials of that year.

Da, Tony – “Corn Dancer” Original Casein Painting (1975)

Tony Da is famous for his intricately etched and stylized pottery.  However, throughout his career he always wanted to be known as a painter.  His early work was all painted in casein and then after 1977 he also began to paint with acrylic.  This painting is from 1975 and one of his few later figurative pieces. The detail in the corn dancer is extraordinary, with little details on the branches in his hands.  As well, the very angular nature of the figure harkens back to some of his earliest paintings from the 1960’s, with elongated and angular figures.  The coloration and movements is  exceptional, as is the subject matter.  The painting is signed in the lower right corner “DA”.  It is in its original frame and the painting was originally purchased from Tony in 1975.   Paintings of his in this style and quality are certainly among the most visionary of his career.

$ 6,500.00

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Thursday, May 11, 2017

Quotskuyva, Dextra – Jar with Two Birds (1990’s)

This is a classic jar 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 jar is from the late 1990’s, which can be seen in the use of the red polished areas as well as the etched signature.  The jar has two different birds on each side.  One bird is a hummingbird, the other is a water bird. The birds are painted with bee-weed (black) and then highlighted with a red clay slip which is highly polished.  There is also the white clay used on the bodies of the birds. Note the very delicately painted lines on this piece!  The jar has been traditionally fired to create the coloration to the clay, which ranges from light to dark.  The open areas without design are typical of much of Dextra’s pottery, as she gives the clay some room “to breathe” on her pieces.  The jar is signed on the bottom in the clay, “Dextra” and an ear of corn, as she is Corn Clan.  It is in excellent 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“.

$ 3,600.00

Sanchez, Russell  – Red Bear with Mountain Designs and Turquoise

Russell Sanchez continues to be one of the true innovators in Pueblo pottery.  Each piece is perfectly coil built, stone polished and etched.  This bear is one of his classic shapes.  The bear is fully polished with a deep red clay slip.  Russell has brought back the deep red clay slip which was used at San Ildefonso in the 1920’s and 30’s.  It is an extraordinary coloration! The black area along the back is slipped with a black micaceous clay and then stone polished. This is a relatively new technique for Russell and one which adds another level of complexity to his pottery.  The black polished area harkens back to the black-on-red pottery of the late 1800’s at San Ildefonso.  This bear is fully designed with a heartline and a mountain pattern surrounding the two sides of the  black band.  The black micaceous area is etched with a prayer feather pattern.  What you can’t feel is that the black polished areas on the legs and across the back, while it would normally be rough in texture.  It is as smooth as the red polished surface! There are inset band of turquoise hei-shi beads and a single large inset piece of Kingman turquoise along the neck of the bear.  Note as well the use of the black micaceous clay for the legs of the bear!  The bears are symbolic of good luck and in many of the pueblos are carved from stone.  The bear is hollow as the piece is coil built.  It is signed on the bottom in the clay.  Stunning!

Click here to read: Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 5,800.00

Quotskuyva, Dextra – Large Jar with Kiva Opening & Star Pattern (1988-90)

This is a highly detailed larger jar 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 late 1980’s, which can be see in the color of the red clay, as well as her signature and use of the cut out kiva door. The jar is a beautiful shape with a high shoulder and slightly turned out neck. The design around the top of the piece is a star pattern painted with a red caly slip.  The red area is stone polished. The surrounding cloud and lightning designs are painted with bee-weed (black). The cut out section is what Dextra calls the “kiva openings”.  She used this style on several pieces from this time period. The carved out section is clean and painted on the inside rim.  Note as well the band of design above the lighting, with the break in the pattern, which is a stylistic deference to Nampeyo of Hano, who often used this style in her design.  The tight, creative painting, the unique shape and the highly stone polished surface, are all reflective of the high quality pieces created by Dextra.  The bottom of the jar is signed with bee-weed, “Detra” with an ear of corn representing the Corn Clan.   The jar is in perfect 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“.

