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These are all the New Additions which have been added for the last 30 days.
NEW PIECES OF NATIVE AMERICAN POTTERY AND ART ARE ADDED EACH DAY, SO CHECK BACK.
Diane Lewis is known for her tightly painted miniature pottery. This is one of her very intricately painted seedpots. The top is painted with intricate Mimbres inspired lizards and a Mimbres fox. Note the bodies of all the animals are made up of traditional Acoma designs! There is also a cut-out area in the shape of a step or mountain pattern. All the colors are from natural clay slips. The thin lines are very time consuming to paint! The lizards and fox are inspired by the Mimbres pottery of the 1100’s. It is an exciting modern interpretation of classic Acoma imagery. It is signed on the bottom, “D. Lewis”.
$ 75.00
Daniel Lucario learned to make and paint pottery from his mother, Rebecca Lucario. This small seedpot is from 1993. It is very tightly painted with 7 lizards. They are on the bottom, sides and even one going into the opening of the piece on the top! They are each highlighted with additional clay slips for the color. The piece is signed on the bottom in the clay and it is in excellent condition with no chips, cracks, restoration or repair.
$ 75.00
Diane Lewis is known for her tightly painted miniature pottery. This is one of her very intricately painted seedpots. The top is painted with intricate Mimbres inspired lizards on one half of the piece. The opposite half has another lizard surrounded by classic Acoma designs. Note the very finely painted lines on the top of this seedpot. All the colors are from natural clay slips. The thin lines are very time consuming to paint! The lizards are inspired by the Mimbres pottery of the 1100’s. It is an exciting modern interpretation of classic Acoma imagery. It is signed on the bottom, “D. Lewis”.
$ 110.00
Madeline Sayneyha is a cousin of potter Mark Tahbo. She learned to make pottery from Mark as well as Ivy Youwyha. She is a daughter of Herman Sakyneyah and Ernestine Chaca. In the 1990’s she began making elegant pottery. Each piece was coil built, painted with native clay slips and traditionally fired. She was quickly known for her thin painted lines and dynamic firing. This jar is a striking piece of her pottery. It has a classic shape with a round shoulder and a slight neck. The jar is painted with a star pattern when looking down from the top. The designs on the inside of the star are cloud patterns. The jar is traditionally fired to create the fire clouds. It is signed on the bottom in the clay, “M. Sahneyah”. While Madeline no longer makes pottery, her quality of her pottery and her painted designs remains strong. It is in excellent condition with no chips, cracks, restoration or repair.
$ 325.00
Diane Lewis is known for her tightly painted miniature pottery. This is one of her very intricately painted seedpots. The top is painted with two Mimbres lizards. Each lizard has additional Acoma designs and is painted with natural clay slips. The style of the lizards are inspired by the Mimbres pottery of the 1100’s. Spiraling out around the lizards is a classic Acoma design representing the yucca leaf. The yucca plant is used to paint the designs on the Acoma pottery! It is an exciting modern interpretation of classic Acoma imagery. It is signed on the bottom, “D. Lewis”.
$ 125.00
Diane Lewis is known for her tightly painted miniature pottery. This is one of her very intricately painted seedpots. The top is painted with intricate Mimbres inspired fish and birds. The body of each animal is painted with classic Acoma designs and highlighted with various clay colors. All the colors are from natural clay slips. Surrounding the fish and birds are triangular shapes which are painted with very line lines. The thin lines are very time consuming to paint! Note as well there is a cut-out on the top of the piece in the shape of a fish! The animals are inspired by the Mimbres pottery of the 1100’s. It is an exciting modern interpretation of classic Acoma imagery. It is signed on the bottom, “D. Lewis”.
$ 125.00
Emma Lewis was a daughter of noted potter Lucy M. Lewis. This smaller bowl is very fully painted. There are two Mimbres style rabbits on the sides. They are separated by lightning and rain designs. Much of her imagery is inspired by the ancient Mimbres pottery of the 1100’s. The bowl is signed on the bottom. It is in very good condition with no chips, cracks, restoration or repair.
$ 110.00
Tina Garcia was well known for her focus on traditional shape and plain ware Santa Clara pottery. This jar was from 1991 and it is a classic piece of her pottery. The jar has a sharp shoulder and it slopes up to the mouth. There are three bear paws impressed into the clay. The entire piece is fully polished and fired a deep red. The bear paws are part of a story where a bear led the Pueblo people to water during a drought. It is signed on the bottom in the clay, “Tina Garica”. It is in excellent condition with no chips, cracks, restoration or repair.
$ 900.00
Diane Lewis is known for her tightly painted miniature pottery. This is one of her distinctive oval seedpots. The piece is painted on the top with a complex series of designs. The figures, as well as the birds, fish, rabbit, and turtle, are inspired by the Mimbres pottery of the 1100’s. The surrounding areas are painted with classic Acoma patterns including rain and lightning designs. Note the intricacy of the painting! All the various colors are natural clay slips. It is an exciting modern interpretation of classic Acoma imagery. It is signed on the bottom, “D. Lewis”.
$ 125.00
This nativity set by Margaret and Luther Gutierrez contains 22 different figures. This is the middle size of the sets that they made. There are Mary, Joseph, baby Jesus and the three wise men. The Wise Men are presenting gifts of bread and animals. There are additional animals of a cow, donkey, pig, horse, duck and more! This is also one of the few sets which includes three angels. There are two koshari figures and even one miniature seedpot. Each piece is signed and it does include pieces by Margaret & Luther, Pauline Naranjo (Luther’s daughter) and a couple by Margaret alone. The set is from the collection of Richard Spivey and was begun in 1977 and put together over the course of several years. They are each painted with native clay slips and they are all in very good condition with no chips, cracks, restoration or repair. Definitely a charming collection of work by this important family of potters!
$ 1,200.00
Frederica Antonio is renown for her intricately painted pottery. Each piece is coil built and then finely painted. Her designs are a series of fine vertical and horizontal lines which are then filled in to create larger images in the squares. This jar is a classic olla shape with a high shoulder and a long neck. Frederica has painted the Four Seasons in the black-and-white sections of the ajr. Separating them are four bands of color, representing the four directions. The neck is very intricately designed with a series of rectangles in color and triangles in black-and-white. The neck represents the fall leaves. The coloration is not only complex for painting various colors, but also that after she has painted each color, she has to go over the edges to repaint the black! It is amazing how time consuming this can be in for her pottery art! The result, however, is stunning with a dynamic appearance and movement to the designs. The base of the jar is concave, reminiscent of historic Acoma jars which were carried on the head. This combination of thin walls, classic shape, and tightly painted design create a piece which is visually stunning! The jar is signed on the bottom.
$ 1,600.00
This is a striking fully polished water jar by James Ebelacker. He is a son of noted potter Virginia Ebelacker and a grandson of Margaret Tafoya. He is known for his large vessels. This water jar has a wide shoulder and a short neck. At the shoulder of the jar there is a slight indention downward before rising to the neck. It is hard to see it in the photos but it creates a beautiful edge and reflection for light. The rim of the jar is just slightly turned out and polished on the inside. The entire jar is fully polished and fired a striking red coloration.
“With pottery, you can’t get discouraged. It can’t be rushed. You really have to invest the time to learn your path, and it will be revealed to you. So you slow down and think about what you really want to create. In the end, if you are serious about wanting to learn the art of making pottery, the clay will speak to you and instill a sense of what it is destined to become. Inevitably and thankfully, in doing so our ancient tradition of Santa Clara pottery will continue into the future, span the generations, and will not be lost to time.” James Ebelacker, Spoken Through Clay
It is signed on the bottom in the clay, “James Ebelacker”. His work can be found in museums throughout the southwest and he has won numerous awards for his pottery at events such as Santa Fe Indian Market and the Heard Market.
$ 7,200.00
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 bowl is highly polished and fired a very deep black in coloration. It has that “mirror-like” surface for which Maria was famous. 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.
Maria Martinez Signatures
$ 1,000.00
Teresita Naranjo was a daughter of Christina Naranjo and know for her deeply carved pottery. This bowl is one of her classic pieces in terms of the carving. It is very deeply carved with a water serpent (avanyu) encircling the piece. Note how the negative space around the rim becomes part of the design of the clouds and lightning above the avanyu. The entire piece is fully carved and polished. The avanyu encircles the bowl and the body has cloud and rain designs. It is signed on the bottom in the clay, “Teresita Naranjo” and it is in very good condition with no chips, cracks, restoration or repair.
$ 850.00
This is an important figurative work by Virgil Ortiz. It is thematically based on the historic Monos figures from Cochiti Pueblo which began in the 1880’s. However, more importantly, it is part of his “Saints and Sinners” series from 2005. This was the first major show the gallery did with him and the first where he began the process towards his now famous Pueblo Revolt series. Virgil said of his series in the book, “Revolt”:
“One of the first series Ortiz created as he began to explore the idea of the Pueblo Revolt in his art was “Saints and Sinners” (2005). These figures brought form to various Catholic Saints. Virgil chose the particular saints for a variety of reasons, but most simply reflected the Spanish impact on Pueblo life and culture. It was this loss of Pueblo religion, one of the factors leading to the Pueblo Revolt, which gave this concept such power. As the series progressed Ortiz also believed that there needed to be a counterbalance to these saints. He decided to create a group of ‘sinners’. “You never really know who is the saint and who is the sinner in real life, or as the saying goes, ‘Every saint has a past and every sinner a future.’” Virgil Ortiz: Revlot 1680/2180 by Charles S. King
This figure is important in the series, as it was the first one when he called to tell me about how the show had changed from “Saints” to “Saints and Sinners”! The figure was used on the gallery invitation and I also attached the inside of the invitation as the last image. The figure is also published in the book, ‘Free Spirit”. The figure is made with native clay and painted with wild spinach (black) and red clay slips. The style is in his “S&M” figures which he first made around 2000. Note the use of the sun design around the neck. The pice feels dramatic with the upturned face. The use of traditional and contemporary imagery has become a standard for Virgil’s pottery, continuing to push the boundaries of contemporary Native clay. It is an exceptional piece and imbued with some amazing provenance and history. This piece is signed on the bottom. It is in excellent condition with no chips, cracks, restoration or repair. Included is a copy of the book, “Free Spirit”.
$ 3,900.00
Nathan Youngblood is one of the few Pueblo potters who creates large and intricately carved plates. In addition to the round and oval ones, he has also created his own distinctive form of the “tear drop” shape. This piece is coil built, carved, stone polished and traditionally fired. He designed this plate so that it has a “shield-like” appearance with a central medallion and the designs emanating out from the center. The imagery is all cloud and rain patterns. The band extending out from the center are slipped with a micaceous clay, creating another visual contrast from the matte and polished surfaces. The polished areas here are perfectly polished to a “glass-like” appearance. The piece is signed on the back with his name and Tewa name hallmark meaning “Deer Path”. The plate comes in a metal museum mount made specifically for this piece.
$ 12,800.00
This jar by Dora Tse-Pe is from 1982. It is a classic shape which was often used by her mother-in-law, Rose Gonzales. The sharp shoulder and long neck create a delicate form. Dora was renown not just for the shapes of her pottery, but especially her highly polished surfaces. The jar is fired black and the neck is two-tone making the piece “black and sienna”. It is in excellent condition with no chips, cracks, restoration or repair. It is signed on the bottom in the clay, “Dora Tse-Pe ’82”.
$ 675.00
This asymmetric jar Russell Sanchez is from around 2001. It is one of his classic asymmetric forms with a sharp edge and an indented side. The entire piece is fully polished black. The top half has been “two-toned” black and green. There is a band of silver leaf which extends around the jar. It is surrounded by two bands of shell and turquoise hei-shi beads. The bottom half of the bowl has a series of stylized San Ildefonso flower and leaf designs. This was a period when Russell was experimenting with these types of designs and giving them a more contemporary flare. The jar is signed on the bottom in the clay. It is in excellent condition with no chips, cracks, restoration or repair.
$ 2,600.00
This jar by Dora Tse-Pe is from 1978. It is a classic shape which can often be seen in the work of her mother-in-law, Rose Gonzales. The jar has a sharp shouler and an elongated neck. It is carved with a swirl cloud or water pattern around the shoulder. The rim is sienna while the remainder of the jar is a dark black from the firing. It is in excellent condition with no chips, cracks, restoration or repair. It is signed on the bottom in the clay, “Dora Tse-Pe, 1978”.
$ 700.00
This jar by Joy “Frog Woman” Navasie is a striking shape. The jar has a round shoulder and a turned out rim. The piece is fully designed with four panels painted around the sides. The jar is slipped with the white clay and then painted with a red clay slips and bee-weed (black). Two panels are birds and the other two are cloud and rain designs. The red is a deeper red clay she began to use in the 1980’s. The jar is very finely painted with delicate lines. What is really wonderful about the jar is the firing. There are just slight blushes so the jar is not a perfect white, but the colors from the firing create almost a “meringue” color. The jar is signed on the bottom with her Frog Hallmark. It is in excellent condition with no chips, cracks, restoration or repair.
$ 650.00
Susan Folwell combines classic imagery with her own contemporary style of shape and design. This tall jar has carved birds in the center of the design. They are polished tan and the bodies of the birds are carved at various levels, giving them a very distinctive appearance. The color variation on the wings is from the traditional firing. The jar itself is slipped with a pinkish colored clay and there are additional birds painted onto the surface. The lid sits on the top of the jar and its shape is meant to evoke the classic Hopi style bird. The various colors and use of the matte and polished surfaces works perfectly on this piece. Susan’s pottery is meant to not only connect with us visually, but also with touch and meant to make us think.
$ 3,300.00
This is a classic water jar by Samuel Manymules. It is coil built and slipped with a red clay and then traditionally fired. The jar neck which is fully polished. The lower section has melon ribs which are pushed out into the clay. The ribs are wide and sharp, narrowing down from the shoulder to the base. There is an indented ridge where the neck ends and the melon ribs begin. The entire jar is fully polished and traditionally fired to create the coloration. It is how Samuel places the jar in the firing and the smoke which determine how the colors will range from black to red. The color changes as the jar is turned. 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.
$ 950.00
It is very unusual that we come across a black-on-red piece by Tonita Roybal. This bowl is an early piece from the 1920’s. Tonita and her mother, Dominguita Pino, were both very well known for their black-on-red pottery before the advent of the black-on-black pottery in 1920. While numerous potters were making black-on-red pieces before 1920, Tonita was certainly among the best and her signed pieces in this style remain classics. This bowl is fully designed with some of Tonita’s classic imagery. There are cloud, rain, lightning and other designs. There are also striking areas of hatchwork patterns. The black is painted onto the red clay surface. The bowl is signed, “Tonita” on the bottom. This is her earliest type of signature, with the very tightly written name. It is an important and striking piece of her pottery both in terms of coloration and design.
Early San Ildefonso Pottery Innovators -1920-1940
$ 3,400.00
Isabel Atencio was a daughter of Nicolasa Montoya (the aunt who taught Maria Martinez to make pottery) and a sister of Rayita Montoya, Santana Montoya and Alfredo Montoya (the first husband of Tonita Roybal). Among her children, Gilbert Atencio is known primarily for his paintings. Her daughters Helen Gutierrez and Angelita Sanchez are both well-known potters. This is one of her few collaborative pieces with her son, Gilbert. It is also the largest collaborative piece of their work we have had (ok, we have only had two in over twenty years!). The jar was made and polished by Isabel and painted by Gilbert. His is a buff-on-red coloration with rain cloud designs. It is a striking piece in shape and design. It is signed, “Belle + Gilbert”. It is in excellent condition with no chips, cracks, restoration or repair.
