Loading the content... Loading depends on your connection speed!

Scottsdale 480.481.0187 | Santa Fe 480.440.3912
kgs@kinggalleries.com
Shopping Cart - $ 0.00

No products in the cart.

Early San Ildefonso Pottery

Early San Ildefonso Pottery and Pueblo in 1900 was produced at a small village with only 30 households. Pueblo pottery production had greatly declined in its creation for utilitarian purposes and in the 1910 census there were only eight women who were potters by occupation. Around this time, ethnographers such as Kenneth Chapman and Edgar Hewitt began to encourage potters at Early San Ildefonso pottery makers and other pueblos to revive this dying art form. Those who were already making pottery were encouraged to examine prehistoric vessels and revive this imagery.

These designs along with imagery form other historic pottery was used as a foundation for this revival by Pueblo pottery innovators.

Around 1919-1920, Maria Martinez and her husband Julian Martinez discovered/invented the now classic style of black-on-black pottery. Despite the folk lore that it was a secretive process, they quickly shared the information about how to make this style of pottery and it revolutionized the economy and life of the pueblo. It was an exciting time for the potters. They had an entirely new process for making pottery, new designs, new information and a newly developing market for their folk art pottery in places such as Santa Fe and Taos, New Mexico. It was in this period of the 1920’s to about 1940 that the potters were unencumbered by “tradition” and looked beyond the Pueblos for inspiration. The result was amazing originality in the designs and shapes of their pottery.

In the Pueblos at this time, women would typically make and polish the pottery, while the men would paint the designs on the Mapsurface. While Maria and Julian excelled as potters and promoters and eventually became world famous, other potters such asSusana Aguilar, Ramona Gonzales and Tonita Roybal were all vital to the rapidly changing pottery movement. In the 1930’s the pottery of San Ildefonso would change further as a few men married women from other Pueblos. These women brought a new dimension to the work already being created. Rose Gonzales (San Juan), Rosalie Aguilar (Picuris) and Juanita Gonzales(Taos) were among the first potters to begin carving into the clay to create their designs instead of painting imagery on the surface. They added another dimension to what could be done with the clay and created a stylistic change which still reverberates through the pottery market.

While there was vibrancy to this period of work it did not last long. The Great Depression of the 1930’s and World War II reduced the demand for pottery which had been growing throughout the 1920s. Many of these remarkable potters and painters passed away by the late 1940’s and many of their original shapes and designs disappeared from memory. It would be the next generation of potters starting in the 1950’s, and especially the 1960’s, who would look to Maria Martinez, the one constant for nearly a century, as the bridge between the first pottery revival and arrival of Pueblo pottery as a fine art. But for this next generation, the innovation and experimentation of their parents and grandparents would now be viewed as the traditions of the past.

Click here to read more!

https://kinggalleries.com/san-ildefonso-pottery-innovators/

Showing all 51 results

grid
list
Roybal, Tonita – Black-on-Red Bowl with Storm Design (1922-5)

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
Atencio, Isabel & Gilbert Atencio- Buff-on-Red Jar with Rain Designs (1970’s)

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
Gonzales, Rayita – Carved Open Bowl with Avanyu (1930’s)

Rayita Gonzales was a sister of Louis  “Wo-Peen” Gonzales and Raymoncita Gonzales.  She did not make much pottery but it was mostly during the 1930’s.  This is the 4th piece of her work that we have come across for the gallery!  It is an open bowl and carved on the inside with a water serpent.  The style of her carving is very distinctive and especially the “horn” on the water serpent.  The back of the bowl is also fully polished.  It is signed on the bottom in the clay, “Rayita”.  It is in very good condition with no chips, cracks, restoration or repair.

For more information on the Early San Ildefonso Innovators, Click Here.

$ 400.00
Martinez, Maria – Bowl with Mesa & Prayer Feather Design “Marie + Julian” (1920’s)

This bowl by Maria Martinez is a classic of her early pottery from the late 1920’s.  It was made and polished by Maria and then painted by her husband, Julian Martinez (1897-1943).  The bowl is Maria’s classic rounded shoulder shape and the entire piece is fully stone polished, including the base.  The design around the sides is painted with a mesa and a prayer feather pattern. The prayer feathers are held in the hands of Pueblo dancers and are often depicted as a series of triangles one on top of the other.  The bowl is very highly polished and was fired to a gunmetal appearance. This metallic or “gunmetal” was achieved by the heat of the firing and note how the coloration changes as the bowl is turned!  The bowl is signed on the bottom in the clay,  “Marie + Julian”.  The bowl is in very good condition with no chips, cracks, restoration or repair.  There is one small rub below the shoulder but very little wear on the polished bottom, which is unusual, as one might expect more wear just from moving the bowl around over the past 100 years!

Maria Martinez Signatures

$ 2,200.00
Roybal, Tonita – Jar with Reverse Feather Design (1920’s)

Tonita Roybal remains one of the great innovative names in San Ildefonso pottery.  This jar reflects the exceptional nature of her pottery designs, shapes, and firing.  The jar has a round shoulder and then and a slight indention before extending up to the neck.  The jar itself is very highly polished and beautifully painted.  The design is interesting with a reverse feather pattern which extends up from the base.  What is interesting is the design leaves more open space and draws the eye to the shoulder.  The jar is fired to a gunmetal appearance with areas which even have a gold-tone coloration.  This “goldtone” is a rarity in her work and one which was achieved in the firing. The jar has a very metallic appearance with just the touch of yellow or gold in the light.  The jar is from the 1920’s and it has its original sticker on the bottom.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed, “Tonita” in the clay on the bottom.  As a provenance, the jar was de-acquisitioned from the American Indian Culture Research Center in Marvin, South Dakota.  It still has the tag for its catalog number of 00251.