$ 8,400.00

Sanchez, Russell  – Red Bear with Sun Designs and Hei-Shi Band

Russell Sanchez continues to be one of the true innovators in Pueblo pottery.  Each piece is perfectly coil built, stone polished and etched.  This bear is one of his classic shapes.  The bear is fully polished with a deep red clay slip.  Russell has brought back the deep red clay slip which was used at San Ildefonso in the 1920’s and 30’s.  It is an extraordinary coloration!  This piece reflects on a very significant design, which is associated with Tonita Roybal.  It is the “sun” pattern which is on the back of the bear.  This design, which is painted with a black mica, is a very tight hatchwork pattern. The sun pattern is one that Tonita was inspired to use from some Acoma pottery, which speaks to the potters looking at a variety of designs and styles in the 1920’s.  Tonita modified it and it was identified in Guthe’s “San Ildefonso Pueblo Pottery Making” in 1925 by Tonita as one of her designs. The last photo is a close up of the “sun” design on a black-on-red jar by Tonita Roybal.  Here, Russell has strikingly painted and then etched the design into the clay.  There is also a heartline from the mouth of the bear.  The back has a series of five horizontal rows of hei-shi beads.  The eyes are also turquoise.  Note as well the use of the black micaceous clay for the legs of the bear!  The bears are symbolic of good luck and in many of the pueblos are carved from stone.  The bear is hollow as the piece is coil built.  It is signed on the bottom in the clay.  Stunning!

Click here to read: Russell Sanchez: Contemporizing the Pueblo Pottery Past

$ 6,800.00

Swentzell, Roxanne – “In Crisis” Original Clay Figure

Roxanne Swentzell is a granddaughter of Rose Naranjo, and part of one of the most innovative families at Santa Clara pueblo.  She began making smaller clay figures, and they have evolved from traditional figures to more representational forms of women. This is one of her clay figures from 1999.  She wrote about this piece:

“When we accept the idea that we need to change the way we look or act in order to be beautiful, to be accepted or to fit in, we automatically reject a part of ourselves. It‘s a treacherous, self-destructive attitude, but it often affects us in subtle, insidious ways. In Roxannes thinking, a healthy step has been taken when we become aware of the threat and struggle to fight it off, when we‘re terrified enough to grip the hand with its clawing, bright red nails and hold it at bay. She recognizes that these images of what shes supposed to be, especially from television, are an attack on her. She’s conscious that this is a scary thing, that this is a dangerous thing.

It is featured in the book, “Extra Ordinary People” on p. 32-33.  Roxanne continues to be one of the pivotal Pueblo artists, and her work continues to be among the most dynamic and innovative in contemporary figural pottery.  She has won numerous awards for her work, along with being the subject of several museum exhibitions and books, such as “Women Potters:  Transforming Traditions” and “Clay People”.  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed in the clay, “ROX”.

$ 8,800.00

Ortiz, Virgil – “Alter-Native Equality” Jar, Taboo Series

This jar by Virgil Ortiz is part of his new series, “Taboo”.  The jar is coil built, rag polished and painted with wild spinach (a plant) for the black.  Virgil says he has wanted to go back to the traditional shapes and techniques as part of his message for the Taboo series.  He says of Taboo:

“Creativity comes to me from continuing the story of my Cochiti people and how we see the world around us.  Our art from the late 1800’s told the stories of what those people were experiencing at that time.  That opened the door for me to use Taboo topics to engage people about today’s society, culture, politics, religion and even social media.  There are so many issues that people are increasingly afraid to talk about.  It’s important to show the type of imagery I’ve painted for “Taboo” and record it, even if people are afraid of it or it makes them uncomfortable.  I want to demonstrate that Native artists can innovate while using traditional methods.  We don’t have to be pigeonholed by those who want the same piece of pottery over and over again.  It’s time to give the voice back to the clay.”