Early San Ildefonso Pottery Innovators -1920-1940
$ 1,050.00
Juanita Healing was from the Hopi village of Sichomovi at First Mesa. She married Dewey Healing, son of Annie Healing Nampeyo, oldest daughter of Nampeyo of Hano. This tile is made from traditional Hopi-Tewa clay and painted with a rabbit stick design. The rabbit sticks seen in Hopi katsinas with the Left Hand Katisina. They are somewhat like a boomerang. The sticks are painted in the center with stripes and there geometric red patterns next to them. The tile is signed on the back, “Juanita Healing”. It is in very good condition with no chips, cracks, restoration or repair.
$ 110.00
Laura Chapella Tomosie (1907-1977) was a daughter of Poui and Toby White and a sister of Grace Chapella, Dalee and Bert Youvella. She began making pottery in the 1930’s but was never as famous as her sister Grace. It is said that she only spoke Hopi-Tewa and would negotiate with by raising fingers to indicate the price of an object. This plate is made with the Hopi red clay. It is painted with bee-weed (black) and the design is outlined in white. It is a classic Hopi-Tewa bird as the design. The plate itself has just a small rim. It is signed on the back “Laura Tomosie”. It is in good condition with no chips, cracks, restoration or repair but some wear to the painted areas.
$ 150.00
This is a spectacular and massive storage jar bySofia Medina. The jar is made in the traditional style of Zia pottery. Each piece was coil built, painted with native clays and native fired. This is jar is exception form, color and painting. The jar is painted with four sections of birds. Each opposing bird is different. Over each bird is a polished rainbow band. Under two of the rainbows there are rain clouds. Under the other two are bird wings. Note the overall complexity of design from the base to the rim! The jar is simply beautifully polished and painted. Note as well the coloration of the jar, which a more brownish coloration for which Sofia was famous. Did you know that Zia potters use basalt as their temper for the clay, which gives these pieces their stability but also weight. The jar is in very good condition with no chips, cracks, restoration or repair. There is one small area of missing slip on the rim. It is signed on the side, “Sofia Medina”. Not just a classic piece of their pottery, but outstanding in size, design and color as well!
$ 2,600.00
Donicia Tafoya was the mother of noted potter Juan Tafoya. This jar is a striking piece of her pottery. The jar is a classic shape with a low shoulder and a painted seed design. It is the firing which is so distinctive on this piece. It is fired to a gunmetal appearance on one side and a darker black on the other. The jar is signed on the bottom in the clay, “Donicia Tafoya”. It is in very good condition with no cracks, restoration or repair.
$ 200.00
Judy and Lincoln Tafoya (1954-2005) worked together for twenty years making pottery. Lincoln learned to make pottery from his sister-in-law Sharon Naranjo Garcia. He was a son o Dan Tafoya and Billie Rose Lee. Judy is a daughter of Cecilia Naranjo and learned to make pottery from her grandmother Christina Naranjo. Judy began making pottery in 1982 and married Lincoln in 1984. This water jar has a fluted rim and four bear paws. The jar is stone polished and fired a brown coloration. It is signed on the bottom in the clay, “Judy and Lincoln Tafoya”. It is in excellent condition with no chips, cracks, restoration or repair.
$ 400.00
Donicia Tafoya was the mother of noted potter Juan Tafoya. This bowl is highly polished and painted with a cloud design around the neck. It is fired a gunmeatal coloration so it has a silvery appearance. It is signed on the bottom in the clay, “Donicia Tafoya”. It is in very good condition with no cracks, restoration or repair.
$ 150.00
This is a small plate by Juan Tafoya from 1983. It is fully polished and etched with a water serpent (avanyu) as the design. Juan was known for his etched designs and how he would chip away at the polished slip to form a textured background for his design. This can be seen around the body of the avanyu. In the center is an inset piece of coral. The plate is signed on the back, “Juan Tafoya”. It is in very good condition with no chips, cracks, restoration or repair.
$ 175.00
This large jar by Les Namingha is a striking combination of Hopi designs along with contemporary textured designs. The shape of the jar has a round shoulder and an asymmetrical neck and opening. The jar is painted with a variety of designs. There are stripes of Hopi-Tewa designs. They are painted in a manner as if they are being painted over by the other designs. There are larger white bird swirls and multi-color bands of rain patterns. The pointilism sections are areas which are inspired by Zuni katsina figures and which Les has often painted on his pottery. The fascinating part of this jar is the sections which are painted with a more textural feel. These areas are the deep blue and red with the white rain patterns. As well, the various large gray geometric forms also have a textural feel. For Les’s pottery, adding a textural dimension is not something new but it intensifies the layering aspect of the work. There is something distinctive about this jar and the layers over older style of designs, as if Les is moving on to another new direction in his art. It is a simple, provocative and powerful jar. The jar is signed on the bottom.
$ 7,200.00
Gaylon Westika is the son of noted potters Anderson and Avelia Peynetsa. Each piece is coil built and painted with classic Zuni imagery. This large jar is a striking shape with a round body and a slight. neck. The jar is two colors with a red clay slip on the bottom and an orangish color above the shoulder. The bottom half of the jar is painted with complex rain and lightning designs. Note the fine lines for the rain. The top half has Gaylon’s stylistic heartline deer. The deer encircle the jar and are surrounded by dragonflies. Dragonflies are significant as prayer messengers. Near the feet of the deer are Zuni style plant patterns. The jar is complex and the style of deer are indicative of Gaylon’s painting. It is signed on the bottom in the clay. Gaylon says of his art:
“I work hard to develop pottery that speaks both to me and others about the beauty that exists here in Zuni. With the completion of each piece, I believe the breath of my ancestors live on, reminding us of the Zuni culture, traditional design and lifestyle we strive to preserve.” Gaylon Westika
$ 1,000.00
This jar by Alice Cling is a very classic Navajo shape with the high shoulder and the elongated neck. The jar has a raised “braid” encircling the piece. It is incised with cloud designs. It is an interesting addition to her pottery and certainly adds a”jewel-like” feel to the shoulder of the piece. There is one small “gap” in the design, which is the “spirit line”. The jar is traditionally fired and there are beautiful colorations from deep black to dark red. The jar was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery waterproof. The jar is signed on the bottom in the clay, “Alice Cling”. Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.” She remains one of the great names in the revival of Navajo pottery in the 1980’s
$ 450.00
Jean Sahme is a daughter of noted potter Priscilla Nampeyo and a descendant of Nampeyo of Hano. This is one of her intricately painted tiles. The design is a classic Hopi-Tewa Butterfly Maiden Katsina. The figure is very intricately painted with bee-weed and the red is a clay slip. The tile is traditionally fired. It is in very good condition with no chips, cracks, restoration or repair. It is signed on the back with her hallmark (a fish) and a corn plant (for Corn Clan). While Jean no longer makes pottery, there is a wonderful creativity in each of her pieces!
$ 275.00
Juanita Healing was from the Hopi village of Sichomovi at First Mesa. She married Dewey Healing, son of Annie Healing Nampeyo, oldest daughter of Nampeyo of Hano. This tile is made from traditional Hopi-Tewa clay and painted with a rabbit stick design. The rabbit sticks seen in Hopi katsinas with the Left Hand Katisina. They are somewhat like a boomerang. The sticks are painted in the center with stripes and there geometric red patterns next to them. The tile is signed on the back, “Juanita Healing”. It is in very good condition with no chips, cracks, restoration or repair.
$ 125.00
Elva Tewaguna Namepyo, was a daughter of Fannie Nampeyo, a granddaughter of the Nampeyo of Hano and a sister of Iris and Tonita Nampeyo and Thomas Polacca. Her pottery was coil built, stone polished and painted with bee-weed and natural clay slips. This wide shape bowl is one of her classic shapes. The design is an eagle tail design which was made famous by Nampeyo of Hano. The eagle tail design is delicately painted with the tail feathers extending over the shoulder of the bowl. The piece was traditionally fired to create the blushes on the surface. It is signed on the bottom before fired, “Elva Nampeyo”. Interestingly, it has an original Fred Harvey sticker from 1/71. The original price was $55! The tag adds a wonderful provenance to the piece. It is in very good condition with no chips, cracks, restoration or repair. Her daughter Adelle Nampeyo continues in the same family tradition.
$ 550.00
Elva Tewaguna Namepyo, was a daughter of Fannie Nampeyo, a granddaughter of the Nampeyo of Hano and a sister of Iris and Tonita Nampeyo and Thomas Polacca. Her pottery was coil built, stone polished and painted with bee-weed and natural clay slips. This wide shape bowl is one of her classic shapes. The design is a blackbird migration pattern. Note the blackbird wings above the shoulder and the bird tails below. The piece was traditionally fired to create the blushes on the surface. It is signed on the bottom before fired, “Elva Nampeyo”. Interestingly, it has an original Fred Harvey sticker from 1/71. The original price was $80! The tag adds a wonderful provenance to the piece. It is in very good condition with no chips, cracks, restoration or repair. Her daughter Adelle Nampeyo continues in the same family tradition.
$ 700.00
Adelle Nampeyo is known for her stylistic use of traditional Hopi designs. This jar has a blackbird migration pattern encircling the shoulder of the piece. The bird wings are filled in above the shoulder and the tail feathers below. The design is painted with bee-weed (black) and a red clay. The migration design is a classic Hopi-Tewa pattern revived by Nampeyo of Hano and tells the story of the migration of the people around the world. The jar is traditionally fired to create the coloration on the surface of the jar. The coloration works beautifully with this piece with shades from white to orange. It is signed on the bottom.
$ 175.00
This is a creative jar by Nathan Youngblood which is part of his series, “The Space Between”. These pieces are inspired by the early carved work of Sarafina Tafoya (1863-1949) and Margaret Tafoya (1904-2001). This jar is a shape with high sides. Nathan has carved around the shoulder of the piece with a rain and walking bear paw design. Note the depth of the carving! The section is very highly polished. The remainder of the jar is slipped with mica. This designs on the jar are inspired by the impressed designs on Sarafina Tafoya’s early work. There is an impressed owl, moon, star, and Nighthawk. Each of these images can be found on several of Sarafina’s original twelve carved vessels. The last photos show a group of these pieces. The surrounding area has a mica clay slip over the impressed designs. It is a very creative and inspired jar! It is signed on the bottom in the clay with his name and deer tracks, which represent his name in Tewa, which means “Deer Path”.
“The Space Between”: Santa Clara Carved Pottery 1920-Present
$ 4,500.00
This bowl by Nathan Youngblood which is deeply carved with a design inspired by the work of his grandmother, Margaret Tafoya. The central design is two stylized birds. As the jar is turned there are cloud and mesa designs. The bowl is deeply carved and there are two sections which are slipped with mica. The remainder of the jar is fully polished. It is fired a glassy black coloration. Check out the last image and you can see the plate from which Nathan took this design. It is a painted piece by Margaret Tafoya from the 1930’s. The bowl is signed on the bottom in the clay with his name and deer tracks, which represent his name in Tewa, which means “Deer Path”.
$ 3,600.00
This is a striking jar by Nathan Youngblood which is part of his series, “The Space Between”. These pieces are inspired by the early carved work of Sarafina Tafoya (1863-1949) and Margaret Tafoya (1904-2001). This jar is a shape which is reminiscent of the work of Margaret Tafoya with the low shoulder and sloping side. It is a great shape for Nathan’s deeply carved designs. The jar has a central medallion which is impressed with a bear paw in the style of Sarafina Tafoya. Note the elongated fingers of the paw. As I wrote in “Born of Fire”:
“The symbol most directly associated with Sara Fina is the bear paw, which has been used on Santa Clara pottery since at least 1200 ad (Peterson 1997, 55). Its use comes from an old legend: during a time of drought at the pueblo, a bear led the people to a freshwater spring and saved them. As Margaret explained it, “The bear always knows where the water is, and this is a design we put on the water jar, the storage jar”.
Below the medallion is an impressed avanyu. This is one of the designs used by Sarafina in 1922 on some of her first “carved” vessels. Nathan said that he wanted to explore this idea and try an impressed design. He said there was an unexpected difficulty in polishing so many angles in the impressed pattern. The result is quite stunning. Take a look at the photo of the bottom of the jar and you can get a great view of the avanyu from a different angle! The remainder of the jar is carved with a mountain and cloud pattern which encircles the piece. It is a complex design yet ties together the imagery of the bear paw and the avanyu.
The red clay slip is deep and rich in coloration and the jar was traditionally fired. The polishing is spectacular on this jar with an amazing shine from the stone polished surface! While the shape, carving, and designing might seem like enough, Nathan also takes his pottery one step further. After it is fired, he uses small screwdrivers and scrapes the sides of the carved designs and the recessed areas, to create a visually striking contrast. It is signed on the bottom in the clay with his name and deer tracks, which represent his name in Tewa, which means “Deer Path”.
“The Space Between”: Santa Clara Carved Pottery 1920-Present
$ 6,800.00
This is a striking jar by Nathan Youngblood which is part of his series, “The Space Between”. These pieces are inspired by the early carved work of Sarafina Tafoya (1863-1949) and Margaret Tafoya (1904-2001). This jar is a wide shape and the rim is carved in a fluted or “raindrop” shape. This is a style which was used by Sarafina Tafoya on many of her early jars. The last photo is a jar by Sarafina and you can see the “raindrop” rim. Nathan said this may be the thinnest rim he has ever made on one of his pieces and still be able to stone polish both sides!
The jar is carved with a water serpent encircling the piece. The body of the avanyu consists of cloud, water and kiva step designs. Nathan says of the design:
“The water serpent (avanyu) is not what people think of a ‘water snake’. It is a reference to the way the rivers run. They are all integrated and connect everything. Creeks become streams, streams become rivers which become oceans. The oceans are fed by everything around the world. It binds us. That is why when we go to the water and throw in cornmeal and pray. The water and water serpent connect us to the entire world.”
The red clay slip is deep and rich in coloration and the jar was traditionally fired. The polishing is spectacular on this jar with an amazing shine from the stone polished surface! While the shape, carving, and designing might seem like enough, Nathan also takes his pottery one step further. After it is fired, he uses small screwdrivers and scrapes the sides of the carved designs and the recessed areas, to create a visually striking contrast. It is signed on the bottom in the clay with his name and deer tracks, which represent his name in Tewa, which means “Deer Path”. Simply stunning!
“The Space Between”: Santa Clara Carved Pottery 1920-Present
$ 7,500.00
This is a striking wide shoulder jar by Margaret Tafoya. It is from the 1970’s. It is an unusual shape for Margaret’s pottery with a wide shoulder and a short neck. The jar is carved around the shoulder with a mesa and rain pattern. The design is repeated four times around the jar. The piece is very highly polished and deeply carved. It was fired a deep black. Interestingly, Margaet was at the peak of her career in the 1970’s. It was 1978-9 when she won consecutive “Best of Show” awards at Santa Fe Indian Market for two storage jar. There is certainly a wonderful precision in the carving, shape, and polish of this jar. It is signed on the bottom in the clay, “Margaret Tafoya”. It is in very good condition with no chips, cracks, restoration or repair.
$ 6,800.00
This tall jar by Margaret Tafoya is from the 1980’s. The jar is a very unusual and interesting piece on several levels. The design on the jar is a carved avanyu. This is one of the classic designs of Santa Clara pottery, which tells the story of how the water serpent saved the village from a flood. What is unusual on this jar the style of the avanyu. The head is more square and a square mouth. When I first saw the design on this jar it looked both unusual and familiar. Check out the very last image on this post and there is a jar by Margaret from the 1930’s with a very similar shape of avanyu! It seems that at several times in the 1980’s Margaret revived older designs for her work, much as on this jar! The next aspect of this piece is to check out the body of the avanyu and the very complex designs. Typically they are more simple and flowing but this piece has very angular lighnting and cloud patterns for the body. Finally, it’s the color of this jar which is so unusual. It’s more of an orangeish red than a deep red. It could be that it was a bit overfired or that she used a different slip for the color. The result, however, is quite striking as it has a bold appearance. The jar was originally purchased from Toni Roller at her studio during one of her shows for Margaret and the Tafoya Family. The jar is signed on the bottom in the clay, “Margaret Tafoya”. It is in excellent condition with no chips, cracks, restoration or repair. This jar is definitely an important addition to any collection!
