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 hopi potteryHopi Pottery - Tewa Group

Hopi Pottery (Tewa) created on the  Hopi Reservation is located in northeastern Arizona and is surrounded by the Navajo Reservation. Hopi consists of three Mesas, and each Mesa has several villages. The  Hopi Pueblo Pottery, Tewa speaking people are located in First Mesa in the villages of Hano and Polacca. They are descendants of the Tewa speaking Pueblo people of New Mexico who came to the Mesa around the time of the Pueblo Revolt in 1680. It is this group of artisans who are best known for their decorative pottery, especially the revival pottery of the ancient Sikyatki ruin near the base of First Mesa. Hopi - Tewa pottery is carefully hand constructed using the coil and scrape techniques their ancestors taught them.  The paints used are from naturally occurring materials.  For example, black paint is made by boiling Bee-weed for a long time until it becomes very dark and thick. It is then dried into little cakes which are wrapped in corn husk until ready for use. It is called guaco.  The intricate and beautiful designs are painted freehand using a yucca leaf brush. The pots are then fired in the open air out on the mesa using sheep dung and cedar as a heat source.

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Youvella, Nolan – Wedding Vase with Hano Mana

Nolan Youvella is a son of noted potters Iris Nampeyo and Wallace Youvella.  He is known for his relief carved pottery.  This wedding vase uses the traditional Hopi red clay.  There is a Hano Mana katsina on one side in matte relief. The remainder of the vase is fully polished.  The piece is signed on the bottom in the clay, “Nolan Youvella”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 130.00
Komalestewa, Cynthia Sequi – Seedpot with Hummingbird and Corn (1990’s)

Cynthia Sequi Komalestewa (1954-2002) was a daughter of Hugh Sequi and a sister of Miltona Naha.  Her aunt-in-law was Helen Naha.  Cynthia made traditional Hopi-Tewa pottery with her own spin on the Naha family style.  She learned a lot of her pottery techniques from Syliva Naha.  Each piece was coil built, stone polished, painted with bee-weed and natural clay slips.  This seedpot has a hummingbird and corn design on the top.  The bottom half is very intricately designed with a star pattern. There are additional white and red clay slips used to accentuate the design.  It is signed on the bottom in the clay, “C. Sequi Komalestewa”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 225.00
Ami, Loren – Canteen with Cloud and Plant Designs (1997)

Loren Ami’s pottery is inspired by traditional Hopi designs and forms.  He learned to make pottery from Dextra Quotskuyva and the canteens were one of the special pieces she taught him to make.  Each piece is coil built, painted with native clays (red) and bee-weed (black) and outdoor fired.  This canteen has a classic shape and it is fully polished. The design is painted on the front and has a cloud, water and plant pattern.  The red areas are stone polished and there is a bit of mica in the red clay.   This piece is signed on the back with his name and a spider design.  It is from 1997 and it is in excellent condition with no chips, cracks, restoration or repair.  Loren is certainly one of the traditionalist Hopi-Tewa potters.

$ 750.00
Sahneyah, Madeline – Bowl with Bird Wing Design (1990)

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 bowl is a classic Hopi shape with a wide, flat form.  The design is painted on the top of the piece.  It has a bird wing pattern with a checkerboard design. The red clay slip is used to accentuate the deisgns.  The bowl 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.

$ 250.00
Nampeyo, Iris – Large Tan Bowl with Corn Design

Iris Nampeyo was a daughter of Fannie Nampeyo and well known for her elegant asymmetrical vessels with corn as part of the design in relief.  Iris began using the corn in relief on the surface of her pottery in the early 1980’s. The corn is symbolic of being part of the Corn Clan.  The surface of the jar is stone polished and the corn on the front is in applique relief.  The shape of this jar is striking with the wide shoulder and the short, asymmetric neck.  The husk of the corn is sharp and the matte area extends around to the shoulder of the jar.  The matte areas are in contrast to the remainder of the piece which is polished.  The opening is asymmetrical which is in keeping with the organic style of the form.  There is a simplicity and elegance in her pottery.  Sadly, Iris passed away in September 2018, but her pottery remains a classic.  This piece is signed on the bottom in the clay and it is in excellent condition with no chips, cracks, restoration or repair.

$ 1,400.00
Begaye, Nathan – Mini Polychrome Bowl with Clouds (1986)

Nathan Begaye was a unique innovator among Pueblo and Navajo potters.  His ethnic connection to both Hopi and Navajo let his work flow between the two distinctive styles and yet find their own unique space.  His work used traditional designs, forms, and techniques, yet somehow appeared very modern.  This miniature bowl is thin-walled and fully painted with a cloud pattern.  There is a cloud and rain pattern painted with over four different colors of clay plus the black which is bee-weed.  The bowl is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

 

$ 110.00
Namingha, Les – “Pueblo Series” Kolowisi and Dragonfly Jar

This jar is part of a new series of pieces by Les Namingha.  This, “Pueblo Series” is focused on universal design similarities among various Pueblo pottery. As Les is both Zuni and Hopi-Tewa, he has a lot of cultural imagery to pull from for this body of work.  Les says of this piece:

“I’m using the avanyu as a theme for a small collection of pots. This jar has a Zuni style representation of “Kolowisi” or rather, my interpretation of the water serpent. They are part of my “Pueblo Jar series” that I started recently. This series interprets or incorporates elements from other Pueblos outside of my Zuni and Tewa-Hopi influenced work.  My focus is on finding similarities in design elements across all Pueblo communities.”