Virgil writes of his particular jar…

“The Zuni “princess” We’wha (WAY-wah; b.1849), as the local media dubbed her, was an instant celebrity. She boldly stepped forward in the late 1800s as the embodiment of the two-spirit, an individual who combined male and female traits into a socially-recognized third gender roll. As much as she mesmerized Eastern American society, she also characterized the strength of her role in her tribal community. Natives often considered two-spirit people to be among the strongest and most intelligent. Today’s transgender issues and controversy find inspiration in the life of We’wha, and also a voice in pop culture through musical icons like Boy George, Pete Burns, Ru Paul, Grace Jones and others who are shaping and pushing forward the agenda of the LGBT rights movement.” Virgil Ortiz

The jar has the “spirit line” which is a break in the painting on the rim.  The piece is signed on the bottom. The use of traditional and contemporary imagery has become a standard for Virgil’s pottery as he pushes the boundaries of contemporary Native clay.

Click here to see other pieces in the Taboo Series

$ 9,000.00

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Wednesday, May 10, 2017

Medina, Elizabeth – Tall Jar with Birds, Rainbow & Turtle Lid

Elizabeth Medina is known for traditional style of Zia pottery.  Each piece is coil built, painted with native clays and native fired.  This jar is painted in a traditional style with a bird or roadrunner on each side.  The bodies of the birds are stone polished.  There is a rainbow band over each of the birds.  Separating the rainbows are a section of plants and birds at the rim.  There are fine-line clouds on the edge of the rainbow.  The lid is in the shape of a turtle and there is a bird and plants painted on the top.  Throughout the piece the red and tan clay slips are polished while the other clay is matte.  The jar is signed on the side “Elizabeth Medina, Zia.

$ 350.00

Gonzales, John – Large Plate with Feather & Avanyu Designs (2003)

This plate by John Gonzales is from 2003.  John was well known for his plate and their intricate etched designs.  This plate is matte tan and the feather design is etched into the clay. The central medallion has a water serpent and in the very center is an inset piece of turquoise. The eye of the avanyu also has a piece of turquoise.  The background area which has been etched away has a micaceous clay slip.  There is also a band of shell hei-shi beads inlaid into the clay near the rim. The plate is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the back.

$ 1,200.00

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Tuesday, May 9, 2017

Duwyenie, Preston – Shifting Sand Seedpot with Silver Corn Plant Lid

Preston Duwyenie is know for his Hopi pottery which blends modern and traditional aspects of the art. This seedpot is made from a red clay which he finds near Second Mesa at Hopi.  The clay fired a tan coloration.  The body of the piece is fully polished.  The top area above the shoulder has the shifting sand design.  What makes the sand area so fascinating is how he carves it so that it has very natural appearance.  It flows around the entire surface, just as if the clay has been swept away. The top view of the piece shows the design nicely and the shadows the design creates.  The lid is made from silver and cast against cuttlefish bone. Preston cut the lid so that it has a stylized corn plant shape.  The casting creates a a similar style of ‘shifting sand’ design to complement the clay areas!  The the seedpot and the silver lid are signed on the bottom with Preston’s hallmark which is a woman carrying a child and his Hopi name, which means “carried in beauty”.   Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.

Why the shifting sand designs? Preston says he remembers watching a smooth pebble caught in sand being shifted by the wind, “there was beauty in its isolation within the sea of sand. It was like an island.  The endless sands of time, and the fact that people, too are tossed about by the wind. There is always rippling in our lives”.

$ 725.00

Candelaria, Daryl – Pottery “Shard” Design Bowl

Daryl Candelaria is one of the few potters working at San Felipe Pueblo.  He studied both historic and contemporary pottery at the School of American Research in Santa Fe, NM.  This jar is one of his classic “Shard” pots.  It is coil built and each of the “shards” is carved into the clay.  What makes it so extraordinary is that each shard is either painted, polished or carved in a representative manner the various Pueblos.  Few potters have the technical ability to create so many diverse surfaces, let alone on one vessel!  As the jar is turned the classic Zia, Jemez and Hopi designs.  The carved and polished red section with the avanyu head is reminiscent of San Ildefonso.  The figure and parrot are inspired by the Awatovi murals.  There are San Felipe geometric designs along with a red polished and micaceous section.  Note as well the red-on-red section and the black-on-black section.  Amazingly the various styles and techniques blend beautifully on the jar.   It is signed by the artist and it is in excellent condition with no chips, cracks, restoration or repair.  What a perfect way to portray the history and techniques of Pueblo pottery in one vessel!