Click here to read about the Early San Ildefonso Innovators

$ 1,800.00
Aguilar, Rosalie & Joe – Carved Jar with Storm Designs (1930’s)

Rosalie and Joe Aguilar created some exceptional pottery throughout their time working together.  In the 1930’s they began to make carved pottery.  This large jar is carved with two different designs. There is a rain and lighting design and it is separated by a cloud and lightning design.   The carving is done into the negative space creating a visually strong appearance.  The remainder of the jar is fully polished and fired to a gunmetal coloration. The metallic surface and the matte black areas of the carving are beautiful on this jar.  The jar is in is in very good condition with no chips, cracks, restoration or repair.  It is signed, “Rosalie + Joe” on the bottom in the clay.

Click here to read more about the “Early San Ildefonso Innovators”

$ 1,000.00
Sanchez, Desideria – Bowl with Cloud & Wind Designs (1920’s)

Desideria Montoya Sanchez was a sister of noted potter Maria Martinez.  She was known for her traditional pottery and use of both classic and innovative designs. This bowl is a round shape and painted with a series of bold line cloud and wind patterns. The thick lines and the style of the imagery give the bowl a very modern appearance and are certainly unusual in the imagery of San Ildefonso.  The firing of the bowl has given it a somewhat gunmetal appearance in areas.  The gunmetal coloration is due to the heat of the firing and note how areas are more black and others are more metallic.   The bowl is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Desideria”.

$ 975.00
Martinez, Maxamiliana “Anna” – Bowl with Avanyu (1920’s)

This is a very traditional style bowl by Maximiliana “Anna” Martinez, who was a sister of Maria Martinez.   It is fully polished and painted with a water serpent (avanyu), encircling bowl.  The avanyu is delicately painted with cloud and rain motifs.  The bowl was fired was fired black and has near-gunmetal appearance.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Anna”.   Why is the work of Anna Martinez important? Interestingly, Maria would often say she was the best painter in the family.  She was married to Cresencio Martinez, who was known for his paintings and was also a brother to Tonita Roybal.  One can begin to see how her talent was easily fostered by those around her making a jar like this simply a classic!

Click here for more information on the Early San Ildefonso Innovators!

$ 1,000.00
Gonzales, Rose – Red Carved Long Neck Jar

This carved jar is a classic vessel by San Ildefono potter Rose Gonzales.  She is often considered the first at San Ildefonso Pueblo to make carved pottery. However, over the course of her career, she created a variety of styles including plainware, painted and carved pottery.  This jar is carved on the sides with lightning and rain patterns.  Rose was famous for her “cameo” style of carving with the use of negative space and rounded edges.  The jar is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Rose”.

$ 600.00
Aguilar, Rosalie & Joe – Carved Red Jar with Rain Designs (1930’s)

Rosalie and Joe Aguilar created some exceptional pottery throughout their time working together.  In the 1930’s they began to make carved pottery.  This jar has a carve rain and lightning pattern separated by a negative space mountain design.  The jar is polished red and the background area is a matte red clay slip.  The style of the carving is known as “cameo carving”, which was typical at San Ildefonso in the 1930’s. The jar is in is in very good condition with no chips, cracks, restoration or repair.  It is signed, “Rosalie + Joe” on the bottom in the clay.

Click here to read more about the “Early San Ildefonso Innovators”

$ 600.00
Roybal, Tonita – Bowl with Geometric Rain Designs (1920’s)

Tonita Roybal remains one of the great innovative names in San Ildefonso pottery.  This smaller jar has her classic sharp shoulder and sloping neck.  The neck has a geometric rain and cloud pattern.  Note the small design with the three rows of rain. This particular design is one which she often used on her pottery.  Sometimes it was attached to the other designs, sometimes simply floating on the polished surface.  The bowl is highly polished and fired to a great gunmetal coloration.  It is signed on the bottom in the clay, “Tonita”.  It is in excellent condition with no chips, cracks, restoration or repair.

 

 

 

 

 

 

$ 625.00
Gonzales, Rose – Polished Black Jar (1968)

This is a distinctive plainware jar San Ildefono potter Rose Gonzales.  She is often considered the first at San Ildefonso Pueblo to make carved pottery. However, over the course of her career, she created a variety of styles including plainware, painted and carved pottery.  This jar is fully polished and fired black. There is a slight gunmetal coloration to the surface. The jar won a second place ribbon at the 1968 Gallup Inter-Tribal Ceremonials.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Rose”.

$ 975.00
Martinez, Maria –  Bowl with Cloud and Lightning Designs (1920’s), “Marie”

This is a classic bowl by Maria Martinez from 1920-25.  It was made and polished by Maria Martinez and painted by her husband, Julian.  These early pieces are signed, “Marie”, although Julian was painting the designs.  It was not until around 1925 that they began to sign both names to the pottery.   This bowl has a slightly rounded shoulder and the design is painted in the area between the shoulder and the neck.  The pattern is a cloud and lightning design.  The bowl was highly fired to create a near gunmetal (metallic) appearance.  The gunmetal color achieved on these early pieces was from the heat of the firing.  The bowl is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Marie”.