$ 5,000.00
Adelle Nampeyo is known for her stylistic use of traditional Hopi designs. This jar has a migration pattern encircling the shoulder of the piece. Note how she has used the lines for the migration pattern above the shoulder and the bird wings below. The design is painted with bee-weed (black) and a red clay. The migration design is a classic Hopi-Tewa pattern revived by Nampeyo of Hano and tells the story of the migration of the people around the world. The jar is traditionally fired to create the coloration on the surface of the jar. The coloration works beautifully with this piece with shades from white to orange. It is signed on the bottom.
$ 150.00
Elizabeth Medina is known for traditional style of Zia pottery. Each piece is coil built, painted with native clays and native fired. This jar was made by Elizabeth and painted by her husband, Marcellus Medina. The jar is wonderfully designed with a more realistic butterfly on one side. Note all the various colors of clay for the wings! As the jar is turned there are three additional birds. They are each surrounded by flowers. Note that the petals of some flowers are polished and some are matte. There are rain clouds around the neck of the jar. The lid is polished red and there is a turtle on top. The top of the turtle is painted with a bird design and flowers on the sides. It is a wonderful combination of old style Zia designs. The jar is signed on the side “Elizabeth + Marcellus Medina, Zia”.
$ 400.00
Preston Duwyenie is renown for his elegant pottery which is often highlighted with silver medallions. This seedpot is made from micaceous clay and fired black. The sparkle on the surface comes from the mica clay slip. The lid is designed in the shape of a crescent moon. It is cast from cuttlefish bone so there is a “shifting sand” design on both sides. Preston makes the lid to fit perfectly into the seedpot. Both the lid and the seedpot are signed on the bottom with Preston’s hallmark. It is a woman carrying a child on her back, which is also Preston’s 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. He is married to pottery Debra Duwyenie and now resides in Santa Clara Pueblo. Preston has won numerous awards for pottery, including “Best of Show” at the Heard Indian Market.
$ 650.00
This is a classic jar by Preston Duwyenie. The shape is one which Preston calls a “shoulder jar” as it is inspired by the historic Sikyaki pottery with the wide shoulders. Preston’s modernist version has a wide shoulder and a small neck. The piece is made from micaceous clay and slipped with a micaceous clay slip. It is fired black and the mica gives the piece a somewhat metallic appearance. There are two inset pieces of silver on the top shoulder of the jar. Each silver piece has the appearance of “shifting sands”, much in a similar style to the pottery where he has carved a shifting sand pattern. They are cast by Preston against cuttlefish bone, to create the distinctive texture. The jar is signed on the bottom in the clay with Preston’s hallmark, which means “carried in beauty”. There is certainly something both modern and ancient about this striking piece! Preston is from Third Mesa at Hopi and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe. He is married to pottery Debra Duwyenie and now resides in Santa Clara Pueblo. Preston has won numerous awards for pottery, including “Best of Show” at the Heard Indian Market.
$ 1,200.00
Preston Duwyenie is renown for his elegant pottery which is often highlighted with silver medallions. This seedpot is made from micaceous clay and fired black. The sparkle on the surface comes from the mica clay slip. The lid is designed in the shape of a corn plant. It is cast from cuttlefish bone so there is a “shifting sand” design on both sides. Preston makes the lid to fit perfectly into the seedpot. Both the lid and the seedpot are signed on the bottom with Preston’s hallmark. It is a woman carrying a child on her back, which is also Preston’s 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. He is married to pottery Debra Duwyenie and now resides in Santa Clara Pueblo. Preston has won numerous awards for pottery, including “Best of Show” at the Heard Indian Market.
$ 750.00
Frederica Antonio is renown for her intricately painted pottery. Each piece is coil built and then finely painted. Her designs are a series of fine vertical and horizontal lines which are then filled in to create larger images in the squares. This jar is a classic olla shape with a high shoulder and a long neck. Frederica has used eight different designs on this jar. The patterns are painted vertically and there are square cloud pattern descending from rim to base. Separating them are various patterns of corn, rain, snow, lighting, stars and other designs. There are additional bands of clay slip which create the rainbow colors. The result is a piece which is varied as it is turned. The neck is painted with a classic Acoma triangular mountain designs. The level of complexity and time involved on the painting of this piece is extraordinary! The result, however, is stunning with a dynamic appearance and movement to the designs. The base of the jar is concave, reminiscent of historic Acoma jars which were carried on the head. This combination of thin walls, classic shape, and tightly painted design create a piece which is visually stunning! The jar is signed on the bottom.
$ 1,575.00
This is a very unusual lidded bowl by Art Cody Haungooah. There are polished medallions on each side and the clay around them is carved away leaving the medallions raised. The medallion on one side has a moth and the other an ant. They are each inset with two pieces of turquoise. The surrounding matte area has been sanded down and works as a perfect contrast to the polished areas. The lid is also fully polished. It is a strong complement to the polished medallions. The bowl is signed on the bottom in the clay. It is in excellent condition with no chips, cracks, restoration or repair.
Art Cody Haungooh: A “Reflected Light” in Pueblo Pottery
$ 900.00
Denny Gutierrez was known for his faceted melon bowls. As opposed to carving them, he would flatten out each rib out to create a “faceted” appearance. The result was a reflective surface and a very striking piece of pottery. This jar has a low shoulder and sloping sides. It is from 1999. The jar has 24 faceted ribs swirling down from the rim to the base. The top of the rim is also fully polished. The narrowness of each rib adds to the amazing reflectiveness of this piece. The jar is very highly polished and it is in excellent condition with no chips, cracks, restoration or repair. It is signed on the bottom in the clay.
$ 450.00
Robert Cleto Nichols is known for his deep carved pottery. Each piece is coil built, carved and stone polished. This bowl has a large fish chasing a smaller fish. As the bowl is turned, the body of the larger fish is made up of kiva step and melon rib designs. Note the depth fo the carving! The bowl is traditionally fired black and signed on the bottom in the clay.
$ 500.00
Denise Chavarria is a daughter of noted potter Stella Chavarria and a granddaughter of Teresita Naranjo. She is known for her contemporary carved pottery. This bowl is tightly carved with 16 feathers on the top. On the side there is a carved band and the entire piece is fully polished. The bowl is fired a deep black and it is signed on the bottom in the clay, “Densie Chavarria”.
$ 100.00
This is an unusual smaller plate by Tony Da. Most of the smaller plates made by Tony Da between 1969 and 71 were either gunmetal or black-and-sienna in coloration. He made very few of the smaller plates in red. This one has an antelope as the design. Tony would etch the designs into the clay before the pieces were fired. The animals were inspired by the Mimbres imagery from the 1100’s. However, as with much of his work, Tony drew inspiration from these ancient works but did not copy them. His animals became “spirit animals” and note how the feet of the antelope are its tracks. The animal extends backwards from the tracks to create the distinctive animal with a heartline. Around the rim are painted lines, in contrast to the incised imagery. Tony had a short career which spanned from 1967-82. He 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. This plate is signed on the back in the clay, “DA”. It is in excellent condition with no chips, cracks, restoration or repair. The plate has a metal museum mount stand made for it. This is certainly a rarity and a classic style of Tony’s pottery and even an early piece like this bowl reflects the impact he had and continues to have, on Pueblo pottery. The pottery of Tony Da remains an important addition to any collection!
This is a spectacular jar by Tony Da. He had a short career which spanned from 1967-82. He 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. This jar was originally purchased in 1971. It is fully polished a deep red and the design consists of three sections with a feather pattern. The feather design on the plates by his grandmother Maria Martinez were iconic by the 1970’s, so Tony created this design as his own variation. There are three sections of feather separated by inset pieces of turquoise. As well, the jar has a lid, which is tightly made and it is one of his earliest styles. The jar is signed on the bottom in the clay, “DA”. It is in excellent condition with no chips, cracks, restoration or repair. This is certainly a classic style of Tony’s pottery and even an early piece like this bowl reflects the impact he had and continues to have, on Pueblo pottery. The pottery of Tony Da remains an important addition to any collection!
This gunmetal fired bowl is a classic piece by Maria Martinez and her son, Popovi Da. Maria made and polished the bowl and it was fired by her son, Popovi Da (1923-1971). Popovi focused on both the painted surfaces of the pottery as well as the firings. This bowl is a gunmetal coloration with a metallic appearance across much of the surface. It is signed on the bottom in the clay, “Maria / Popovi 1268”. The firing date is when the pottery was made, so this bowl was from Dec, 1969. It is in excellent condition with no chips, cracks, restoration or repair. Great gunmetal fired pieces by Maria and Popovi with such high polished surface are always stunning and a great addition to any collection!
Maria Martinez Signatures
$ 2,200.00
This is seedpot by Rosemary Lonewolf is from the late 1990’s. It is fully polished and there is an etched wolf on the top along with stars and a full moon. On the sides are basket designs. The contrast of the matte and polished areas accentuates her imagery. The piece is signed on the bottom “Apple Blossom”, which is her name in Tewa. It is in excellent condition with no chips, cracks, restoration or repair.
$ 300.00
This seedpot by Camilio Tafoya is from 1995. It is the last series of pieces he made. It was fully polished and etched with five chipmunks. They are gathering nuts. It is whimsical in style and there is a playfulness to the designs. The various colors are derived from natural clay slips. It is signed on the bottom “Camilio Sunflower Tafoya”. It is in excellent condition with no chips, cracks, restoration or repair.
$ 500.00
Harrison Begay, Jr. has won numerous awards over the years for his deep carved pottery. This jar is from 1999. It is a classic shape with a high shoulder and short neck. The jar deeply carved and there is an amazing amount of design on the surface. Around the top of the shoulder, there is a star pattern (polished) with matte carved rain designs. Around the side of the jar, there is a bear and Yei figure along with cloud, rain, hand and other designs. They are each deeply polished and carved. An unusual addition to the design is the incised imagery. Take a closer look at the matte areas of the jar and they are fully designed with incised lines to create cloud, swirls, star and other designs! The polished sections stand out more in contrast to the black matte areas. Note as well the style of carving, which has a beveled appearance to the angle of the cuts into the clay. This is a very distinctive style of carving for his pottery. The jar is signed on the bottom in the clay. It is in excellent condition with no chips, cracks, restoration or repair.
$ 1,200.00
This is a striking original clay piece by Roxanne Swentzell. It is entitled “Admiration”. It is one of the classic style pieces by Roxanne. Here the potter is holding two of her pieces of pottery. There is something so endearing about the look on her face as she is looking at her pottery. The two bowls are part of the figure so this is all one piece. It is equally remarkable that both bowls are Mimbres in styles. This harkens back to the early Mimbres pre-historic pottery, considered some of the best and most refined ancient art in the world. The connection of the past with this innovative artist of the present and her impact on the future certainly reads throughout this wold piece. Note as well feet, the movement of the hands, the face, are all perfectly scuplted. Roxanne is able to achieve such a sense of emotion in the faces of her figures! This piece is in perfect condition with no chips, cracks, restoration or repair. There is a monumental bronze similar in style to this piece in clay which is located at Roxanne’s studio in Pojoaque (see last photo). This piece is from early 2000 and signed in the clay, “ROX”.
$ 12,000.00
This is a distinctive shape jar by Russell Sanchez. The jar is wide and with a very flat top. The jar is fully polished and the shoulder of the jar is designed with a checkerboard snow pattern using a mica clay slip. The top is fully stone polished and designed with stylized bird patterns. The birds on this jar certainly have a similarity to those found on Sikyatki pottery, but they are also found on older San Ildefonso pottery as well! The two birds are different and designed with additional patterns for their bodies. The tails of the birds are inset with hematite stones while the center of the bodies have a high-grade Kingman turquoise. As old as the designs are, Russell has presented them in a manner that seems very modern! The lid is highly carved and has “waterfall” ribbed shape with a single piece of turquoise on the top of the lid. The base of the lid is polished with the ribs are slipped with mica. The jar is fired a deep black and the mica squares are very metallic in appearance. There are four inset bands of hei-shi beads around the jar. The bottom of the bowl has the classic indention of traditional San Ildefonso water jars. Russell uses these historic elements to keep them alive on his contemporary pottery. It is signed on the bottom in the clay, ‘Russell”.
Russell Sanchez: Contemporizing the Pueblo Pottery Past
$ 9,200.00
Susie Crank is a daughter of Rose Williams and a sister of Alice Cling. Each piece is coil built, stone polished and amazingly, she says he may burnish a piece over and over as many as 15 times to get a high shine! This water jar is an elegant shape with a sharp shoulder and short neck. The jar is stone polished and even the inside of the neck is polished to the shoulder! The jar is then traditionally fired to create the fire-clouds on the surface. The colorations on this jar range from black to a deep red. The jar was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery waterproof. Today, the pine pitch seals the vessel and gives it the shine. This jar has a stunning shine and a great feel to the surface! It is signed on the bottom in the clay, “Susie Crank”.
$ 175.00
Anderson Peynetsa is known for his vessels as well as his figurative pottery. This duck figure is one of his technically amazing pieces. The figure is opened at the top and has extended pieces of clay at the head and tail. It is fully painted but it is the use of the heartline deer around the body of the piece which is so striking. They are painted in his own style with the elongated necks. Anderson has an elegant and modern stylization of the heartline deer on his pottery. It is fascinating how a piece can appear both modern and yet reflect cultural history and charm. The area above and below the deer painted with a mottled red and black over the white. The piece is complex in both form and design. It is signed on the bottom in the clay.
$ 1,600.00
Art Cody Haungooah began making pottery in 1972. He brought his Kiowa heritage and culture to the pottery of Santa Clara Pueblo. This piece is from around 1980. It is a seedpot and fully polished. It is an unusual design in that it is based more of Kiowa history than that of the Southwest. There are two teepees as the design. They are surrounded by cloud and feather patterns. It is signed on the back, “AH, Haungooah”. It is in excellent condition with no chips, cracks, restoration or repair.
Art Cody Haungooh: A “Reflected Light” in Pueblo Pottery
$ 775.00
Art Cody Haungooah began making pottery in 1972. He brought his Kiowa heritage and culture to the pottery of Santa Clara Pueblo. This clay turtle is from 1974. It is fully polished and the back is etched with a Hemis Mana katsina. Note the more deeply incised and rounded lines around the katsina figure. It is signed on the bottom on the neck, “Haungooah 2-74”. It is in very good condition with no chips, cracks, restoration or repair.
Art Cody Haungooh: A “Reflected Light” in Pueblo Pottery
$ 375.00
Mary Cain was a daughter of Christina Naranjo and a granddaughter of SaraFina Tafoya. She was known for her classic style carved and polished Santa Clara pottery. This bowl is carved with a water serpent (avanyu) encircling the piece. The body of the avanyu consists of cloud and rain designs. The bowl is highly polished and fired a dark black. It is signed on the bottom, “Mary Cain”. It is in very good condition with no chips, cracks, restoration or repair.
$ 400.00
This is a traditional jar by Lorriane Williams. It is a round bowl and there are bands of star designs etched into the surface. The style of the stars are similar to those seen on Navajo rugs. The bowl is traditionally fired to create the coloration to the surface. After the piece is fired it is covered in pine pitch, which is typical of all traditional Navajo pottery harkening back to when it was utilitarian. Lorraine has won numerous awards for her pottery and been featured in books such as “A Legacy of Generations”.