$ 1,800.00

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Monday, May 8, 2017

Manymules, Samuel  – Melon Rib Water Jar

This is a classic water jar shape by Samuel Manymules.  It is coil built and slipped with a red clay and then traditionally fired.  The jar has a turned out neck and edge at the shoulder. The ribs are each pushed out from the body of the piece to create the melon ribs.  The coloration on this jar is striking with variations from red to black.  The color is created by the traditional outdoor firing.  After the firing the jar is the covered with pine pitch in the traditional way expected of Navajo pottery.  It is extraordinary vessels like this which keep Samuel among the top Navajo potters working today.

$ 1,000.00

Aragon, Rachel – Fine Line Water Jar with Birds

Rachel Aragon is one of the remaining traditionalist potters working at Acoma.  Born in 1938, she is still making pottery at almost 80 years old!  Her classic olla (water jar) shapes have long been the standard for Acoma pottery, as well as her stunning painting. This jar is a new piece and while not quite as refined as some from the past, it still captures a dynamic strength to the shape and design.  The classic water jar from Acoma has the high shoulder and the slight neck.  It’s the painting, however, which is so beautiful on this jar!  There are small sections with classic parrots in panels.  However, it is the larger thunderbirds which rise up to the rim and are filled in with fine lines which capture the eye.  They swirl and round and energize this elegant jar.  It has the traditional concave base which was to make the jar wearable on the head.  It is signed on the bottom in the clay.

$ 750.00

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Saturday, May 6, 2017

Medina, Elizabeth – Jar with Bird Family & Turtle Lid

Elizabeth Medina is known for traditional style of Zia pottery.  Each piece is coil built, painted with native clays and native fired.  This jar is a traditional design with a bird or roadrunner on each side.  One side has the male, the other the female and there are four baby birds as well. Surrounding the birds are various plant patterns.  Separating the birds are single flowers which are painted in an open space style.  Throughout the piece the red clay slip is polished while the other clay is matte.  The lid has a turtle with the bird painted on the top.  The jar is signed on the side “Elizabeth Medina, Zia

$ 200.00

Duwyenie, Preston – Shifting Sand Seedpot with Silver Road Runner Lid

Preston Duwyenie is know for his Hopi pottery which blends modern and traditional aspects of the art. This seedpot is made from a red clay which he finds near Second Mesa at Hopi.  The clay fired a tan coloration.  The body of the piece is fully polished.  The top area above the shoulder has the shifting sand design.  What makes the sand area so fascinating is how he carves it so that it has very natural appearance.  It flows around the entire surface, just as if the clay has been swept away. The top view of the piece shows the design nicely and the shadows the design creates.  The lid is made from silver and cast against cuttlefish bone. Preston cut the lid so that it has the shape of a road runner.  The casting creates a a similar style of ‘shifting sand’ design to complement the clay areas!  The the seedpot and the silver lid are signed on the bottom with Preston’s hallmark which is a woman carrying a child and his Hopi name, which means “carried in beauty”.   Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.

“Why the shifting sand designs? Preston says he remembers watching a smooth pebble caught in sand being shifted by the wind, “there was beauty in its isolation within the sea of sand. It was like an island.  The endless sands of time, and the fact that people, too are tossed about by the wind. There is always rippling in our lives”.

$ 750.00

Cling, Alice – Lightning Rim Jar with Green Rim

This jar by Alice Cling has a lightning carved shape to the rim.  The remainder of the jar is highly polished red but note that she has added a band of green clay slip around the rim of the jar.  It creates a striking visual contrast after the firing.  The jar is traditionally fired and ranges in color from deep red to 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.”