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

$ 1,800.00
Aguilar, Rosalie -Bowl with  Cloud and Rain Designs

Rosalie and Joe Aguilar created some exceptional plates during their brief career working together.  This is one of their carved pieces. It has the “cameo” style of carving which was typical at San Ildefonso in the 1930’s.  The design is carved around the neck of the piece.  It is a cloud and rain design.  The remainder of the bowl is fully polished.  It was fired a dark black but with additional small gunmetal colored areas from the firing..  The bowl is in very good condition with no chips, cracks, restoration or repair.  It is signed, “Rosalie + Joe” on the bottom in the clay.

Click here to read more about the “Early San Ildefonso Innovators”

$ 475.00
Martinez, Maria – Water Jar with Gourd Indentions (1920’s)

This is certainly one of the most unique jars we have had by Maria Martinez.  The jar is from the 1920’s and it was made by Maria Martinez and her husband, Julian.  It is the actual form, with the indented sections around the shoulder, which is so unusual!  Maria is known for her traditional shapes and highly polished surfaces.  In the 1920’s, this long neck style of jar was one of her most classic forms.  The last image in this post shows her working on a jar with indented sides!  It is not a style which she made after the 1920’s and this is one of the first I have seen in person.  However, each indention is fully polished, as is the entire jar. The neck was painted by Julian and there is a cloud pattern and a turned out neck.  The jar was traditionally fired and has a nearly gunmetal appearance.  It is a creative piece of her pottery and an extraordinary part of the history of her pottery.  The jar is signed, “Marie” in the bottom.  It is in very good condition with no chips, cracks, restoration or repair.  There are few small surface scratches, but nothing unexpected with the age of the jar.  It is not just exciting but an honor to have such a historically important jar come back into the gallery!

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

$ 4,200.00
Martinez, Maxamiliana “Anna” – Jar with Avanyu (1920’s)

This is one of the more complex painted jar we have had by Maximiliana “Anna” Martinez, who was a sister of Maria Martinez.   It is fully polished and painted with a water seprent (avanyu), encircling the jar. It is the complexity of the avanyu which makes the piece so distinctive.  Note the fine lines and the clouds above the avanyu.  The jar was fired black and has near-gunmetal appearance.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Anna”.   Why is the work of Anna Martinez important? Interestingly, Maria would often say she was the best painter in the family.  She was married to Cresencio Martinez, who was known for his paintings and was also a brother to Tonita Roybal.  One can begin to see how her talent was easily fostered by those around her making a jar like this simply a classic!

Click here for more information on the Early San Ildefonso Innovators!

$ 1,800.00
Roybal, Tonita – Gunmetal Jar with Plant Designs (1920’s)

Tonita Roybal remains one of the great innovative names in San Ildefonso pottery.  This smaller jar has her classic sharp shoulder.  The neck has a painted plant design which encircles the piece.  The jar is highly polished and fired to a great gunmetal coloration.  It is signed on the bottom in the clay, “Tonita”.  It is in excellent condition with no chips, cracks, restoration or repair.  A  note on the provenance: The small sticker on the bottom denotes that it was from the collection of Dick Howard, as that was his early numbering system.

 

 

 

 

 

 

$ 600.00
Aguilar, Rosalie & Joe – Plate with Avanyu Designs (1920’s)

Rosalie and Joe Aguilar created some exceptional pottery during brief career working together.  It is often their plates which are the most visually striking and complex of their work.  This plate is a complicated and fascinating design. There are two avanyu heads on either side where the circle is the eye and each has an elongated tongue. They are connected with a water design and the step pattern is the mountain. The “x” design in the center is the turkey track.  The fineline checkerboard areas area exceptionally well painted.  The piece has a very modern appearance with the placement of the imagery yet it is one from the 1920’s.  This plate is in very good condition with no chips, cracks, restoration or  repair.  There are a few light surface scratches.  It is signed on the back, “Rosalie + Joe”.

Click here to read more about the “Early San Ildefonso Innovators”

$ 1,400.00
Gonzales, Rose – Red Canteen with Ribbon (1965)

This canteen is a classic piece by San Ildefono potter Rose Gonzales.  She is often considered the first at San Ildefonso Pueblo to make carved pottery. However, over the course of her career she created a variety of styles including plainware, painted and carved pottery.  This canteen is her classic shape for this form.  It is fully polished red with no design.  It still has the original leather strap and wood stopper!  The canteen won a second place at the 1965 Gallup Inter-Tribal Ceremonials.  The piece is signed on the back in the clay, “Rose”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 1,100.00
Gonzales, Rose – Wide Bowl with Rain and Cloud Designs

Rose Gonzales is often considered the first at San Ildefonso Pueblo to make carved pottery. However, over the course of her career she created a variety of styles including plainware, painted and carved pottery.  This wide bowl is deeply carved with her classic style of rounded edge carving.  The design is a series of cloud and rain patterns which flow through the negative space of the shoulder of the bowl.  The bowl is in very good condition with no chips, cracks, restoration or repair.  It is signed, “Rose” on the bottom in the clay.