$ 90.00
This small jar by Alice Cling has a low, round shoulder and an elongated neck. It is the shape of the neck which has been squared off so that it is flat on the sides. The jar is then traditionally fired to create the coloration. Note how the fireclouds swirl around the jar creating areas of dark black to deep red. The jar was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery waterproof. The jar is signed on the bottom in the clay, “Alice Cling”. Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”
$ 120.00
This is a figurative seedpot by Anderson Peynetsa. The seedpot has a lizard in relief with its head extending up over the top of the piece. The tail swirls around the piece and the white dots on the back are a white clay and are raised. There is also a painted dragonfly on the piece. Dragonflies are significant as prayer messengers. The seedpot is striking both in shape and design. It is signed on the bottom in the clay.
$ 125.00
Sharon Lewis has developed her own very distinctive style of painted design. Her pieces are beautifully formed, thin-walled and then tightly painted. This jar is a more classic Acoma form with the high shoulder and short neck. It is fully painted with large star patterns. Separating the large stars are very delicately painted hatchwork lines. The black is from bee-weed. The jar is signed on the bottom, “Sharon Lewis”.
$ 225.00
This is an exceptional large lidded bowl by Grace Medicine Flower. She began her career making miniature pottery with incised designs. This large piece is from 1985, the beginning period when she was deeply carving her pottery along with utilizing sgraffito designs. The jar itself is deeply carved with a feathered water serpent (avanyu). This style of avanyu was used by her father, Camilio Tafoya and also her brother, Joseph Lonewolf. As the jar is turned there is a small feather medallion with butterflies, There is a second, larger medallion, which also has butterflies and flowers. The lid of the jar is fully polished and also etched with butterflies. Grace said of her carved pottery:
“Once you pick her (the vessel) up, to start designing, whatever comes to your mind is how it’s going to look. To me, I can envision the carving or the plain polish and what it would look like with just one medallion. I do all the sgraffito before it was fired. You have to be so careful. Once you put in the designs, she turns out to be beautiful.” Grace Medicine Flower, Spoken through Clay
One distinctive aspect of this piece is the additional colored clay slips which highlight the design. There was a very brief period when she used clay slips of various colors for her pottery. This one has white, green and blue additional colors added to the butterflies. Grace said that Joseph Lonewolf (her brother) gave her the clay colors and then when she ran out she didn’t get any more. The jar is highly polished and fired a deep red. It is certainly a classic and of her few pieces at this size and with a lid! It is signed on the bottom in the clay, “Grace Medicine Flower”. Note for the signature on the base, there is an incised butterfly along with a flower extending up the side. It is in very good condition with no chips, cracks, restoration or repair.
$ 8,800.00
Camille “Hisi” Quotskuyva learned to make pottery from her mother, Dextra Quotskuyva. She is 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 is one of her classic shapes with a flared rim. The body of the jar has butterfly and bird tail designs. The butterfly wings are painted with thin lines for which she is famous. The black is painted with bee-weed and the red clay slip in the design is stone polished and has some mica in it. The jar is traditionally fired to create the fire clouds on the surface. It is signed on the bottom in the clay. It is in excellent condition with no chips, cracks, restoration or repair.
$ 1,100.00
Mary Ester Archuleta is the second youngest daughter of Margaret Tafoya. She has never prolific and most her pottery was made in the 1970’s and 1980’s. This canteen is a striking piece and fully polished a deep red. There are bear paws on both sides. The entire piece is fully polished. The bear paws represent a story of how the Pueblo people were led to water during a drought by a bear. This particular style of canteen is one which is very reminiscent of the work of her mother, Margaret Tafoya. The stopper is hand carved and there are leather straps. It is signed on the bottom in the clay, “Mary E. Archuleta”. It is in very good condition with no chips, cracks, restoration or repair.
$ 1,200.00
This is a striking bowl by Jeff Roller. Jeff is a grandson of Margaret Tafoya and continues a family legacy of extraordinary traditional pottery. This bowl is deeply carved with a cloud pattern around the shoulder. In space of one of the clouds, he etched small stars. Below the shoulder Jeff carved four turkey feathers coming up from the base of the bowl. They are etched with intricate detail. The bowl was fired to a brownish-red coloration. It is a striking and complex piece. It is signed on the bottom in the clay, “Jeff Roller”. The bowl is from 1998 and originally came through our gallery. It is in excellent condition with no chips, cracks, restoration or repair.
$ 1,200.00
This is a striking but smaller jar by Virgil Ortiz. The piece is coil built and painted with native clay slips and wild spinach (a plant) for the black. The jar is painted with one of Virgi’s iconic images. It is that of Tahu, the Blind Archer, with a rose in her mouth. The story for this image is part of the Pueblo Revolt 1680/2180 series.
“The various characters that make up the Pueblo Revolt series are all inspired by names and words in Keres and other Puebloan languages. “Tahu” is a word used as a sign of respect for older Pueblo women. ” The story of the blind archers is about a young Tahu who is blinded by one of the Conquistadors during an archery contest. Years later she becomes the leader of the Blind Archers and part of the Pueblo Revolt. Ortiz imbues the storyline with the importance of survival, courage, hope, and determination.” Revolt 1680/2180, Charles S. King
Separating the two Tahu images are wildflowers, which curl and swirl up from the base of the jar. Note as well the “spirit line” which is a space in the painting on the rim. Virgil has also incorporated his signature “x”, which is the turkey track, onto the jar. The piece is signed on the bottom. It is from 2013 and it is in excellent condition with no chips, cracks, restoration or repair. The use of traditional and contemporary imagery has become a standard for Virgil’s pottery as he pushes the boundaries of contemporary Native clay. His work can be found in museums worldwide, including the Fondation Cartier in Paris, the Heard Museum, the Denver Art Museum and more.
$ 3,600.00
This jar by Les Namingha is entitled, “Striped Pueblo Jar #1”. The shape is one of his now classic forms with a round shoulder and an asymmetrical neck and opening. The jar is painted with a variety of Pueblo designs. Around the neck are white cloud and blue sky dots. Around the shoulder are very finely painted triangular geometrics alternating with tightly painted mulit-color rectangles. The triangles are inspired by Acoma, while the colored rectangles remind one of the jewelry of Charles Loloma and his inspiration of the Hopi landscape. Below that are striped bands of color along with pointilsim sections. These various designs remind one of Acoma, Zuni and Hopi designs. The lower band has thinly painted intersecting circles and lines creating a variety of interlocking patterns. The lowest section has the black triangular designs on the brown band are inspired by the work of the Southern pueblos. As all the imagery is broken apart, the various sources of inspiration become quickly evident. It is certainly a creative direction for his pottery designs. The jar is signed on the bottom.
$ 3,200.00
Steve Lucas is one of the leading Hopi-Tewa potters working today. Each piece is coil built, stone polished, painted with native clay slips and bee-weed (black) and traditionally fired. Steve has won “Best of Show” at Santa Fe Indian Market and his work remains some of the most refined and creative. This large jar is from 1995 and won a Second Place Ribbon at Santa Fe Indian Market. The shape, with the wide shoulder and the short neck, is perfect for his design. The design is an interesting deconstruction of Katsina faces. There is a Longhair face a Chakwaina half-moon design. The other patterns are various Hopi-Tewa eagle tail and rain designs. The deep red is stone polished and it is a striking contrast to the black areas. Note the very finely painted lines and the hatchwork designs. These add to the overall impact of the jar. The piece was traditionally fired and has slight blushes on the surface. It is signed on the bottom in the clay, “S. Lucas” and a mudhead (koyemsi) and an ear of corn (corn clan). It is in very good condition with no chips, cracks, restoration or reapir.
$ 3,600.00
Jennifer Moquino is known for her clay vessels and exceptional realistic animals. This jar is coil built and fully polished. It is a wonderful shape which is square on the sides and VERY flat on the top. Technically that is always difficult to achieve with native clay. The flat area has four large bumblebees as the design. They are each a different type of bee. Note the wings, which somehow Jennifer etched and slipped to make the almost appear transparent! It is quite exceptional. The neck of the jar has small dots of pollen which swirl around the opening. The detail on each bee is simply fantastic. Around the edges are stylized designs which are reminiscent of those by her father, Ray Tafoya. The bottom is also fully polished. All the colors are all from natural clay slips. The jar is signed on the bottom in the clay, “Jennifer Tafoya”. Jennifer continues to be one of the leading innovative potters working today!
$ 1,500.00
This is a colorful and striking jar by Frederica Antonio. She has won numerous awards for renown for her intricately painted pottery. The shape of this jar with the low shoulder and tall sides shows off the complex designs. On two sides it is painted with a four-color rug pattern. Each of the various clay colors are painted onto the piece and then the black bee-weed is painted over the edges a second time to create a stronger visual delineation. There is definitely a lot of time and patience in painting this jar. Separating the two colorful sections are two sections with snow designs. To create these patterns she paints the vertical lines first, then the horizonatal and then fills in the squares to create the designs. The base of the jar is concave, reminiscent of historic Acoma jars which were carried on the head. This combination of thin walls, classic shape, and tightly painted design create a piece which is visually stunning! The jar is signed on the bottom.
$ 1,550.00
This is an exceptionally designed bowl by Russell Sanchez. His recent work is a modern take on historic San Ildefonso pottery. The sound shape of the bowl is perfect for both the etched designs and the bear lid, with a graceful flow of form. The lower half of the bowl is fully polished with a black micaceous clay slip and then etched with a sun design. The sun design in one that was a pattern often seen in the work of Tonita Royal. Note how the design is further highlighted with a matte red clay slip, which is applied before the bowl was fired! However, it is the space from the shoulder to the neck which is the visually dynamic part of this bowl. Russell has etched a series of squares which alternate from a deep polished to matte. The square spiral in towards the mouth of the bowl and each row is separated by a band of shell hei-shi beads. The checkerboard pattern is a cornrow design, with the small dots representing the corn kernels. The bear lid is also polished black and the small dots on the edge of the lid are a visual repetition of the dots on in the design on the bowl. The shape of the bear is very sculptural and the elongated head seems to perfectly match the wide shape of the jar. Of course, the final touch is the inside of the bear is slipped red! Wow! A lot going on in one piece, that seems simple but there is a dynamic complexity inherent in the piece. The piece was traditionally fired outside and it is signed on the bottom in the clay. Simply perfect!
Russell Sanchez: Contemporizing the Pueblo Pottery Past
$ 8,900.00
This is a figurative clay red fox by Jennifer Moquino. The entire figure is fully polished and etched. There is great detail on the back with cloud and water designs on one side and a feather a cloud design on the other. The top of the back has a wolf track slipped with a green clay. Note there are even tracks etched onto the feet! The ears, legs and tail are matte clay. The piece is signed on the bottom. The colors are all derived from natural clay slips.
$ 450.00
Dena Suina (b. 1961) learned to make pottery from her mother-in-law, Louise Suina and she began making her own pieces around 1991. Dena’s unique style of storytellers is of a traditional Cochiti storyteller, but with crisply painted detailed lines, very small children and exquisite painting. This storyteller is a larger piece and there are 28 kids. Note as well the very intricate painting on the necklace and the dress. On the back of the piece, there is a painted Thunderbird. Dena has won numerous awards for her storytellers over the years at Santa Fe Indian Market and other events. The piece is signed on the bottom “Dena Suina”.
$ 850.00
This is a figurative clay walleye by Jennifer Moquino. The entire figure is fully polished and etched. There is great detail on the sides of the piece and the shape of the fins. The piece is signed on the bottom. The colors are all derived from natural clay slips.
$ 140.00
This is a figurative clay trout by Jennifer Moquino. It is a rainbow trout and there is a slight turn to the tail. The entire figure is fully polished and etched. Note the details on the sides and the overall detail in the design! The piece is signed on the bottom. The colors are all derived from natural clay slips.
$ 140.00
Jennifer Moquino is known for her clay vessels and exceptional realistic animals. This is one of her smaller tiles. It is fully polished and etched. The piece has a Pueblo girl and butterflies. The girl is designed in an “anime” style. As figurative work on pottery is often discouraged at some of the Pueblos, this style of figure is less realistic and more imaginary. The young girl here is surrounded by butterflies. Each one is a different style of butterfly. The border on the side has a cloud and rain motif. It is a contemporary and creative piece! The tile is framed so that it can be mounted on a wall. It is signed on the side. Jennifer continues to be one of the leading innovative potters working today!
$ 800.00
Jennifer Moquino is known for her clay vessels and exceptional realistic animals. This is one of her largest tiles she has made. It is fully polished and etched. The piece is the Pueblo story of the “Turkey Girl”. The story is considered the Pueblo version of “Cinderella”. The story below is one written by Juan de la Cruz, for his Turkey Girl jar.
“Turkey Girl’s tattered and worn clothing was taken and transformed into beautiful garments: a dazzling necklace and intricately woven mantle were draped upon her arms. The turkeys that she tended to presented these gifts: for they knew her heart’s desire was to participate in the festivities being held in the neighboring village. In exchange for this and the kindness she always showed towards them, they were given freedom and traversed into the narrow mountain pass where they reside to this day”. Juan de la Cruz
On this tile, the girl is being given new mocassins as she is surrounded by the turkeys. Check out the amazing use of detail in the feathers of the birds! All the various colors are derived from natural clay slips. Jennifer has included a mica slip for the ground. In the left corner is a stylized set of turkey feathers etched in the style of her father, Ray Tafoya. The tile is framed so that it can be mounted on a wall. It is signed on the side. Jennifer continues to be one of the leading innovative potters working today!
$ 2,600.00
This is a classic form of water jar by Russell Sanchez. The shape is a very traditional form with a wide round shoulder and straight rim. The edge of the rim is flat, but the inside of the neck is carved and polished with 16 melon ribs creating the “waterfall” effect! The neck of the jar has four bear paws and the shoulder has a micaceous clay slip which, when fired, is a mettalic coloration. Above and below the mica band are jet hei-shi beads. The base of the jar is carved or indented with a “gourd” design. The way the light hits is perfect creating a sort of “shimmer” when the piece is turned! The entire surface is stone polished and it is always amazing that when Russell polishes the inside of the neck, the jar doesn’t crack. It is fascinating how Russell has gone back to revive old style and create their modern versions. Russell continues to creatively revive historic San Ildefonso designs with his innovative style of pottery. The bottom of the jar has the classic indention of traditional San Ildefonso water jars. Russell uses these historic elements to keep them alive on his contemporary pottery. It is signed on the bottom in the clay, ‘Russell”.
Click here to read: Russell Sanchez: Contemporizing the Pueblo Pottery Past
$ 2,900.00
Paul Speckled Rock is a grandson of Severa Tafoya but learned to make pottery from Joseph Lonewolf. This seedpot is from 1983. It is a very early piece of his pottery. When he first started to make pottery, he began making unusual shapes, which were very much like “rocks”. They were immediately distinctive in form and design. This piece is highly polished and very lightly etched with three roses as the design. They are highlighted with red and green clay slips. The piece is signed on the bottom in the clay, “Paul Speckled Rock, 1983”. It is in very good condition with no chips, cracks, restoration or repair.
$ 425.00
This seedpot by Gloria Garcia is fully polished and fired black. The top is fully designed with a prancing fawn in the older “two-dimensional” style of Santa Clara paintings. The fawn is surrounded by flowers. Gloria’s combination of polishing and etched designs is always striking. This piece is signed on the bottom with her Tewa name “GoldenRod”.
$ 275.00
This bowl by Gloria Garcia is fully polished and etched with one of her more realistic scenes. There are nine quail on the bowl. There is also an eagle landing. Around the neck is a sky pattern and a Tewa sun. Note the detail in the wings of the eagle and quail. The bowl is very highly polished and fired a deep red. It is signed on the bottom with her Tewa name “GoldenRod”.