$ 225.00

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Friday, May 5, 2017

Duwyenie, Preston – Shifting Sand Seedpot with Silver Quail Lid

Preston Duwyenie is know for his Hopi pottery which blends modern and traditional aspects of the art. This seedpot is made from a red clay which he finds at Hopi.  The clay fired a tan colorattion.  The body of the piece is fully polished.  The top area above the shoulder has the shifting sand design.  What makes the sand area so fascinating is how he carves it so that it has very natural appearance.  It flows around the entire surface, just as if the clay has been swept away. The top view of the piece shows the design nicely and the shadows the design creates.  The lid is made from silver and cast against cuttlefish bone. Preston cut the lid so that it has the shape of a quail.  The casting creates a a similar style of ‘shifting sand’ design to complement the clay areas!  The the seedpot and the silver lid are signed on the bottom with Preston’s hallmark which is a woman carrying a child and his Hopi name, which means “carried in beauty”.   Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.

Why the shifting sand designs? Preston says he remembers watching a smooth pebble caught in sand being shifted by the wind, “there was beauty in its isolation within the sea of sand. It was like an island.  The endless sands of time, and the fact that people, too are tossed about by the wind. There is always rippling in our lives”.

$ 800.00

Wall, Marcus – Brown Bear with Fish

This is a two pieces set by Marcus Wall.  There is a larger bear, which is coil built.  It is holding the fish.  The larger bear has etched bear paws on the feet.  The bear has a shell necklace. The larger bear is signed on the side.

$ 150.00

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Thursday, May 4, 2017

Naranjo, Jody – Large Jar with Women Holding Pottery (2006)

Jody Naranjo is renown for her etched pottery with whimsical subjects.  This long neck jar by Jody Naranjo is from 2006.  It is highly polished below the shoulder and at the neck. The shoulder of the jar is matte and has women holding pottery in the styles of the various pueblos.  Check out the one holding a jar with fish on it, similar to Jody’s pottery! The neck and base are fully designed with a rug pattern.  It is subtle but adds to the overall impact of the piece.  The jar is signed, “Jody Naranjo” and it is in excellent condition with no chips, cracks, restoration or repair.

$ 2,800.00

Garcia, Tina – Brown Water Jar with Indented Shoulder (1986)

Tina Garcia was well known for her focus on traditional shape and plainware Santa Clara pottery. This jar is one of her early classic piece.  It is a beautiful shape with a wide shoulder and slightly turned out neck.  The shoulder has a sharp edge and then drops down as it rises up to the neck.  This is a technically difficult technique to master and it is one at which Tina was among the best! This jar is one of the few we have seen which is fired brown.  The color and the way the light hits the jar is beautiful!    It is signed on the bottom and  it is in excellent condition with no chips, cracks, restoration or repair.

$ 575.00

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Wednesday, May 3, 2017

Salvador, Theresa – Olla with Parrots & Rainbow

This jar is by Theresa Salvador (b. 1964).  She began making pottery around 1987 with her sister, Vivian Seymour.  Each piece is coil built and painted with natural clay slips.  This jar is a classic Acoma style olla, with a high shoulder and a slight neck. The design is a series of three parrots encircling the jar.  Around the parrots are flowers and plants and additional flowers around the neck of the jar.  There are rainbow patterns above the birds.  The jar is signed on the bottom, “T. Sal”.