$ 800.00
Sanchez, Desideria – Jar with Feather and Rain Motifs (1960’s)

Desideria Montoya Sanchez was a sister of noted potter Maria Martinez.  She was known for her traditional pottery and use of both classic and innovative designs. This jar is fully polished and painted with a feather and storm pattern.  There are two sections of feather separated by two sections of the rain and lightning designs.  This is a later jar and beautifully painted!  The jar is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Desideria”.

$ 650.00
Gonzales, Juanita – Large Jar with Avanyu (1930’s)

This is a classic shaped jar by Juanita and Wo-Peen Gonzales.  The jar is deeply carved with a water serpent encircling the piece. It is carved in the cameo style which Juanita learned from Rose Gonzales.  There are cloud designs extending down from the neck and the horn of the avanyu is stylized.  The jar is highly polished and it is in very good condition with no chips, cracks, restoration or repair.    The bowl is signed on the bottom in the clay, “Juanita”.   It is great to find one of their pieces in such wonderful condition!

Click here to read more about the “Early San Ildefonso Innovators”

$ 800.00
Sale!
Martinez, Maria – Large Plate with San Ildefonso Birds (1920’s)

This is an extraordinary large plate by Maria Martinez and her husband, Julian.  Maria would make the pottery and Julian would paint the design.  The unique aspects of this piece are the size and the design.  Many of their early plates were under 12″ diameter, as they were less likely to break in the firing.  As well, this design is one which is an early pattern and one which was very rarely used in their pottery.  The design is a series of three San Ildefonso birds.  The heads are near the rim and the wings are extending backwards with the triangle in the center making up their legs.  However, as a whole pattern, it has a beautiful flow and dynamic appearance.  The “wings” on this piece are a design which in Richard Spivey’s book, “The Legacy of Maria Poveka Martinez”, it is identified as an “avanyu” (see last photo).  However, I spoke at length with a San Ildefonso potter about this particular design and he explained how it was a bird and that it is a design often seen around the Pueblo.  To have his input gives an important addition of cultural knowledge about these pieces!  As for the plate, it is in good condition with no chips, cracks, restoration or repair.  There are some light surface scratches which are not unexpected in a piece from this time period.  The plate is signed on the back in the clay, “Marie + Julian”.  In terms of the photos, I tried to take them at different angles and different lighting to reveal both design and condition.  The curve of the plate makes it difficult but I think if you view the various photos it is possible to have a good idea of the overall condition.   This is definitely one of those exciting pieces by Maria & Julian Martinez which rarely come around to the marketplace!

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

$ 11,000.00 $ 8,800.00
Gonzales, Ramona Sanchez – Bowl with Cloud Designs (1920’s)

This is a classic bowl by Ramona Gonzales.  Ramona was known for her delicately painted pottery.  This bowl has a cloud and rain pattern painted on the shoulder.  It is a strong graphic image on the bowl.  It was fired a deep black with some areas of gunmetal coloration.  It is signed on the bottom in the clay, “Ramona”.    It is in very good condition with no chips, cracks, restoration or repair.  It is definitely a classic piece of her pottery!

Click here to learn more about the Early San Ildefonso Innovators!

$ 800.00
Pena, Juanita – Large Bowl with Rain Designs (1920’s)

This is a striking larger bowl by Juanita Pena. This bowl is an earlier piece of her pottery.  It is fully polished and painted with a rain design. The little “dots” of rain on the design are definitely a signature of her painting style.  The designs are definitely an unusual one with the geometric flow of pattern from one section to the next.  The bowl is highly polished and fired a deep black.  It is in very good condition with no cracks, restoration or repair.  There are some light surface scratches.   It is signed on the bottom in the clay, “Juanita”.  

$ 1,200.00
Aguilar, Joe – Plate with Koshari Clown and Dog (1950’s)

This is a charming plate by Joe Aguilar.  He began his career painting pottery for his mother, Susana Aguilar,  He also made pottery with his wife, Rosalie, through the 1940’s.  In the 1950’s, after the passing of Rosalie, he created a fascinating group of polychrome pottery including both plates and vessels.  He was one of the few potters at the time still using traditional techniques for the polychrome or black-on-white pottery. This plate is painted with a stylized koshari clown as the design.  Off to the side is a dog sitting, watching the dancer.  It is an unusual design, as koshari are rarely if ever depicted in Pueblo pottery.  I was told that he was part of the clown group and so that is why he was able to paint the clowns on his pottery.  The plate is in very good condition with no cracks, restoration or repair.   It is signed on the back, “Joe Aguilar”.  It is from the Dick Howard collection and his inventory number is still on the back.

For more information on the

Early San Ildefonso Innovators, Click Here.

$ 800.00
Aguilar, Joe – Terrace Bowl with Avanyus (1950’s)

This is certainly one of the most exceptional pieces we have seen by Joe Aguilar.  He began his career painting pottery for his mother, Susana Aguilar,  He also made pottery with his wife, Rosalie, through the 1940’s.  In the 1950’s, after the passing of Rosalie, he created a fascinating group of polychrome pottery including both plates and vessels.  He was one of the few potters at the time still using traditional techniques for the polychrome or black-on-white pottery. This unique piece is a terraced bowl. The mountain steps are on one side and the center of the bowl is meant to represent the lake below the mountains. There are two avanyu painted along the interior sides of the bowl.  The bowl was traditionally fired and there is a slight dark cast to the cream colored clay due to the smoke in the firing. The interesting part of the firing, however, is that on the bottom you can see fingerprints of where he handled the bowl before it was fired!  The bowl is in very good condition with no cracks, restoration or repair.   It is signed on the bottom, “Joe Aguilar”.