The jar is a taller shape with a very slightly turned out rim.  The jar has a stylized kolowisi or feathered water serpent, encircling the piece.  In addition, there is a small dragonfly.  In Zuni culture, the dragonfly is significant as a prayer messengers. There is additional banding of designs and color.  The jar is painted with acrylic, as with all of Les’s pottery.  It is a wonderfully painted and dramatic jar.   It is signed on the bottom.

$ 2,200.00
Namingha, Les – “Pueblo Series” Jar with Zia Birds

This jar is part of a new series of pieces by Les Namingha.  This, “Pueblo Series” is focused on universal design similarities among various Pueblo pottery. As Les is both Zuni and Hopi-Tewa, he has a lot of cultural imagery to pull from for this body of work.  Les says of this piece:

“This jar is part of my “Pueblo Jar series” that I started recently. This series interprets or incorporates elements from other Pueblos outside of my Zuni and Tewa-Hopi influenced work.  My focus is on finding similarities in design elements across all Pueblo communities.  Here there are two Zia style birds.  There are similar styles of birds seen at Zuni, Acoma, Laguna and in ancient pottery.”

The jar has a round body and a short neck.  The jar has striking colorations and there are birds painted on each side in medallions.  They are additionally designed with different imagery on for the bodies.  One the sides and encircling the jar are large yellow ellipses.  These bold geometrics accentuate the detailed designs on the remainder of the jar.  It is signed on the bottom.  The last photo is one of this jar next to a piece by Elizabeth Medina. It seemed interesting to show the style of birds from Zia in comparison to this jar.

$ 2,200.00
Nampeyo, Iris – Tan Bowl with Corn Design

Iris Nampeyo was a daughter of Fannie Nampeyo and well known for her elegant asymmetrical vessels with corn as part of the design in relief.  Iris began using the corn in relief on the surface of her pottery in the early 1980’s. The corn is symbolic of being part of the Corn Clan.  The surface of the jar is stone polished and the corn on the front is in applique relief.  The husk of the corn is sharp and the matte area extends around to the shoulder of the jar.  The matte areas are in contrast to the remainder of the piece which is polished.  The opening is asymmetrical which is in keeping with the organic style of the form.  Note there is just a bit of a blush on the rim of the jar from the firing.  There is a simplicity and elegance in her pottery.  Sadly, Iris passed away in September 2018, but her pottery remains a classic.  This piece is signed on the bottom in the clay and it is in excellent condition with no chips, cracks, restoration or repair.

$ 1,100.00
Clashin, Debbie – Jar with Red Birds

This small jar by Debbie Clashin is painted with a stylized bird design.  She is a cousin of noted potter Mark Tahbo and a descendant of Grace Chapella.  Debbie has quickly become well known for her large-sized traditional Hopi-Tewa pottery. The jar has a round shoulder and a short neck. There are two red birds which extend over the shoulder and connect with black painted birds which also have bird tails. The tails extend down over the side of the bowl.  The jar is painted with bee-weed and natural clay slips.  It was traditionally fired with blushes across the surface of the jar.   It is signed on the bottom with her name and a pipe for his “Tobacco Clan”.

$ 600.00
Lucas, Steve – Bowl with Katsinas and Sky Designs

This is a wide bowl by Steve Lucas.  The top and bottom are fully polished red. The center section is painted with stylized katsina masks and star patterns.  Steve said of this style of his pottery:

“I try to mix the abstract and the classic design elements on the top to show how the two could be connected. I was always interested looking at stars and finding inspiration there. Where I fire there are no street lights. I can sit at night and see everything and watch a lot of stars.  In my pottery the katsina masks are not an exact representation of them but simply have elements of them in there. I would go and watch the dances, and I liked the way the katsinas looked so I began to put them on the pottery.”  Steve Lucas, Spoken Through Clay

On this jar, it is possible to see a variety of different katsinas from a Chakwaina to Kokopelli to Ogres.  The designs are painted with bee-weed (black) and a red clay slip. The red clay is stone polished for shine and there is just a bit of mica in the clay.  The bottom of the jar is fully polished red.  The jar is traditionally fired which creates the blushes on the surface.  It is signed on the bottom with his name and an ear of corn (Corn Clan) and a Mudhead Katsina.