$ 175.00

Malie, Dean & Rita – Bowl with Fine Line Star Pattern

This bowl is made by Dean & Rita Malie.  Rita Malie (1946-2008) made the pottery and it was painted by her husband, Dean (1953).  This bowl is very tightly painted with very complex interlocking star patterns. The bowl is signed on the bottom in the clay, “D. & R.  Malie”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 150.00

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Tuesday, May 2, 2017

Youngblood, Nancy – Miniature Carved Jar with Avanyu (1988)

While Nancy Youngblood is known for her swirl melon bowls and carved pottery, she started out her career making miniatures.  This miniature is from 1988.  It is a classic shape water jar with an elongated neck and a slightly turned out rim.  The body of the piece is carved with a water serpent as the design.  Note how the design changes as the piece is turned.  There is certainly a feminine touch to how Nancy carved the swirls and circles used in her designs.  The jar is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Nancy Youngblood”

$ 2,500.00

McHorse, Christine -Large Gourd Jar with Lightning Rim

This jar is certainly one of those shapes for which Christine McHorse has become renown. It is an organic shaped gourd jar made from micaceous clay.  The rim of the jar has been carved into a lightning pattern and the edge of the rim is raised with a single coil.  The jar has been traditionally fired to create the fire clouds and blushes on the surface. The coloration which is coppery in color, shows all the variations from the flame.  After the firing it has been covered in pine pitch, much as traditional Navajo pottery has been made for the last century.   The jar is perfectly smooth and thin walled.  It is a classic of her pottery, in form and style.  There is always such a delicate nature to her pottery!  There is a simplicity to the jar and yet it is certainly striking among her traditional style.  Today she is creating more sculptural works with her pottery currently in the “Dark Light” exhibit which is travelling nationally.  This jar is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom.

$ 3,600.00

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Monday, May 1, 2017

Navasie, Charles – Red Jar with Parrots (1989)

Charles Navasie is a grandson of noted potter Joy “Frogwoman” Navasie and the son of Loretta Navasie. This jar is an early piece of his pottery from 1989.  It is very classic shape seen in the pottery of Joy Navasie, with the high, rounded shoulder. The jar is painted in four panels with alternating parrot and bird tail designs. The jar is the classic red clay from Hopi and then painted with bee-weed for the black.  It is signed on the bottom “Chas Navasie”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 200.00

Monahan, Grace – Wedding Vase (1960’s)

Grace Monahan (1901-73) wasn’t one of the original potters in the 1937 Maricopa Pottery Cooperative, she worked alongside celebrated artists like Ida Redbird, Mary Juan, Mabel Sunn and Alma Lawrence, and today her work has a similar importance. Her designs are distinctive enough so that most of her pieces are instantly recognizable without the signature.  Each piece is traditionally hand crafted from native clay with the paddle and anvil method, iron oxide red slip is decorated with black mesquite sap paint, pit fired.  This wedding vase is a classic of her style with designs painted on both sides along with the rim.  The piece is signed on the bottom, “G. M”.  It is in very good condition with no chips, cracks, restoration or repair. There are a few small blisters in the slip near the base, which can be seen in the last photo.

$ 400.00

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Tahbo, Mark  – Small Jar with Bird Tail Designs (2017)

This is a smaller jar by Mark Tahbo.  The jar has a wide, round body and a slight neck. The designs painted on the sides are three different bird tails.  Each of them is different in color and style.  One of them is just black, the others combined more red.  Note the intricately painted patterns and how Mark flows them across the shoulder and reinforces the shape of the piece!  The red on the jar is a the classic red clay slip, which is  a beautiful contrast to the blushes of the clay.  The black is bee-weed (a plant) and the red is a natural clay slip.  The jar is traditionally fired to create the various colorations from the heat of the fire. It is signed on the bottom with a pipe for his “Tobacco Clan”.

$ 400.00

Tahbo, Mark  – “Coming of Spring” Jar (2017)

This is a striking jar by Mark Tahbo.  He has titled this piece, “The Coming of Spring”. The jar has two sections with birds painted onto the surface of the piece.  Each of the birds is different and each is painted with different colors of clay for the heads, bodies and tails.  Separating each of the birds is a large round, bird tail pattern. There is a white prayer feather at the top of the circles.  The red, mauve and white are all natural clay slips.  The black is bee-weed (a plant).  The jar is traditionally fired to create the various colorations from the heat of the fire. It is signed on the bottom with a pipe for his “Tobacco Clan”.

$ 800.00

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