$ 550.00
Diane Lewis is known for her tightly painted miniature pottery. This is one of her very intricately painted seedpots. The top is painted with intricate Mimbres inspired lizards and a Mimbres fox. Note the bodies of all the animals are made up of traditional Acoma designs! There is also a cut-out area in the shape of a step or mountain pattern. All the colors are from natural clay slips. The thin lines are very time consuming to paint! The lizards and fox are inspired by the Mimbres pottery of the 1100’s. It is an exciting modern interpretation of classic Acoma imagery. It is signed on the bottom, “D. Lewis”.
$ 75.00
Daniel Lucario learned to make and paint pottery from his mother, Rebecca Lucario. This small seedpot is from 1993. It is very tightly painted with 7 lizards. They are on the bottom, sides and even one going into the opening of the piece on the top! They are each highlighted with additional clay slips for the color. The piece is signed on the bottom in the clay and it is in excellent condition with no chips, cracks, restoration or repair.
$ 75.00
Diane Lewis is known for her tightly painted miniature pottery. This is one of her very intricately painted seedpots. The top is painted with intricate Mimbres inspired lizards on one half of the piece. The opposite half has another lizard surrounded by classic Acoma designs. Note the very finely painted lines on the top of this seedpot. All the colors are from natural clay slips. The thin lines are very time consuming to paint! The lizards are inspired by the Mimbres pottery of the 1100’s. It is an exciting modern interpretation of classic Acoma imagery. It is signed on the bottom, “D. Lewis”.
$ 110.00
Madeline Sayneyha is a cousin of potter Mark Tahbo. She learned to make pottery from Mark as well as Ivy Youwyha. She is a daughter of Herman Sakyneyah and Ernestine Chaca. In the 1990’s she began making elegant pottery. Each piece was coil built, painted with native clay slips and traditionally fired. She was quickly known for her thin painted lines and dynamic firing. This jar is a striking piece of her pottery. It has a classic shape with a round shoulder and a slight neck. The jar is painted with a star pattern when looking down from the top. The designs on the inside of the star are cloud patterns. The jar is traditionally fired to create the fire clouds. It is signed on the bottom in the clay, “M. Sahneyah”. While Madeline no longer makes pottery, her quality of her pottery and her painted designs remains strong. It is in excellent condition with no chips, cracks, restoration or repair.
$ 325.00
Diane Lewis is known for her tightly painted miniature pottery. This is one of her very intricately painted seedpots. The top is painted with two Mimbres lizards. Each lizard has additional Acoma designs and is painted with natural clay slips. The style of the lizards are inspired by the Mimbres pottery of the 1100’s. Spiraling out around the lizards is a classic Acoma design representing the yucca leaf. The yucca plant is used to paint the designs on the Acoma pottery! It is an exciting modern interpretation of classic Acoma imagery. It is signed on the bottom, “D. Lewis”.
$ 125.00
Diane Lewis is known for her tightly painted miniature pottery. This is one of her very intricately painted seedpots. The top is painted with intricate Mimbres inspired fish and birds. The body of each animal is painted with classic Acoma designs and highlighted with various clay colors. All the colors are from natural clay slips. Surrounding the fish and birds are triangular shapes which are painted with very line lines. The thin lines are very time consuming to paint! Note as well there is a cut-out on the top of the piece in the shape of a fish! The animals are inspired by the Mimbres pottery of the 1100’s. It is an exciting modern interpretation of classic Acoma imagery. It is signed on the bottom, “D. Lewis”.
$ 125.00
Emma Lewis was a daughter of noted potter Lucy M. Lewis. This smaller bowl is very fully painted. There are two Mimbres style rabbits on the sides. They are separated by lightning and rain designs. Much of her imagery is inspired by the ancient Mimbres pottery of the 1100’s. The bowl is signed on the bottom. It is in very good condition with no chips, cracks, restoration or repair.
$ 110.00
Tina Garcia was well known for her focus on traditional shape and plain ware Santa Clara pottery. This jar was from 1991 and it is a classic piece of her pottery. The jar has a sharp shoulder and it slopes up to the mouth. There are three bear paws impressed into the clay. The entire piece is fully polished and fired a deep red. The bear paws are part of a story where a bear led the Pueblo people to water during a drought. It is signed on the bottom in the clay, “Tina Garica”. It is in excellent condition with no chips, cracks, restoration or repair.
$ 900.00
Diane Lewis is known for her tightly painted miniature pottery. This is one of her distinctive oval seedpots. The piece is painted on the top with a complex series of designs. The figures, as well as the birds, fish, rabbit, and turtle, are inspired by the Mimbres pottery of the 1100’s. The surrounding areas are painted with classic Acoma patterns including rain and lightning designs. Note the intricacy of the painting! All the various colors are natural clay slips. It is an exciting modern interpretation of classic Acoma imagery. It is signed on the bottom, “D. Lewis”.
$ 125.00
This nativity set by Margaret and Luther Gutierrez contains 22 different figures. This is the middle size of the sets that they made. There are Mary, Joseph, baby Jesus and the three wise men. The Wise Men are presenting gifts of bread and animals. There are additional animals of a cow, donkey, pig, horse, duck and more! This is also one of the few sets which includes three angels. There are two koshari figures and even one miniature seedpot. Each piece is signed and it does include pieces by Margaret & Luther, Pauline Naranjo (Luther’s daughter) and a couple by Margaret alone. The set is from the collection of Richard Spivey and was begun in 1977 and put together over the course of several years. They are each painted with native clay slips and they are all in very good condition with no chips, cracks, restoration or repair. Definitely a charming collection of work by this important family of potters!
$ 1,200.00
Frederica Antonio is renown for her intricately painted pottery. Each piece is coil built and then finely painted. Her designs are a series of fine vertical and horizontal lines which are then filled in to create larger images in the squares. This jar is a classic olla shape with a high shoulder and a long neck. Frederica has painted the Four Seasons in the black-and-white sections of the ajr. Separating them are four bands of color, representing the four directions. The neck is very intricately designed with a series of rectangles in color and triangles in black-and-white. The neck represents the fall leaves. The coloration is not only complex for painting various colors, but also that after she has painted each color, she has to go over the edges to repaint the black! It is amazing how time consuming this can be in for her pottery art! The result, however, is stunning with a dynamic appearance and movement to the designs. The base of the jar is concave, reminiscent of historic Acoma jars which were carried on the head. This combination of thin walls, classic shape, and tightly painted design create a piece which is visually stunning! The jar is signed on the bottom.
$ 1,600.00
This is a striking fully polished water jar by James Ebelacker. He is a son of noted potter Virginia Ebelacker and a grandson of Margaret Tafoya. He is known for his large vessels. This water jar has a wide shoulder and a short neck. At the shoulder of the jar there is a slight indention downward before rising to the neck. It is hard to see it in the photos but it creates a beautiful edge and reflection for light. The rim of the jar is just slightly turned out and polished on the inside. The entire jar is fully polished and fired a striking red coloration.
“With pottery, you can’t get discouraged. It can’t be rushed. You really have to invest the time to learn your path, and it will be revealed to you. So you slow down and think about what you really want to create. In the end, if you are serious about wanting to learn the art of making pottery, the clay will speak to you and instill a sense of what it is destined to become. Inevitably and thankfully, in doing so our ancient tradition of Santa Clara pottery will continue into the future, span the generations, and will not be lost to time.” James Ebelacker, Spoken Through Clay
It is signed on the bottom in the clay, “James Ebelacker”. His work can be found in museums throughout the southwest and he has won numerous awards for his pottery at events such as Santa Fe Indian Market and the Heard Market.
$ 7,200.00
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 bowl is highly polished and fired a very deep black in coloration. It has that “mirror-like” surface for which Maria was famous. 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.
Maria Martinez Signatures
$ 1,000.00
Teresita Naranjo was a daughter of Christina Naranjo and know for her deeply carved pottery. This bowl is one of her classic pieces in terms of the carving. It is very deeply carved with a water serpent (avanyu) encircling the piece. Note how the negative space around the rim becomes part of the design of the clouds and lightning above the avanyu. The entire piece is fully carved and polished. The avanyu encircles the bowl and the body has cloud and rain designs. It is signed on the bottom in the clay, “Teresita Naranjo” and it is in very good condition with no chips, cracks, restoration or repair.
$ 850.00
This is an important figurative work by Virgil Ortiz. It is thematically based on the historic Monos figures from Cochiti Pueblo which began in the 1880’s. However, more importantly, it is part of his “Saints and Sinners” series from 2005. This was the first major show the gallery did with him and the first where he began the process towards his now famous Pueblo Revolt series. Virgil said of his series in the book, “Revolt”:
“One of the first series Ortiz created as he began to explore the idea of the Pueblo Revolt in his art was “Saints and Sinners” (2005). These figures brought form to various Catholic Saints. Virgil chose the particular saints for a variety of reasons, but most simply reflected the Spanish impact on Pueblo life and culture. It was this loss of Pueblo religion, one of the factors leading to the Pueblo Revolt, which gave this concept such power. As the series progressed Ortiz also believed that there needed to be a counterbalance to these saints. He decided to create a group of ‘sinners’. “You never really know who is the saint and who is the sinner in real life, or as the saying goes, ‘Every saint has a past and every sinner a future.’” Virgil Ortiz: Revlot 1680/2180 by Charles S. King
This figure is important in the series, as it was the first one when he called to tell me about how the show had changed from “Saints” to “Saints and Sinners”! The figure was used on the gallery invitation and I also attached the inside of the invitation as the last image. The figure is also published in the book, ‘Free Spirit”. The figure is made with native clay and painted with wild spinach (black) and red clay slips. The style is in his “S&M” figures which he first made around 2000. Note the use of the sun design around the neck. The pice feels dramatic with the upturned face. The use of traditional and contemporary imagery has become a standard for Virgil’s pottery, continuing to push the boundaries of contemporary Native clay. It is an exceptional piece and imbued with some amazing provenance and history. This piece is signed on the bottom. It is in excellent condition with no chips, cracks, restoration or repair. Included is a copy of the book, “Free Spirit”.
$ 3,900.00
Nathan Youngblood is one of the few Pueblo potters who creates large and intricately carved plates. In addition to the round and oval ones, he has also created his own distinctive form of the “tear drop” shape. This piece is coil built, carved, stone polished and traditionally fired. He designed this plate so that it has a “shield-like” appearance with a central medallion and the designs emanating out from the center. The imagery is all cloud and rain patterns. The band extending out from the center are slipped with a micaceous clay, creating another visual contrast from the matte and polished surfaces. The polished areas here are perfectly polished to a “glass-like” appearance. The piece is signed on the back with his name and Tewa name hallmark meaning “Deer Path”. The plate comes in a metal museum mount made specifically for this piece.
$ 12,800.00
This jar by Dora Tse-Pe is from 1982. It is a classic shape which was often used by her mother-in-law, Rose Gonzales. The sharp shoulder and long neck create a delicate form. Dora was renown not just for the shapes of her pottery, but especially her highly polished surfaces. The jar is fired black and the neck is two-tone making the piece “black and sienna”. It is in excellent condition with no chips, cracks, restoration or repair. It is signed on the bottom in the clay, “Dora Tse-Pe ’82”.
$ 675.00
This asymmetric jar Russell Sanchez is from around 2001. It is one of his classic asymmetric forms with a sharp edge and an indented side. The entire piece is fully polished black. The top half has been “two-toned” black and green. There is a band of silver leaf which extends around the jar. It is surrounded by two bands of shell and turquoise hei-shi beads. The bottom half of the bowl has a series of stylized San Ildefonso flower and leaf designs. This was a period when Russell was experimenting with these types of designs and giving them a more contemporary flare. The jar is signed on the bottom in the clay. It is in excellent condition with no chips, cracks, restoration or repair.
$ 2,600.00
This jar by Dora Tse-Pe is from 1978. It is a classic shape which can often be seen in the work of her mother-in-law, Rose Gonzales. The jar has a sharp shouler and an elongated neck. It is carved with a swirl cloud or water pattern around the shoulder. The rim is sienna while the remainder of the jar is a dark black from the firing. It is in excellent condition with no chips, cracks, restoration or repair. It is signed on the bottom in the clay, “Dora Tse-Pe, 1978”.
$ 700.00
This jar by Joy “Frog Woman” Navasie is a striking shape. The jar has a round shoulder and a turned out rim. The piece is fully designed with four panels painted around the sides. The jar is slipped with the white clay and then painted with a red clay slips and bee-weed (black). Two panels are birds and the other two are cloud and rain designs. The red is a deeper red clay she began to use in the 1980’s. The jar is very finely painted with delicate lines. What is really wonderful about the jar is the firing. There are just slight blushes so the jar is not a perfect white, but the colors from the firing create almost a “meringue” color. The jar is signed on the bottom with her Frog Hallmark. It is in excellent condition with no chips, cracks, restoration or repair.
$ 650.00
Susan Folwell combines classic imagery with her own contemporary style of shape and design. This tall jar has carved birds in the center of the design. They are polished tan and the bodies of the birds are carved at various levels, giving them a very distinctive appearance. The color variation on the wings is from the traditional firing. The jar itself is slipped with a pinkish colored clay and there are additional birds painted onto the surface. The lid sits on the top of the jar and its shape is meant to evoke the classic Hopi style bird. The various colors and use of the matte and polished surfaces works perfectly on this piece. Susan’s pottery is meant to not only connect with us visually, but also with touch and meant to make us think.
$ 3,300.00
This is a classic water jar by Samuel Manymules. It is coil built and slipped with a red clay and then traditionally fired. The jar neck which is fully polished. The lower section has melon ribs which are pushed out into the clay. The ribs are wide and sharp, narrowing down from the shoulder to the base. There is an indented ridge where the neck ends and the melon ribs begin. The entire jar is fully polished and traditionally fired to create the coloration. It is how Samuel places the jar in the firing and the smoke which determine how the colors will range from black to red. The color changes as the jar is turned. 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.
$ 950.00
It is very unusual that we come across a black-on-red piece by Tonita Roybal. This bowl is an early piece from the 1920’s. Tonita and her mother, Dominguita Pino, were both very well known for their black-on-red pottery before the advent of the black-on-black pottery in 1920. While numerous potters were making black-on-red pieces before 1920, Tonita was certainly among the best and her signed pieces in this style remain classics. This bowl is fully designed with some of Tonita’s classic imagery. There are cloud, rain, lightning and other designs. There are also striking areas of hatchwork patterns. The black is painted onto the red clay surface. The bowl is signed, “Tonita” on the bottom. This is her earliest type of signature, with the very tightly written name. It is an important and striking piece of her pottery both in terms of coloration and design.
Early San Ildefonso Pottery Innovators -1920-1940
$ 3,400.00
Isabel Atencio was a daughter of Nicolasa Montoya (the aunt who taught Maria Martinez to make pottery) and a sister of Rayita Montoya, Santana Montoya and Alfredo Montoya (the first husband of Tonita Roybal). Among her children, Gilbert Atencio is known primarily for his paintings. Her daughters Helen Gutierrez and Angelita Sanchez are both well-known potters. This is one of her few collaborative pieces with her son, Gilbert. It is also the largest collaborative piece of their work we have had (ok, we have only had two in over twenty years!). The jar was made and polished by Isabel and painted by Gilbert. His is a buff-on-red coloration with rain cloud designs. It is a striking piece in shape and design. It is signed, “Belle + Gilbert”. It is in excellent condition with no chips, cracks, restoration or repair.
Early San Ildefonso Pottery Innovators -1920-1940
$ 1,050.00
Juanita Healing was from the Hopi village of Sichomovi at First Mesa. She married Dewey Healing, son of Annie Healing Nampeyo, oldest daughter of Nampeyo of Hano. This tile is made from traditional Hopi-Tewa clay and painted with a rabbit stick design. The rabbit sticks seen in Hopi katsinas with the Left Hand Katisina. They are somewhat like a boomerang. The sticks are painted in the center with stripes and there geometric red patterns next to them. The tile is signed on the back, “Juanita Healing”. It is in very good condition with no chips, cracks, restoration or repair.