For more information on the

Early San Ildefonso Innovators, Click Here.

$ 950.00
Aguilar, Joe – Bowl with Rain Cloud Designs (1950’s)

Joe Aguilar began his career painting pottery for his mother, Susana Aguilar,  He also made pottery with his wife, Rosalie, through the 1940’s.  In the 1950’s, after the passing of Rosalie, he created a fascinating group of polychrome pottery including both plates and vessels.  He was one of the few potters at the time still using traditional techniques and designs for his work. This wide bowl is slipped red on the inside and creame on the outside.  It is painted in black with a rain cloud and rain designs. The use of the lines in his design was a signature of his painting.  On this bowl the pattern is repeated four times.  The bowl is in very good condition with no cracks, restoration or repair.   It is signed on the bottom, “Joe Aguilar”.

For more information on the

Early San Ildefonso Innovators, Click Here.

$ 650.00
Roybal, Tonita – Long Neck Jar with Avanyu (1920’s)

Tonita Roybal remains one of the great innovative names in San Ildefonso pottery.  This is is one of the larger pieces we have had of her pottery. The jar is one of her early long neck vessels with a slight shoulder.  The design is the classic water serpent (avanyu), which is painted around the shoulder.  The jar is very highly polished and fired with a range of color from black to gunmetal.  Interestingly, when she would fire these long neck jars they would be fired on their side!  This jar has a slight lean to the form.  However, the size and classic design are the dynamic parts of this amazing jar!  It is signed on the bottom in the clay, “Tonita”.  It is in good condition with no chips, cracks, restoration or repair.

 

 

 

 

 

 

$ 4,200.00
Gonzales, Ramona Sanchez – Plate with Bird Design (1920’s)

This is a striking painted bowl by Ramona Gonzales.  Ramona was known for her delicately painted pottery.  This plate is almost more like an open bowl.  It is fully polished on the front and back. The design has a bird which fills up the entire surface of the plate.  The polished background and matte painted designs work perfectly on this piece.  It is signed on the back in the clay, “Ramona”.  It is in good condition with no chips, cracks, restoration or repair.  There is some wear on the surface. This is definitely an important piece of her pottery.

Click here to learn more about the Early San Ildefonso Innovators!

$ 1,550.00
Roybal, Tonita – Bowl with Cloud and Water Designs (1930’s)

Tonita Roybal is one of the great innovative names in San Ildefonso pottery.  This is classic shape with the sharp shoulder.  The sloping area to the neck was painted by her husband, Juan Cruz.  The design is wonderful in the flowing pattern with a cloud design at the top and a water design at the bottom.  However, they are mirror images and the result is a pattern which has a very modern appearance.  The bowl is signed on the bottom in the clay, “Tonita + Juan”.  It is in very good condition with no chips, cracks, restoration or repair.

 

 

 

 

 

$ 1,050.00
Roybal, Tonita – Gunmetal Bowl with Mountain & Wind Designs (1920’s)

Tonita Roybal is one of the great innovative names in San Ildefonso pottery.  This is one of her “gunmetal” fired bowl.  The metallic coloration is achieve using a very high fire to heat the bowl and create an intense silver appearance on the surface. This bowl is one of her classic shapes with a sharp shoulder.  The designs are mountain, wind and rain patterns.  Note the delicate lines of the painting on the bowl!  The bowl is signed on the bottom in the clay, “Tonita”.  It is in very good condition with no chips, cracks, restoration or repair.

 

 

 

 

$ 1,200.00
Sanchez, Desideria – Large Jar with Cloud and Wind Patterns (1920’s)

Desideria Montoya Sanchez was a sister of noted potter Maria Martinez.  She was known for her traditional pottery and use of both classic and innovative designs. This tall jar is a shape that was used by both her and Maria during the 1920’s.  It is a tall shaped jar with a high shoulder.  The jar here is highly polished and has a cloud design painted around the neck and then additional rain and wind designs around the shoulder.  The painted designs here are so bold that they give a very modernistic appearance to the jar. It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Desideria”.

$ 1,750.00
Pena, Isabel – Red & Tan Carved Plate with Avanyu (1930’s)

Isabel Pena was one of the early San Ildefonso potters. This is one of her few carved pieces. It is most likely that she made the plate and then it was carved by her daughter, Terasita.  The style of carving is similar to that of her daughter.  The front of the plate is polished red and carved with an avanyu.  The interior carved area is filled in with the a cream colored clay. The back of the plate is also fully polished and it is tan.  The plate is signed on the back in the clay, “Isabel”.  It is in very good condition with no chips, cracks, restoration or repair.  Isabel Pena was a granddaughter of Cipriana Pena and a daughter of Tonita Pena (ca 1847-1910) who was known for making large storage vessels. Isabel was the wife of Pasqual Martinez. She was also the mother of noted potters Terasita Martinez and Petronella Martinez. Her great-grandson, Elvis Torres continues to make pottery today.

For more information on the Early San Ildefonso Innovators, Click Here.