$ 110.00
Laura Chapella Tomosie (1907-1977) was a daughter of Poui and Toby White and a sister of Grace Chapella, Dalee and Bert Youvella. She began making pottery in the 1930’s but was never as famous as her sister Grace. It is said that she only spoke Hopi-Tewa and would negotiate with by raising fingers to indicate the price of an object. This plate is made with the Hopi red clay. It is painted with bee-weed (black) and the design is outlined in white. It is a classic Hopi-Tewa bird as the design. The plate itself has just a small rim. It is signed on the back “Laura Tomosie”. It is in good condition with no chips, cracks, restoration or repair but some wear to the painted areas.
$ 150.00
This is a spectacular and massive storage jar bySofia Medina. The jar is made in the traditional style of Zia pottery. Each piece was coil built, painted with native clays and native fired. This is jar is exception form, color and painting. The jar is painted with four sections of birds. Each opposing bird is different. Over each bird is a polished rainbow band. Under two of the rainbows there are rain clouds. Under the other two are bird wings. Note the overall complexity of design from the base to the rim! The jar is simply beautifully polished and painted. Note as well the coloration of the jar, which a more brownish coloration for which Sofia was famous. Did you know that Zia potters use basalt as their temper for the clay, which gives these pieces their stability but also weight. The jar is in very good condition with no chips, cracks, restoration or repair. There is one small area of missing slip on the rim. It is signed on the side, “Sofia Medina”. Not just a classic piece of their pottery, but outstanding in size, design and color as well!
$ 2,600.00
Donicia Tafoya was the mother of noted potter Juan Tafoya. This jar is a striking piece of her pottery. The jar is a classic shape with a low shoulder and a painted seed design. It is the firing which is so distinctive on this piece. It is fired to a gunmetal appearance on one side and a darker black on the other. The jar is signed on the bottom in the clay, “Donicia Tafoya”. It is in very good condition with no cracks, restoration or repair.
$ 200.00
Judy and Lincoln Tafoya (1954-2005) worked together for twenty years making pottery. Lincoln learned to make pottery from his sister-in-law Sharon Naranjo Garcia. He was a son o Dan Tafoya and Billie Rose Lee. Judy is a daughter of Cecilia Naranjo and learned to make pottery from her grandmother Christina Naranjo. Judy began making pottery in 1982 and married Lincoln in 1984. This water jar has a fluted rim and four bear paws. The jar is stone polished and fired a brown coloration. It is signed on the bottom in the clay, “Judy and Lincoln Tafoya”. It is in excellent condition with no chips, cracks, restoration or repair.
$ 400.00
Donicia Tafoya was the mother of noted potter Juan Tafoya. This bowl is highly polished and painted with a cloud design around the neck. It is fired a gunmeatal coloration so it has a silvery appearance. It is signed on the bottom in the clay, “Donicia Tafoya”. It is in very good condition with no cracks, restoration or repair.
$ 150.00
This is a small plate by Juan Tafoya from 1983. It is fully polished and etched with a water serpent (avanyu) as the design. Juan was known for his etched designs and how he would chip away at the polished slip to form a textured background for his design. This can be seen around the body of the avanyu. In the center is an inset piece of coral. The plate is signed on the back, “Juan Tafoya”. It is in very good condition with no chips, cracks, restoration or repair.
$ 175.00
This large jar by Les Namingha is a striking combination of Hopi designs along with contemporary textured designs. The shape of the jar has a round shoulder and an asymmetrical neck and opening. The jar is painted with a variety of designs. There are stripes of Hopi-Tewa designs. They are painted in a manner as if they are being painted over by the other designs. There are larger white bird swirls and multi-color bands of rain patterns. The pointilism sections are areas which are inspired by Zuni katsina figures and which Les has often painted on his pottery. The fascinating part of this jar is the sections which are painted with a more textural feel. These areas are the deep blue and red with the white rain patterns. As well, the various large gray geometric forms also have a textural feel. For Les’s pottery, adding a textural dimension is not something new but it intensifies the layering aspect of the work. There is something distinctive about this jar and the layers over older style of designs, as if Les is moving on to another new direction in his art. It is a simple, provocative and powerful jar. The jar is signed on the bottom.
$ 7,200.00
Gaylon Westika is the son of noted potters Anderson and Avelia Peynetsa. Each piece is coil built and painted with classic Zuni imagery. This large jar is a striking shape with a round body and a slight. neck. The jar is two colors with a red clay slip on the bottom and an orangish color above the shoulder. The bottom half of the jar is painted with complex rain and lightning designs. Note the fine lines for the rain. The top half has Gaylon’s stylistic heartline deer. The deer encircle the jar and are surrounded by dragonflies. Dragonflies are significant as prayer messengers. Near the feet of the deer are Zuni style plant patterns. The jar is complex and the style of deer are indicative of Gaylon’s painting. It is signed on the bottom in the clay. Gaylon says of his art:
“I work hard to develop pottery that speaks both to me and others about the beauty that exists here in Zuni. With the completion of each piece, I believe the breath of my ancestors live on, reminding us of the Zuni culture, traditional design and lifestyle we strive to preserve.” Gaylon Westika
$ 1,000.00
This jar by Alice Cling is a very classic Navajo shape with the high shoulder and the elongated neck. The jar has a raised “braid” encircling the piece. It is incised with cloud designs. It is an interesting addition to her pottery and certainly adds a”jewel-like” feel to the shoulder of the piece. There is one small “gap” in the design, which is the “spirit line”. The jar is traditionally fired and there are beautiful colorations from deep black to dark red. The jar was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery waterproof. The jar is signed on the bottom in the clay, “Alice Cling”. Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.” She remains one of the great names in the revival of Navajo pottery in the 1980’s
$ 450.00
Jean Sahme is a daughter of noted potter Priscilla Nampeyo and a descendant of Nampeyo of Hano. This is one of her intricately painted tiles. The design is a classic Hopi-Tewa Butterfly Maiden Katsina. The figure is very intricately painted with bee-weed and the red is a clay slip. The tile is traditionally fired. It is in very good condition with no chips, cracks, restoration or repair. It is signed on the back with her hallmark (a fish) and a corn plant (for Corn Clan). While Jean no longer makes pottery, there is a wonderful creativity in each of her pieces!
$ 275.00
Juanita Healing was from the Hopi village of Sichomovi at First Mesa. She married Dewey Healing, son of Annie Healing Nampeyo, oldest daughter of Nampeyo of Hano. This tile is made from traditional Hopi-Tewa clay and painted with a rabbit stick design. The rabbit sticks seen in Hopi katsinas with the Left Hand Katisina. They are somewhat like a boomerang. The sticks are painted in the center with stripes and there geometric red patterns next to them. The tile is signed on the back, “Juanita Healing”. It is in very good condition with no chips, cracks, restoration or repair.
$ 125.00
Elva Tewaguna Namepyo, was a daughter of Fannie Nampeyo, a granddaughter of the Nampeyo of Hano and a sister of Iris and Tonita Nampeyo and Thomas Polacca. Her pottery was coil built, stone polished and painted with bee-weed and natural clay slips. This wide shape bowl is one of her classic shapes. The design is an eagle tail design which was made famous by Nampeyo of Hano. The eagle tail design is delicately painted with the tail feathers extending over the shoulder of the bowl. The piece was traditionally fired to create the blushes on the surface. It is signed on the bottom before fired, “Elva Nampeyo”. Interestingly, it has an original Fred Harvey sticker from 1/71. The original price was $55! The tag adds a wonderful provenance to the piece. It is in very good condition with no chips, cracks, restoration or repair. Her daughter Adelle Nampeyo continues in the same family tradition.
$ 550.00
Elva Tewaguna Namepyo, was a daughter of Fannie Nampeyo, a granddaughter of the Nampeyo of Hano and a sister of Iris and Tonita Nampeyo and Thomas Polacca. Her pottery was coil built, stone polished and painted with bee-weed and natural clay slips. This wide shape bowl is one of her classic shapes. The design is a blackbird migration pattern. Note the blackbird wings above the shoulder and the bird tails below. The piece was traditionally fired to create the blushes on the surface. It is signed on the bottom before fired, “Elva Nampeyo”. Interestingly, it has an original Fred Harvey sticker from 1/71. The original price was $80! The tag adds a wonderful provenance to the piece. It is in very good condition with no chips, cracks, restoration or repair. Her daughter Adelle Nampeyo continues in the same family tradition.
$ 700.00
Adelle Nampeyo is known for her stylistic use of traditional Hopi designs. This jar has a blackbird migration pattern encircling the shoulder of the piece. The bird wings are filled in above the shoulder and the tail feathers below. The design is painted with bee-weed (black) and a red clay. The migration design is a classic Hopi-Tewa pattern revived by Nampeyo of Hano and tells the story of the migration of the people around the world. The jar is traditionally fired to create the coloration on the surface of the jar. The coloration works beautifully with this piece with shades from white to orange. It is signed on the bottom.
$ 175.00
This is a creative jar by Nathan Youngblood which is part of his series, “The Space Between”. These pieces are inspired by the early carved work of Sarafina Tafoya (1863-1949) and Margaret Tafoya (1904-2001). This jar is a shape with high sides. Nathan has carved around the shoulder of the piece with a rain and walking bear paw design. Note the depth of the carving! The section is very highly polished. The remainder of the jar is slipped with mica. This designs on the jar are inspired by the impressed designs on Sarafina Tafoya’s early work. There is an impressed owl, moon, star, and Nighthawk. Each of these images can be found on several of Sarafina’s original twelve carved vessels. The last photos show a group of these pieces. The surrounding area has a mica clay slip over the impressed designs. It is a very creative and inspired jar! It is signed on the bottom in the clay with his name and deer tracks, which represent his name in Tewa, which means “Deer Path”.
“The Space Between”: Santa Clara Carved Pottery 1920-Present
$ 4,500.00
This bowl by Nathan Youngblood which is deeply carved with a design inspired by the work of his grandmother, Margaret Tafoya. The central design is two stylized birds. As the jar is turned there are cloud and mesa designs. The bowl is deeply carved and there are two sections which are slipped with mica. The remainder of the jar is fully polished. It is fired a glassy black coloration. Check out the last image and you can see the plate from which Nathan took this design. It is a painted piece by Margaret Tafoya from the 1930’s. The bowl is signed on the bottom in the clay with his name and deer tracks, which represent his name in Tewa, which means “Deer Path”.
$ 3,600.00
This is a striking jar by Nathan Youngblood which is part of his series, “The Space Between”. These pieces are inspired by the early carved work of Sarafina Tafoya (1863-1949) and Margaret Tafoya (1904-2001). This jar is a shape which is reminiscent of the work of Margaret Tafoya with the low shoulder and sloping side. It is a great shape for Nathan’s deeply carved designs. The jar has a central medallion which is impressed with a bear paw in the style of Sarafina Tafoya. Note the elongated fingers of the paw. As I wrote in “Born of Fire”:
“The symbol most directly associated with Sara Fina is the bear paw, which has been used on Santa Clara pottery since at least 1200 ad (Peterson 1997, 55). Its use comes from an old legend: during a time of drought at the pueblo, a bear led the people to a freshwater spring and saved them. As Margaret explained it, “The bear always knows where the water is, and this is a design we put on the water jar, the storage jar”.
Below the medallion is an impressed avanyu. This is one of the designs used by Sarafina in 1922 on some of her first “carved” vessels. Nathan said that he wanted to explore this idea and try an impressed design. He said there was an unexpected difficulty in polishing so many angles in the impressed pattern. The result is quite stunning. Take a look at the photo of the bottom of the jar and you can get a great view of the avanyu from a different angle! The remainder of the jar is carved with a mountain and cloud pattern which encircles the piece. It is a complex design yet ties together the imagery of the bear paw and the avanyu.
The red clay slip is deep and rich in coloration and the jar was traditionally fired. The polishing is spectacular on this jar with an amazing shine from the stone polished surface! While the shape, carving, and designing might seem like enough, Nathan also takes his pottery one step further. After it is fired, he uses small screwdrivers and scrapes the sides of the carved designs and the recessed areas, to create a visually striking contrast. It is signed on the bottom in the clay with his name and deer tracks, which represent his name in Tewa, which means “Deer Path”.
“The Space Between”: Santa Clara Carved Pottery 1920-Present
$ 6,800.00
This is a striking jar by Nathan Youngblood which is part of his series, “The Space Between”. These pieces are inspired by the early carved work of Sarafina Tafoya (1863-1949) and Margaret Tafoya (1904-2001). This jar is a wide shape and the rim is carved in a fluted or “raindrop” shape. This is a style which was used by Sarafina Tafoya on many of her early jars. The last photo is a jar by Sarafina and you can see the “raindrop” rim. Nathan said this may be the thinnest rim he has ever made on one of his pieces and still be able to stone polish both sides!
The jar is carved with a water serpent encircling the piece. The body of the avanyu consists of cloud, water and kiva step designs. Nathan says of the design:
“The water serpent (avanyu) is not what people think of a ‘water snake’. It is a reference to the way the rivers run. They are all integrated and connect everything. Creeks become streams, streams become rivers which become oceans. The oceans are fed by everything around the world. It binds us. That is why when we go to the water and throw in cornmeal and pray. The water and water serpent connect us to the entire world.”
The red clay slip is deep and rich in coloration and the jar was traditionally fired. The polishing is spectacular on this jar with an amazing shine from the stone polished surface! While the shape, carving, and designing might seem like enough, Nathan also takes his pottery one step further. After it is fired, he uses small screwdrivers and scrapes the sides of the carved designs and the recessed areas, to create a visually striking contrast. It is signed on the bottom in the clay with his name and deer tracks, which represent his name in Tewa, which means “Deer Path”. Simply stunning!
“The Space Between”: Santa Clara Carved Pottery 1920-Present
$ 7,500.00
This is a striking wide shoulder jar by Margaret Tafoya. It is from the 1970’s. It is an unusual shape for Margaret’s pottery with a wide shoulder and a short neck. The jar is carved around the shoulder with a mesa and rain pattern. The design is repeated four times around the jar. The piece is very highly polished and deeply carved. It was fired a deep black. Interestingly, Margaet was at the peak of her career in the 1970’s. It was 1978-9 when she won consecutive “Best of Show” awards at Santa Fe Indian Market for two storage jar. There is certainly a wonderful precision in the carving, shape, and polish of this jar. It is signed on the bottom in the clay, “Margaret Tafoya”. It is in very good condition with no chips, cracks, restoration or repair.
$ 6,800.00
This tall jar by Margaret Tafoya is from the 1980’s. The jar is a very unusual and interesting piece on several levels. The design on the jar is a carved avanyu. This is one of the classic designs of Santa Clara pottery, which tells the story of how the water serpent saved the village from a flood. What is unusual on this jar the style of the avanyu. The head is more square and a square mouth. When I first saw the design on this jar it looked both unusual and familiar. Check out the very last image on this post and there is a jar by Margaret from the 1930’s with a very similar shape of avanyu! It seems that at several times in the 1980’s Margaret revived older designs for her work, much as on this jar! The next aspect of this piece is to check out the body of the avanyu and the very complex designs. Typically they are more simple and flowing but this piece has very angular lighnting and cloud patterns for the body. Finally, it’s the color of this jar which is so unusual. It’s more of an orangeish red than a deep red. It could be that it was a bit overfired or that she used a different slip for the color. The result, however, is quite striking as it has a bold appearance. The jar was originally purchased from Toni Roller at her studio during one of her shows for Margaret and the Tafoya Family. The jar is signed on the bottom in the clay, “Margaret Tafoya”. It is in excellent condition with no chips, cracks, restoration or repair. This jar is definitely an important addition to any collection!