$ 600.00
Roybal, Tonita – Water Jar with Avanyu Design (1920’s)

Tonita Roybal is one of the great innovative names in San Ildefonso pottery.  This is a classic shape for Tonita, with the low, round shoulder and the turned out rim.  What is unusual is the use of the avanyu or water serpent, as the design.  She painted a variety of designs, but very rarely depicted the water serpent on her pottery. The jar here is fired to a near gunmetal finish and  it is delicately painted and beautifully polished.  It is signed on the bottom in the clay, “Tonita”  It is in very good condition with no chips, cracks, restoration or repair.

Click here to learn more about the Early San Ildefonso Innovators!

$ 1,800.00
Pena, Isabel – Jar with Step Pattern and Lid

Isabel Pena was one of the early San Ildefonso potters. This is an exceptional jar by Isabel Pena.  It is one of the only lidded pieces of hers we have come across.  The jar is painted with a mountain step pattern and the lid is also painted.  The jar is signed on the bottom in the clay, “Isabel”.  It is in very good condition with no chips, cracks, restoration or repair.  Isabel Pena was a granddaughter of Cipriana Pena and a daughter of Tonita Pena (ca 1847-1910) who was known for making large storage vessels. Isabel was the wife of Pasqual Martinez. She was also the mother of noted potters Teresita Martinez and Petronella Martinez. Her great-grandson, Elvis Torres continues to make pottery today.

 

For more information on the Early San Ildefonso Innovators, Click Here.

$ 800.00
Martinez, Maxamiliana “Anna” – Large Bowl with Water Designs (1930’s)

This is a large bowl by Maximiliana “Anna” Martinez, who was a sister of Maria Martinez.   It is fully polished and painted with water designs around the shoulder. The bowl itself has great coloration with areas which are nearly gunmetal.  The painting is fluid around the entire piece.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Anna”.

Click here for more information on the Early San Ildefonso Innovators!

$ 1,500.00
Aguilar, Susana -Bowl with Avanyu (1920’s)

This is a very distinctive bowl by Susana Aguilar.  The piece is from the 1920’s and it is fully polished and fired to a near gunmetal appearance.  The style of her avanyu is very distinctive with the shape of the horn and the way she painted the mouth. The avanyu of her son, Joe Aguilar, is in very much the same style.  The shape of the bowl is also very classic for her work, with thin walls and a very flat top after the curve of the shoulder.  The bottom of the bowl is also fully polished.  It is signed on the bottom  in the clay, “Susana”. The bowl is in good condition with no chips, cracks, restoration or repair.  It has some scratches on the rim.

Click here to Read more about the “Early San Ildefonso Innovators”.

 

$ 1,075.00
Roybal, Tonita – Bowl with Fineline Mountain and Plant Designs (1920’s)

Tonita Roybal is one of the great innovative names in San Ildefonso pottery.  This has long been one of my favorite bowls by Tonita.  The shape is perfect with the sharp shoulder and sloping angle.  The design is boldly painted with a mountain pattern which has lines painted in the center.  There are additional small plant designs.  Like much of her work, it is the gunmetal coloration, achieve during the heat of the firing, which gives the bowl its dynamic appearance.  The silver surface above the shoulder accentuate the design and give it a dynamic appearance. The bowl is signed on the bottom in the clay, “Tonita”.  It is in excellent condition with no chips, cracks, restoration or repair.

 

 

 

$ 1,250.00
Pena, Isabel – Large Jar with Snow Patterns

Isabel Pena was one of the early San Ildefonso potters. This is one of the largest of her black-on-black bowls we have seen. It  has a snow pattern as the design.  It is a complex pattern that encompasses the surface of the jar.  It is signed on the bottom in the clay, “Isabel Pena”.  It is in good condition with no cracks, restoration or repair.  There are a few little rubs and a small chip on the inside of the rim.  Isabel Pena was a granddaughter of Cipriana Pena and a daughter of Tonita Pena (ca 1847-1910) who was known for making large storage vessels. Isabel was the wife of Pasqual Martinez. She was also the mother of noted potters Teresita Martinez and Petronella Martinez. Her great-grandson, Elvis Torres continues to make pottery today.

For more information on the Early San Ildefonso Innovators, Click Here.

$ 600.00
Gonzales, Juanita – Large Bowl with Carved Rain Designs (1930’s)

This bowl is one of the larger bowls we have had  by Juanita and Wo-Peen Gonzales.  It is carved with the cameo style which Juanita learned from Rose Gonzales.  It has a flowing design on the shoulder with rain and lightning designs separated by mountains.  The carving is deep and perfectly fits the shape of the bowl.  It is in very good condition with no chips, cracks, restoration or repair.    The bowl is signed on the bottom in the clay, “Juanita”.   It is great to find one of their pieces in such wonderful condition!

Click here to read more about the “Early San Ildefonso Innovators”

$ 1,000.00
Naranjo, Florence Aguilar – Polychrome Jar with Cloud, Rain and Snow Designs (1950s’)

Florence Naranjo is a daughter of noted potters Rosalie & Joe Aguilar and a granddaughter of Susana Aguilar.  This is one of her few polychrome pieces of pottery. The jar is fully painted with black and red rain, cloud and snow patterns on a cream background.  The jar is a classic San Ildefonso water jar shape.  It is signed on the bottom, “Florence Naranjo”.  It is good condition with no chips, cracks, restoration or repair.

Click here to learn more about the Early San Ildefonso Innovators!

$ 400.00
Aguilar, Joe – Whirling Water Design Polychrome Plate (1950’s)

Joe Aguilar began his career painting pottery for his mother, Susana Aguilar,  He also made pottery with his wife, Rosalie, through the 1940’s.  In the 1950’s he created a fascinating group of polychrome pottery including both plates and vessels.  He was one of the few potters at the time still using traditional techniques and designs for his work. This is an exceptional plate painted with polychrome designs. The center is a fineline pattern, which was often seen in the earlier black-on-black pottery. The central medallion then becomes a whirling circle of water with the extensions of the plant designs.  The plate is in very good condition with no cracks, restoration or repair. There are two small areas where the white slip has flaked away.  It is signed on the back, “Joe Aguilar”.

For more information on the Early San Ildefonso Innovators, Click Here.

$ 850.00
Sale!
King, Charles S., “Spoken Through Clay”

Spoken Through Clay

A NEW  RELEASE SPECIAL:  $95.00, including shipping (US)! Check out the new review in the Denver Post!

 Just a few things which make this book unique!
*   The size!  The book is 11.75″ x 14.25″ and weights over 8 pounds!
*  The photography of the pottery is stunning, emphasizing the individual pieces.
*  Each caption is the artist discussing the individual piece on the page.
*  The artist “biographies” are from interviews with the artists and they discuss their art, culture, lives and history.
*  Organization: The book is not organized by pueblo or family, but entails new ways to think about the future of Native pottery.
*  Printing in Italy gives the book very high quality color and paper.
* The photos of the living artists were taken by Will Wilson using a tin-type process. He was a recipient of the 2107 New Mexico Governor’s Award for the Arts in photography!
*  The book features work by more than 30 contemporary potters and more than a dozen important historic potters.
*  There are essays by myself, Peter Held and Eric Dobkin.  They add to the overall understanding of the project a historic perspective.

_____________________________________________

August 18, Pasatiempo Review

“Charles S. King’s new book, Spoken Through Clay: Native Pottery in the Southwest, The Eric S. Dobkin Collection, is spectacularly heavy —which is a problem from a practical standpoint, because once you open it, you won’t want to put it down. With dreamy tintype artist portraits by Diné photographer Will Wilson, dazzlingly crisp images from Addison Doty, and intimate first-person essays written by dozens of artists, the book is a visually delicious, intellectually consuming foray into historic and contemporary Southwestern pottery. In short, prepare to swoon.

If you’re thinking of this as a coffee-table book, you’ll need to imagine a decently sized coffee table. The book is more than a foot tall and, when opened, two feet wide, but its outsize appearance belies the often delicate beauty of its contents: hundreds of individual pieces of pottery from Eric S. Dobkin’s exquisitely curated collection — arguably the largest and most important of its kind. Gallery owner, author, and Pueblo pottery expert King designed Spoken Through Clay to be approachable for those unfamiliar with Native American pottery. “In the age of social media, I wanted to make the book both visually striking and personal,” King said. The book opens with essays by King, Dobkin, and curator Peter Held, who calls clay “the most archival of materials … seductive, sensuous, responsive, geologic, and malleable.”

“I wanted the end result of the book to be that the reader would connect with the artists in a personal way, beyond just the art, and understand the time it takes to become an artist, to achieve success,” King said. Sprawling yet intimate, Spoken Through Clay introduces its readers not just to the beauty of Southwestern pottery but also to the fascinating stories of the people who make it.Iris McLister, Pasatiempo

____________________________________

“It’s one of the things that makes us who we are. It’s what holds our family together. We are a family of potters. It’s our identity. People don’t realize how much work goes into it just processing the clay and making it. You have to do it with your heart.”—Linda Tafoya-Sanchez

 

FEATURED ARTISTS Grace Medicine Flower • Dextra Quotskuyva • Autumn Borts-Medlock • Jody Naranjo • Harrison Begay Jr. • Jordan Roller • Sara Fina Tafoya • Lonnie Vigil • Margaret Tafoya • Steve Lucas • LuAnn Tafoya • Loren Ami • Toni Roller • Popovi Da • Linda Tafoya-Sanchez • Mark Tahbo • James Ebelacker• Yvonne Lucas • Jeff Roller • Lisa Holt • Harlan Reano • Nampeyo • Jacquie Stevens • Nathan Youngblood • Jacob Koopee Jr. • Jennifer Moquino • Christopher Youngblood • Maria Martinez • Tony Da • Tammy Garcia • Virgil Ortiz • Joseph Lonewolf • Johnathan Naranjo • Nancy Youngblood • Les Namingha • Russell Sanchez • Christine McHorse • Richard Zane Smith • Rondina Huma • Susan Folwell • Dominique Toya • Jody Folwell

Spoken Through Clay features the pottery of iconic Native American artists from historic potters Nampeyo and Maria Martinez, to contemporary potters Tammy Garcia, Virgil Ortiz, and many others, are featured in a new book published by the Museum of New Mexico Press. Spoken Through Clay: Native Pottery of the Southwest showcases nearly three hundred pottery vessels from the acclaimed Eric S. Dobkin Collection, covering a wide range of mostly Pueblo artists from the Southwest.

“The physical scale of the vessels combined with the depth of the contemporary collection [is] breathtaking,” says author Charles S. King. The book is part of a “transitional process of looking to the clay, the vessel, and the potter’s voice and allowing the pieces to stand on the merit of their artistic integrity.”