$ 5,000.00
Adelle Nampeyo is known for her stylistic use of traditional Hopi designs. This jar has a migration pattern encircling the shoulder of the piece. Note how she has used the lines for the migration pattern above the shoulder and the bird wings below. The design is painted with bee-weed (black) and a red clay. The migration design is a classic Hopi-Tewa pattern revived by Nampeyo of Hano and tells the story of the migration of the people around the world. The jar is traditionally fired to create the coloration on the surface of the jar. The coloration works beautifully with this piece with shades from white to orange. It is signed on the bottom.
$ 150.00
Elizabeth Medina is known for traditional style of Zia pottery. Each piece is coil built, painted with native clays and native fired. This jar was made by Elizabeth and painted by her husband, Marcellus Medina. The jar is wonderfully designed with a more realistic butterfly on one side. Note all the various colors of clay for the wings! As the jar is turned there are three additional birds. They are each surrounded by flowers. Note that the petals of some flowers are polished and some are matte. There are rain clouds around the neck of the jar. The lid is polished red and there is a turtle on top. The top of the turtle is painted with a bird design and flowers on the sides. It is a wonderful combination of old style Zia designs. The jar is signed on the side “Elizabeth + Marcellus Medina, Zia”.
$ 400.00
Preston Duwyenie is renown for his elegant pottery which is often highlighted with silver medallions. This seedpot is made from micaceous clay and fired black. The sparkle on the surface comes from the mica clay slip. The lid is designed in the shape of a crescent moon. It is cast from cuttlefish bone so there is a “shifting sand” design on both sides. Preston makes the lid to fit perfectly into the seedpot. Both the lid and the seedpot are signed on the bottom with Preston’s hallmark. It is a woman carrying a child on her back, which is also Preston’s 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. He is married to pottery Debra Duwyenie and now resides in Santa Clara Pueblo. Preston has won numerous awards for pottery, including “Best of Show” at the Heard Indian Market.
$ 650.00
This is a classic jar by Preston Duwyenie. The shape is one which Preston calls a “shoulder jar” as it is inspired by the historic Sikyaki pottery with the wide shoulders. Preston’s modernist version has a wide shoulder and a small neck. The piece is made from micaceous clay and slipped with a micaceous clay slip. It is fired black and the mica gives the piece a somewhat metallic appearance. There are two inset pieces of silver on the top shoulder of the jar. Each silver piece has the appearance of “shifting sands”, much in a similar style to the pottery where he has carved a shifting sand pattern. They are cast by Preston against cuttlefish bone, to create the distinctive texture. The jar is signed on the bottom in the clay with Preston’s hallmark, which means “carried in beauty”. There is certainly something both modern and ancient about this striking piece! Preston is from Third Mesa at Hopi and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe. He is married to pottery Debra Duwyenie and now resides in Santa Clara Pueblo. Preston has won numerous awards for pottery, including “Best of Show” at the Heard Indian Market.
$ 1,200.00
Preston Duwyenie is renown for his elegant pottery which is often highlighted with silver medallions. This seedpot is made from micaceous clay and fired black. The sparkle on the surface comes from the mica clay slip. The lid is designed in the shape of a corn plant. It is cast from cuttlefish bone so there is a “shifting sand” design on both sides. Preston makes the lid to fit perfectly into the seedpot. Both the lid and the seedpot are signed on the bottom with Preston’s hallmark. It is a woman carrying a child on her back, which is also Preston’s 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. He is married to pottery Debra Duwyenie and now resides in Santa Clara Pueblo. Preston has won numerous awards for pottery, including “Best of Show” at the Heard Indian Market.
$ 750.00
Frederica Antonio is renown for her intricately painted pottery. Each piece is coil built and then finely painted. Her designs are a series of fine vertical and horizontal lines which are then filled in to create larger images in the squares. This jar is a classic olla shape with a high shoulder and a long neck. Frederica has used eight different designs on this jar. The patterns are painted vertically and there are square cloud pattern descending from rim to base. Separating them are various patterns of corn, rain, snow, lighting, stars and other designs. There are additional bands of clay slip which create the rainbow colors. The result is a piece which is varied as it is turned. The neck is painted with a classic Acoma triangular mountain designs. The level of complexity and time involved on the painting of this piece is extraordinary! The result, however, is stunning with a dynamic appearance and movement to the designs. The base of the jar is concave, reminiscent of historic Acoma jars which were carried on the head. This combination of thin walls, classic shape, and tightly painted design create a piece which is visually stunning! The jar is signed on the bottom.
$ 1,575.00
This is a very unusual lidded bowl by Art Cody Haungooah. There are polished medallions on each side and the clay around them is carved away leaving the medallions raised. The medallion on one side has a moth and the other an ant. They are each inset with two pieces of turquoise. The surrounding matte area has been sanded down and works as a perfect contrast to the polished areas. The lid is also fully polished. It is a strong complement to the polished medallions. The bowl is signed on the bottom in the clay. It is in excellent condition with no chips, cracks, restoration or repair.
Art Cody Haungooh: A “Reflected Light” in Pueblo Pottery
$ 900.00
Denny Gutierrez was known for his faceted melon bowls. As opposed to carving them, he would flatten out each rib out to create a “faceted” appearance. The result was a reflective surface and a very striking piece of pottery. This jar has a low shoulder and sloping sides. It is from 1999. The jar has 24 faceted ribs swirling down from the rim to the base. The top of the rim is also fully polished. The narrowness of each rib adds to the amazing reflectiveness of this piece. The jar is very highly polished and it is in excellent condition with no chips, cracks, restoration or repair. It is signed on the bottom in the clay.
$ 450.00
Robert Cleto Nichols is known for his deep carved pottery. Each piece is coil built, carved and stone polished. This bowl has a large fish chasing a smaller fish. As the bowl is turned, the body of the larger fish is made up of kiva step and melon rib designs. Note the depth fo the carving! The bowl is traditionally fired black and signed on the bottom in the clay.
$ 500.00
Denise Chavarria is a daughter of noted potter Stella Chavarria and a granddaughter of Teresita Naranjo. She is known for her contemporary carved pottery. This bowl is tightly carved with 16 feathers on the top. On the side there is a carved band and the entire piece is fully polished. The bowl is fired a deep black and it is signed on the bottom in the clay, “Densie Chavarria”.
$ 100.00
This is an unusual smaller plate by Tony Da. Most of the smaller plates made by Tony Da between 1969 and 71 were either gunmetal or black-and-sienna in coloration. He made very few of the smaller plates in red. This one has an antelope as the design. Tony would etch the designs into the clay before the pieces were fired. The animals were inspired by the Mimbres imagery from the 1100’s. However, as with much of his work, Tony drew inspiration from these ancient works but did not copy them. His animals became “spirit animals” and note how the feet of the antelope are its tracks. The animal extends backwards from the tracks to create the distinctive animal with a heartline. Around the rim are painted lines, in contrast to the incised imagery. Tony had a short career which spanned from 1967-82. He 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. This plate is signed on the back in the clay, “DA”. It is in excellent condition with no chips, cracks, restoration or repair. The plate has a metal museum mount stand made for it. This is certainly a rarity and a classic style of Tony’s pottery and even an early piece like this bowl reflects the impact he had and continues to have, on Pueblo pottery. The pottery of Tony Da remains an important addition to any collection!
This is a spectacular jar by Tony Da. He had a short career which spanned from 1967-82. He 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. This jar was originally purchased in 1971. It is fully polished a deep red and the design consists of three sections with a feather pattern. The feather design on the plates by his grandmother Maria Martinez were iconic by the 1970’s, so Tony created this design as his own variation. There are three sections of feather separated by inset pieces of turquoise. As well, the jar has a lid, which is tightly made and it is one of his earliest styles. The jar is signed on the bottom in the clay, “DA”. It is in excellent condition with no chips, cracks, restoration or repair. This is certainly a classic style of Tony’s pottery and even an early piece like this bowl reflects the impact he had and continues to have, on Pueblo pottery. The pottery of Tony Da remains an important addition to any collection!
This gunmetal fired bowl is a classic piece by Maria Martinez and her son, Popovi Da. Maria made and polished the bowl and it was fired by her son, Popovi Da (1923-1971). Popovi focused on both the painted surfaces of the pottery as well as the firings. This bowl is a gunmetal coloration with a metallic appearance across much of the surface. It is signed on the bottom in the clay, “Maria / Popovi 1268”. The firing date is when the pottery was made, so this bowl was from Dec, 1969. It is in excellent condition with no chips, cracks, restoration or repair. Great gunmetal fired pieces by Maria and Popovi with such high polished surface are always stunning and a great addition to any collection!
Maria Martinez Signatures
$ 2,200.00
This is seedpot by Rosemary Lonewolf is from the late 1990’s. It is fully polished and there is an etched wolf on the top along with stars and a full moon. On the sides are basket designs. The contrast of the matte and polished areas accentuates her imagery. The piece is signed on the bottom “Apple Blossom”, which is her name in Tewa. It is in excellent condition with no chips, cracks, restoration or repair.
$ 300.00
This seedpot by Camilio Tafoya is from 1995. It is the last series of pieces he made. It was fully polished and etched with five chipmunks. They are gathering nuts. It is whimsical in style and there is a playfulness to the designs. The various colors are derived from natural clay slips. It is signed on the bottom “Camilio Sunflower Tafoya”. It is in excellent condition with no chips, cracks, restoration or repair.
$ 500.00
Harrison Begay, Jr. has won numerous awards over the years for his deep carved pottery. This jar is from 1999. It is a classic shape with a high shoulder and short neck. The jar deeply carved and there is an amazing amount of design on the surface. Around the top of the shoulder, there is a star pattern (polished) with matte carved rain designs. Around the side of the jar, there is a bear and Yei figure along with cloud, rain, hand and other designs. They are each deeply polished and carved. An unusual addition to the design is the incised imagery. Take a closer look at the matte areas of the jar and they are fully designed with incised lines to create cloud, swirls, star and other designs! The polished sections stand out more in contrast to the black matte areas. Note as well the style of carving, which has a beveled appearance to the angle of the cuts into the clay. This is a very distinctive style of carving for his pottery. The jar is signed on the bottom in the clay. It is in excellent condition with no chips, cracks, restoration or repair.
$ 1,200.00
This is a striking original clay piece by Roxanne Swentzell. It is entitled “Admiration”. It is one of the classic style pieces by Roxanne. Here the potter is holding two of her pieces of pottery. There is something so endearing about the look on her face as she is looking at her pottery. The two bowls are part of the figure so this is all one piece. It is equally remarkable that both bowls are Mimbres in styles. This harkens back to the early Mimbres pre-historic pottery, considered some of the best and most refined ancient art in the world. The connection of the past with this innovative artist of the present and her impact on the future certainly reads throughout this wold piece. Note as well feet, the movement of the hands, the face, are all perfectly scuplted. Roxanne is able to achieve such a sense of emotion in the faces of her figures! This piece is in perfect condition with no chips, cracks, restoration or repair. There is a monumental bronze similar in style to this piece in clay which is located at Roxanne’s studio in Pojoaque (see last photo). This piece is from early 2000 and signed in the clay, “ROX”.
$ 12,000.00
This is a distinctive shape jar by Russell Sanchez. The jar is wide and with a very flat top. The jar is fully polished and the shoulder of the jar is designed with a checkerboard snow pattern using a mica clay slip. The top is fully stone polished and designed with stylized bird patterns. The birds on this jar certainly have a similarity to those found on Sikyatki pottery, but they are also found on older San Ildefonso pottery as well! The two birds are different and designed with additional patterns for their bodies. The tails of the birds are inset with hematite stones while the center of the bodies have a high-grade Kingman turquoise. As old as the designs are, Russell has presented them in a manner that seems very modern! The lid is highly carved and has “waterfall” ribbed shape with a single piece of turquoise on the top of the lid. The base of the lid is polished with the ribs are slipped with mica. The jar is fired a deep black and the mica squares are very metallic in appearance. There are four inset bands of hei-shi beads around the jar. The bottom of the bowl has the classic indention of traditional San Ildefonso water jars. Russell uses these historic elements to keep them alive on his contemporary pottery. It is signed on the bottom in the clay, ‘Russell”.
Russell Sanchez: Contemporizing the Pueblo Pottery Past
$ 9,200.00
Susie Crank is a daughter of Rose Williams and a sister of Alice Cling. Each piece is coil built, stone polished and amazingly, she says he may burnish a piece over and over as many as 15 times to get a high shine! This water jar is an elegant shape with a sharp shoulder and short neck. The jar is stone polished and even the inside of the neck is polished to the shoulder! The jar is then traditionally fired to create the fire-clouds on the surface. The colorations on this jar range from black to a deep red. The jar was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery waterproof. Today, the pine pitch seals the vessel and gives it the shine. This jar has a stunning shine and a great feel to the surface! It is signed on the bottom in the clay, “Susie Crank”.
$ 175.00
Anderson Peynetsa is known for his vessels as well as his figurative pottery. This duck figure is one of his technically amazing pieces. The figure is opened at the top and has extended pieces of clay at the head and tail. It is fully painted but it is the use of the heartline deer around the body of the piece which is so striking. They are painted in his own style with the elongated necks. Anderson has an elegant and modern stylization of the heartline deer on his pottery. It is fascinating how a piece can appear both modern and yet reflect cultural history and charm. The area above and below the deer painted with a mottled red and black over the white. The piece is complex in both form and design. It is signed on the bottom in the clay.
$ 1,600.00
Art Cody Haungooah began making pottery in 1972. He brought his Kiowa heritage and culture to the pottery of Santa Clara Pueblo. This piece is from around 1980. It is a seedpot and fully polished. It is an unusual design in that it is based more of Kiowa history than that of the Southwest. There are two teepees as the design. They are surrounded by cloud and feather patterns. It is signed on the back, “AH, Haungooah”. It is in excellent condition with no chips, cracks, restoration or repair.
Art Cody Haungooh: A “Reflected Light” in Pueblo Pottery
$ 775.00
Art Cody Haungooah began making pottery in 1972. He brought his Kiowa heritage and culture to the pottery of Santa Clara Pueblo. This clay turtle is from 1974. It is fully polished and the back is etched with a Hemis Mana katsina. Note the more deeply incised and rounded lines around the katsina figure. It is signed on the bottom on the neck, “Haungooah 2-74”. It is in very good condition with no chips, cracks, restoration or repair.
Art Cody Haungooh: A “Reflected Light” in Pueblo Pottery
$ 375.00
Mary Cain was a daughter of Christina Naranjo and a granddaughter of SaraFina Tafoya. She was known for her classic style carved and polished Santa Clara pottery. This bowl is carved with a water serpent (avanyu) encircling the piece. The body of the avanyu consists of cloud and rain designs. The bowl is highly polished and fired a dark black. It is signed on the bottom, “Mary Cain”. It is in very good condition with no chips, cracks, restoration or repair.
$ 400.00
This is a traditional jar by Lorriane Williams. It is a round bowl and there are bands of star designs etched into the surface. The style of the stars are similar to those seen on Navajo rugs. The bowl is traditionally fired to create the coloration to the surface. After the piece is fired it is covered in pine pitch, which is typical of all traditional Navajo pottery harkening back to when it was utilitarian. Lorraine has won numerous awards for her pottery and been featured in books such as “A Legacy of Generations”.