The book includes portraits and voices of renowned potters speaking about their artistry and technique, families, culture, and traditions. Many of the artists are connected by Pueblos, generations, or family members. Dynamic color photography captures the depth and dimension of the pieces, while the artists provide an illuminating perspective through narrative captions. Artists, academics, collectors, family members, and gallerists add additional insight about the lives, historical context, and importance of these potters and their work.

SPOKEN THROUGH CLAY Native Pottery of the Southwest The Eric S. Dobkin Collection
By Charles S. King Essay by Peter Held

Artist portraits by Will Wilson
ISBN: 978-0-89013-624-9

352 pages, 320 color plates, 40 artist portraits

Publication Date: August 01, 2017
ABOUT THE AUTHOR Charles S. King is the author of Born of Fire: The Life and Pottery of Margaret Tafoya, The Life and Art of Tony Da, Virgil Ortiz: Revolt 1680/2180, and numerous articles on Pueblo pottery. He has served on boards of art associations, judged pottery at prestigious events, and lectures about the art form. His business King Galleries represents many of today’s leading Native potters and important historic works in clay. Charles lives in Scottsdale, Arizona.

$ 125.00 $ 95.00
Roybal, Tonita – Oval Shallow Bowl with Lightning Designs (1920’s)

This is a charming open bowl by Tonita Roybal, from the 1920’s.  It is either a small plate or a small dish.  It is oval and has a slight rim.  The bowl is painted on the inside with a lightning and cloud pattern.  The piece is polished which creates a strong contrast for the design.  The bowl is signed on the back in the clay, “Tonita”.  It is in very good condition with no cracks, restoration or repair. There are few tiny dings on the rim.  Amazingly, the center of the piece is in excellent condition!

 

$ 675.00
Roybal, Tonita – Jar with Lightning & Bird Feather Design (1920’s)

This is an classic jar by Tonita Roybal, from the 1920’s.  What is most distinctive about this jar is the shape, which Tonita originated, with the very sharp shoulder. The entire bowl is fired and the area from the shoulder to the rim is painted.  The design is a bird feather and lightning design.  There is also a very unusual comb-like pattern, which is meant to represent wind and rain.  The bowl has been traditionally fired outside, so there are color variations from gunmetal to brown. There is a small area of black and brown below the shoulder which is most likely from a piece of wood touching the piece during the firing.  It might also be from the Tonita herself touching the piece with some wood, as early potters would often touch the pots with a stick during the firing to give them character.  Either way it is part of the charm of the firing process.  The bowl is from the late 1920’s and signed, “Tonita”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 1,100.00
Gonzales, Juanita & Wo-Peen – Bowl with Cloud & Rain Designs

This bowl is by Juanita and Wo-Peen Gonzales.  It is carved with the cameo style which Juanita learned from Rose Gonzales.  It has a complicated design with rain and cloud patterns encircling the bowl.  It is beautifully polished and has deep black coloration.  The bowl is in very good condition with no chips, cracks, restoration or repair and some wear near the base.  The bowl is signed on the bottom in the clay, “Juanita Wo-Peen”.   It is great to find one of their pieces in such wonderful condition!

Click here to read more about the “Early San Ildefonso Innovators”

$ 350.00
Roybal, Tonita – Plate with Prayer Feather & Rain (1920’s)

This is an early plate from Tonita Roybal.  It is fully polished on the front and back of the piece.  The design is a prayer feather pattern which is repeated four times.  Separating the prayer feathers are triangular hatchwork patterns which represent rain. Like much of her work it is traditional imagery put together with a more modern appearance, especially leaving so much open polished space for the design.  The plate is from the mid-1920’s and it is signed on the back in the clay, “Tonita”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 825.00
Gonzales, Juanita – Carved Jar with Avanyu

This jar by Juanita Gonzales is classic style of their work.  Juanita learned the cameo style of carving from Rose Gonzales.  The neck of the jar is carved with a rain pattern.  The body of the piece has the clay fully carved away to reveal the encircling avanyu.  The style of the avanyu, with the round incised eye, is very similar to that of Rose Gonzales.  The bottom of the jar is matte.  The contrast of the raised polished surfaces and the surrounding matte areas creates a very striking appearance.  The jar is signed on the bottom in the clay, “Juanita”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 600.00
Sanchez, Desideria – Bowl with Bird Wing Motif

Desideria Montoya Sanchez was a sister of noted potter Maria Martinez.  She was known for her traditional pottery and use of both classic and innovative designs. This bowl is painted with a bird wing pattern.  It is interesting that this design has a Hopi-Tewa style appearance to the design.  Many of the early San Ildefonso potters were very interested in the work of Nampeyo of Hano and incorporated Hopi designs into their work.  The imagery was often stylized, such as the feather pattern at the round end of the wing.  The bowl was fired with to a nearly gunmetal appearance.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Desideria”.

$ 800.00
Gonzales, Rose – Jar with Carved Avanyu

Rose Gonzales is often considered the first at San Ildefonso Pueblo to make carved pottery. However, over the course of her career she created a variety of styles including plainware, painted and carved pottery.  This jar is both a classic shape and design.  Rose carved her pottery with a “cameo” style where the design often seems to be carved right at the edge of the shoulder.  Here the water serpent (avanyu) is in that position. The sharp edge of the jar and the long neck are both classics of her form.  The jar is in very good condition with no chips, cracks, restoration or repair.  It is signed, “Rose” on the bottom in the clay.

$ 900.00
Mobile version: Enabled