$ 90.00
This small jar by Alice Cling has a low, round shoulder and an elongated neck. It is the shape of the neck which has been squared off so that it is flat on the sides. The jar is then traditionally fired to create the coloration. Note how the fireclouds swirl around the jar creating areas of dark black to deep red. The jar was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery waterproof. The jar is signed on the bottom in the clay, “Alice Cling”. Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”
$ 120.00
This is a figurative seedpot by Anderson Peynetsa. The seedpot has a lizard in relief with its head extending up over the top of the piece. The tail swirls around the piece and the white dots on the back are a white clay and are raised. There is also a painted dragonfly on the piece. Dragonflies are significant as prayer messengers. The seedpot is striking both in shape and design. It is signed on the bottom in the clay.
$ 125.00
Sharon Lewis has developed her own very distinctive style of painted design. Her pieces are beautifully formed, thin-walled and then tightly painted. This jar is a more classic Acoma form with the high shoulder and short neck. It is fully painted with large star patterns. Separating the large stars are very delicately painted hatchwork lines. The black is from bee-weed. The jar is signed on the bottom, “Sharon Lewis”.
$ 225.00
This is an exceptional large lidded bowl by Grace Medicine Flower. She began her career making miniature pottery with incised designs. This large piece is from 1985, the beginning period when she was deeply carving her pottery along with utilizing sgraffito designs. The jar itself is deeply carved with a feathered water serpent (avanyu). This style of avanyu was used by her father, Camilio Tafoya and also her brother, Joseph Lonewolf. As the jar is turned there is a small feather medallion with butterflies, There is a second, larger medallion, which also has butterflies and flowers. The lid of the jar is fully polished and also etched with butterflies. Grace said of her carved pottery:
“Once you pick her (the vessel) up, to start designing, whatever comes to your mind is how it’s going to look. To me, I can envision the carving or the plain polish and what it would look like with just one medallion. I do all the sgraffito before it was fired. You have to be so careful. Once you put in the designs, she turns out to be beautiful.” Grace Medicine Flower, Spoken through Clay
One distinctive aspect of this piece is the additional colored clay slips which highlight the design. There was a very brief period when she used clay slips of various colors for her pottery. This one has white, green and blue additional colors added to the butterflies. Grace said that Joseph Lonewolf (her brother) gave her the clay colors and then when she ran out she didn’t get any more. The jar is highly polished and fired a deep red. It is certainly a classic and of her few pieces at this size and with a lid! It is signed on the bottom in the clay, “Grace Medicine Flower”. Note for the signature on the base, there is an incised butterfly along with a flower extending up the side. It is in very good condition with no chips, cracks, restoration or repair.
$ 8,800.00
Camille “Hisi” Quotskuyva learned to make pottery from her mother, Dextra Quotskuyva. She is 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 is one of her classic shapes with a flared rim. The body of the jar has butterfly and bird tail designs. The butterfly wings are painted with thin lines for which she is famous. The black is painted with bee-weed and the red clay slip in the design is stone polished and has some mica in it. The jar is traditionally fired to create the fire clouds on the surface. It is signed on the bottom in the clay. It is in excellent condition with no chips, cracks, restoration or repair.
$ 1,100.00
Mary Ester Archuleta is the second youngest daughter of Margaret Tafoya. She has never prolific and most her pottery was made in the 1970’s and 1980’s. This canteen is a striking piece and fully polished a deep red. There are bear paws on both sides. The entire piece is fully polished. The bear paws represent a story of how the Pueblo people were led to water during a drought by a bear. This particular style of canteen is one which is very reminiscent of the work of her mother, Margaret Tafoya. The stopper is hand carved and there are leather straps. It is signed on the bottom in the clay, “Mary E. Archuleta”. It is in very good condition with no chips, cracks, restoration or repair.
$ 1,200.00
This is a striking bowl by Jeff Roller. Jeff is a grandson of Margaret Tafoya and continues a family legacy of extraordinary traditional pottery. This bowl is deeply carved with a cloud pattern around the shoulder. In space of one of the clouds, he etched small stars. Below the shoulder Jeff carved four turkey feathers coming up from the base of the bowl. They are etched with intricate detail. The bowl was fired to a brownish-red coloration. It is a striking and complex piece. It is signed on the bottom in the clay, “Jeff Roller”. The bowl is from 1998 and originally came through our gallery. It is in excellent condition with no chips, cracks, restoration or repair.
$ 1,200.00
This is a striking but smaller jar by Virgil Ortiz. The piece is coil built and painted with native clay slips and wild spinach (a plant) for the black. The jar is painted with one of Virgi’s iconic images. It is that of Tahu, the Blind Archer, with a rose in her mouth. The story for this image is part of the Pueblo Revolt 1680/2180 series.
“The various characters that make up the Pueblo Revolt series are all inspired by names and words in Keres and other Puebloan languages. “Tahu” is a word used as a sign of respect for older Pueblo women. ” The story of the blind archers is about a young Tahu who is blinded by one of the Conquistadors during an archery contest. Years later she becomes the leader of the Blind Archers and part of the Pueblo Revolt. Ortiz imbues the storyline with the importance of survival, courage, hope, and determination.” Revolt 1680/2180, Charles S. King
Separating the two Tahu images are wildflowers, which curl and swirl up from the base of the jar. Note as well the “spirit line” which is a space in the painting on the rim. Virgil has also incorporated his signature “x”, which is the turkey track, onto the jar. The piece is signed on the bottom. It is from 2013 and it is in excellent condition with no chips, cracks, restoration or repair. The use of traditional and contemporary imagery has become a standard for Virgil’s pottery as he pushes the boundaries of contemporary Native clay. His work can be found in museums worldwide, including the Fondation Cartier in Paris, the Heard Museum, the Denver Art Museum and more.
$ 3,600.00
This jar by Les Namingha is entitled, “Striped Pueblo Jar #1”. The shape is one of his now classic forms with a round shoulder and an asymmetrical neck and opening. The jar is painted with a variety of Pueblo designs. Around the neck are white cloud and blue sky dots. Around the shoulder are very finely painted triangular geometrics alternating with tightly painted mulit-color rectangles. The triangles are inspired by Acoma, while the colored rectangles remind one of the jewelry of Charles Loloma and his inspiration of the Hopi landscape. Below that are striped bands of color along with pointilsim sections. These various designs remind one of Acoma, Zuni and Hopi designs. The lower band has thinly painted intersecting circles and lines creating a variety of interlocking patterns. The lowest section has the black triangular designs on the brown band are inspired by the work of the Southern pueblos. As all the imagery is broken apart, the various sources of inspiration become quickly evident. It is certainly a creative direction for his pottery designs. The jar is signed on the bottom.
$ 3,200.00
Steve Lucas is one of the leading Hopi-Tewa potters working today. Each piece is coil built, stone polished, painted with native clay slips and bee-weed (black) and traditionally fired. Steve has won “Best of Show” at Santa Fe Indian Market and his work remains some of the most refined and creative. This large jar is from 1995 and won a Second Place Ribbon at Santa Fe Indian Market. The shape, with the wide shoulder and the short neck, is perfect for his design. The design is an interesting deconstruction of Katsina faces. There is a Longhair face a Chakwaina half-moon design. The other patterns are various Hopi-Tewa eagle tail and rain designs. The deep red is stone polished and it is a striking contrast to the black areas. Note the very finely painted lines and the hatchwork designs. These add to the overall impact of the jar. The piece was traditionally fired and has slight blushes on the surface. It is signed on the bottom in the clay, “S. Lucas” and a mudhead (koyemsi) and an ear of corn (corn clan). It is in very good condition with no chips, cracks, restoration or reapir.
$ 3,600.00
Jennifer Moquino is known for her clay vessels and exceptional realistic animals. This jar is coil built and fully polished. It is a wonderful shape which is square on the sides and VERY flat on the top. Technically that is always difficult to achieve with native clay. The flat area has four large bumblebees as the design. They are each a different type of bee. Note the wings, which somehow Jennifer etched and slipped to make the almost appear transparent! It is quite exceptional. The neck of the jar has small dots of pollen which swirl around the opening. The detail on each bee is simply fantastic. Around the edges are stylized designs which are reminiscent of those by her father, Ray Tafoya. The bottom is also fully polished. All the colors are all from natural clay slips. The jar is signed on the bottom in the clay, “Jennifer Tafoya”. Jennifer continues to be one of the leading innovative potters working today!
$ 1,500.00
This is a colorful and striking jar by Frederica Antonio. She has won numerous awards for renown for her intricately painted pottery. The shape of this jar with the low shoulder and tall sides shows off the complex designs. On two sides it is painted with a four-color rug pattern. Each of the various clay colors are painted onto the piece and then the black bee-weed is painted over the edges a second time to create a stronger visual delineation. There is definitely a lot of time and patience in painting this jar. Separating the two colorful sections are two sections with snow designs. To create these patterns she paints the vertical lines first, then the horizonatal and then fills in the squares to create the designs. The base of the jar is concave, reminiscent of historic Acoma jars which were carried on the head. This combination of thin walls, classic shape, and tightly painted design create a piece which is visually stunning! The jar is signed on the bottom.
$ 1,550.00
This is an exceptionally designed bowl by Russell Sanchez. His recent work is a modern take on historic San Ildefonso pottery. The sound shape of the bowl is perfect for both the etched designs and the bear lid, with a graceful flow of form. The lower half of the bowl is fully polished with a black micaceous clay slip and then etched with a sun design. The sun design in one that was a pattern often seen in the work of Tonita Royal. Note how the design is further highlighted with a matte red clay slip, which is applied before the bowl was fired! However, it is the space from the shoulder to the neck which is the visually dynamic part of this bowl. Russell has etched a series of squares which alternate from a deep polished to matte. The square spiral in towards the mouth of the bowl and each row is separated by a band of shell hei-shi beads. The checkerboard pattern is a cornrow design, with the small dots representing the corn kernels. The bear lid is also polished black and the small dots on the edge of the lid are a visual repetition of the dots on in the design on the bowl. The shape of the bear is very sculptural and the elongated head seems to perfectly match the wide shape of the jar. Of course, the final touch is the inside of the bear is slipped red! Wow! A lot going on in one piece, that seems simple but there is a dynamic complexity inherent in the piece. The piece was traditionally fired outside and it is signed on the bottom in the clay. Simply perfect!
Russell Sanchez: Contemporizing the Pueblo Pottery Past
$ 8,900.00
This is a figurative clay red fox by Jennifer Moquino. The entire figure is fully polished and etched. There is great detail on the back with cloud and water designs on one side and a feather a cloud design on the other. The top of the back has a wolf track slipped with a green clay. Note there are even tracks etched onto the feet! The ears, legs and tail are matte clay. The piece is signed on the bottom. The colors are all derived from natural clay slips.
$ 450.00
Dena Suina (b. 1961) learned to make pottery from her mother-in-law, Louise Suina and she began making her own pieces around 1991. Dena’s unique style of storytellers is of a traditional Cochiti storyteller, but with crisply painted detailed lines, very small children and exquisite painting. This storyteller is a larger piece and there are 28 kids. Note as well the very intricate painting on the necklace and the dress. On the back of the piece, there is a painted Thunderbird. Dena has won numerous awards for her storytellers over the years at Santa Fe Indian Market and other events. The piece is signed on the bottom “Dena Suina”.
$ 850.00
This is a figurative clay walleye by Jennifer Moquino. The entire figure is fully polished and etched. There is great detail on the sides of the piece and the shape of the fins. The piece is signed on the bottom. The colors are all derived from natural clay slips.
$ 140.00
This is a figurative clay trout by Jennifer Moquino. It is a rainbow trout and there is a slight turn to the tail. The entire figure is fully polished and etched. Note the details on the sides and the overall detail in the design! The piece is signed on the bottom. The colors are all derived from natural clay slips.
$ 140.00
Jennifer Moquino is known for her clay vessels and exceptional realistic animals. This is one of her smaller tiles. It is fully polished and etched. The piece has a Pueblo girl and butterflies. The girl is designed in an “anime” style. As figurative work on pottery is often discouraged at some of the Pueblos, this style of figure is less realistic and more imaginary. The young girl here is surrounded by butterflies. Each one is a different style of butterfly. The border on the side has a cloud and rain motif. It is a contemporary and creative piece! The tile is framed so that it can be mounted on a wall. It is signed on the side. Jennifer continues to be one of the leading innovative potters working today!
$ 800.00
Jennifer Moquino is known for her clay vessels and exceptional realistic animals. This is one of her largest tiles she has made. It is fully polished and etched. The piece is the Pueblo story of the “Turkey Girl”. The story is considered the Pueblo version of “Cinderella”. The story below is one written by Juan de la Cruz, for his Turkey Girl jar.
“Turkey Girl’s tattered and worn clothing was taken and transformed into beautiful garments: a dazzling necklace and intricately woven mantle were draped upon her arms. The turkeys that she tended to presented these gifts: for they knew her heart’s desire was to participate in the festivities being held in the neighboring village. In exchange for this and the kindness she always showed towards them, they were given freedom and traversed into the narrow mountain pass where they reside to this day”. Juan de la Cruz
On this tile, the girl is being given new mocassins as she is surrounded by the turkeys. Check out the amazing use of detail in the feathers of the birds! All the various colors are derived from natural clay slips. Jennifer has included a mica slip for the ground. In the left corner is a stylized set of turkey feathers etched in the style of her father, Ray Tafoya. The tile is framed so that it can be mounted on a wall. It is signed on the side. Jennifer continues to be one of the leading innovative potters working today!
$ 2,600.00
This is a classic form of water jar by Russell Sanchez. The shape is a very traditional form with a wide round shoulder and straight rim. The edge of the rim is flat, but the inside of the neck is carved and polished with 16 melon ribs creating the “waterfall” effect! The neck of the jar has four bear paws and the shoulder has a micaceous clay slip which, when fired, is a mettalic coloration. Above and below the mica band are jet hei-shi beads. The base of the jar is carved or indented with a “gourd” design. The way the light hits is perfect creating a sort of “shimmer” when the piece is turned! The entire surface is stone polished and it is always amazing that when Russell polishes the inside of the neck, the jar doesn’t crack. It is fascinating how Russell has gone back to revive old style and create their modern versions. Russell continues to creatively revive historic San Ildefonso designs with his innovative style of pottery. The bottom of the jar has the classic indention of traditional San Ildefonso water jars. Russell uses these historic elements to keep them alive on his contemporary pottery. It is signed on the bottom in the clay, ‘Russell”.
Click here to read: Russell Sanchez: Contemporizing the Pueblo Pottery Past
$ 2,900.00
Paul Speckled Rock is a grandson of Severa Tafoya but learned to make pottery from Joseph Lonewolf. This seedpot is from 1983. It is a very early piece of his pottery. When he first started to make pottery, he began making unusual shapes, which were very much like “rocks”. They were immediately distinctive in form and design. This piece is highly polished and very lightly etched with three roses as the design. They are highlighted with red and green clay slips. The piece is signed on the bottom in the clay, “Paul Speckled Rock, 1983”. It is in very good condition with no chips, cracks, restoration or repair.
$ 425.00
This seedpot by Gloria Garcia is fully polished and fired black. The top is fully designed with a prancing fawn in the older “two-dimensional” style of Santa Clara paintings. The fawn is surrounded by flowers. Gloria’s combination of polishing and etched designs is always striking. This piece is signed on the bottom with her Tewa name “GoldenRod”.
$ 275.00
This bowl by Gloria Garcia is fully polished and etched with one of her more realistic scenes. There are nine quail on the bowl. There is also an eagle landing. Around the neck is a sky pattern and a Tewa sun. Note the detail in the wings of the eagle and quail. The bowl is very highly polished and fired a deep red. It is signed on the bottom with her Tewa name “GoldenRod”.
$ 550.00
Locations: 4168 N. Marshall Way, Scottsdale, AZ 85251 - Phone: 480.481.0187 | 130 Lincoln Ave #D, Santa Fe, NM 87501 - Phone: 480.440.3912 | Email: kgs@kinggalleries.com
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