$ 1,600.00
Koopee, Jacob – “All Roads Lead to Home” Bowl (2005)

This is very intricately designed bowl by Jacob Koopee.  It is entitled, “All Roads Lead to Home”.   The bowl is made from the red Hopi clay, and not something that he used very often.  The designs are very tightly painted shard patterns.  There is a similar (but larger) piece at the Museum of Northern Arizona with shard designs.  The setup and placement of each of the squares allowed him to use different imagery for each square within a section.  The sections are divided up by vertical bands of polished red and a horizontal band of polished mauve.  Check out the very thin lines around the rim of the bowl!  Of course, these very intricately painted lines were inspired by the work of Rondina Huma.  However, Jake gave the bowl his own touch with the hands at the bottom.  The hand designs were cut from paper and then he would blow the black bee-weed through a straw to get the little dots!  The bowl was traditionally fired so there are blushes on the surface.  It is signed on the bottom with his hallmark Flute Player and Koopee.  It is in very good condition with no chips, cracks, restoration or repair.   Jake won numerous awards during his career including “Best of Show” in 2005 at both Santa Fe Indian Market and the Heard Museum Market.  I was lucky to have been a pottery judge both years at both events, and it was exciting to see an artist create such dynamic work.

$ 1,800.00
Quotskuyva, Dextra – Jar with Shawl Designs (2000)

Dextra Quostkuyva Nampeyo is certainly one of the most influential Hopi-Tewa potters of the last 50 years. Not only has she taught numerous potters (Steve Lucas, Yvonne Lucas, Les Namingha, Loren Ami, Hisi Nampeyo, to name just a few), but her creative designs and forms changed have dramatically influenced the pottery itself.  This jar is from around 2000 and it has a wide shoulder and a slight neck. The jar is fully polished in a vertical manner to create an “onion skin” appearance.  This is style of polishing often seen in historic pottery.  The jar is then painted with simple textile or shawl designs.  The black band has polished white areas with arrow designs.  The red section is fully polished.  Note how the shapes of the sections are smaller at the base, wide at the shoulder and then smaller at the neck.  It’s always nice to see a piece of her pottery with such strong polished areas.  The jar was traditionally fired which resulted in the striking blushes on the surfaces.  The jar is signed on the bottom in the clay, “Dextra” along with a corn plant to represent the Corn Clan.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 2,800.00
Tahbo, Mark  – Large Wide Shoulder Plainware Jar (2001)

Mark Tahbo is known not just for his painted pottery, but especially for the blushes on his pottery.  This jar is from 2001.  It is one of his largest plainware pieces that I remember him finishing.  The shape of this jar is exceptional, as there is a slight edge below the shoulder where he started it in the puki.  Then it extends out to the shoulder and rounds into the neck.  The piece is vertically polished to create an “onion-skin” appearance.  It was then outdoor fired to create the coloration.  Mark was masterful at firing and always wanted to achieve dramatic blushes on the surface of his pottery.  When they turned out with variations like on this jar, from white to deep orange, he was the most pleased.   Mark told me about his plainware work:

“My first plainware pieces were done years ago. I was sure that these would be well received and gallery owner Charles King took a chance with them. They were an immediate hit!  I don’t do very much plainware for it has to be flawless.  The surface has to be free of all dips or air holes and the shape has to be elegant on its own, as there is no design to distract the eye.  The colors achieved on the pots are truly amazing.  Each piece is fired outdoors using sheep dung and coals.  I love it!”

The jar is signed on the bottom “Mark Tahbo” and a pipe for his “Tobacco Clan”.  It is in excellent condition with no chips, cracks, restoration or repair.  Definitely a classic of his pottery!

$ 2,800.00
Tahbo, Mark  – Lidded Jar with Women and Parrot Men (2001)

Mark Tahbo was renown for his creative pottery shapes, designs, and firings.  He learned to make pottery from his great-grandmother, Grace Chapella.  Each piece reflects the symmetry and thin walls of an excellent potter. The designs are painted using native clay slips and bee-weed (a plant) for the black.  This jar has a refined form with a wide shoulder and slight neck.  Mark hated to make lids for his pottery and made very few.  This is one of the best constructed lids I have seen of his with the clay used to keep it secure on the neck.  While the shape and lid are visually interesting, it’s the design which is the center of this vessel.  The imagery is a series of Hopi-Tewa women and Parrot men.  The women are holding gourds for water while the Parrot men are holding corn pollen.  The idea of the Parrot men was partially inspired by the figures in the Awatovi murals.  However, Mark would often innovate his own creative designs for his pottery.  He said of this:

“For traditional Hopi-Tewa pottery, there are no shortcuts. I feel that the younger people, they aren’t as fortunate as I was. I was born at a time where I was with the elder women who revived Hopi-Tewa pottery and brought it to this level. I learned the old style. From how to get the clay, how to process it, from start to finish. Today, it seems like the storytelling is almost gone. I always tell younger potters that it’s one of the most important foundations we can have as Hopi-Tewa potters. A story. Something to lean back on. If you don’t have that root or that foundation, you have nothing. You are just floating on your own. Soak it all in and listen to all the old stories that you can. There are just no shortcuts. You have to learn the hard way and have patience.” Mark Tahbo, Spoken Through Clay

The eight figures encircle the jar.  They are painted with additional clay slips to give them color and note the little area when he etched designs on the gourds or the hair!  On the bottom of the jar are swirls parrots or birds.  It is almost as if they are the shadow of the figures dancing above.  The jar was traditionally fired which created the blushes on the surface.  It is signed on the bottom, “Mark Tahbo”.  There is a pipe to represent the Tobacco Clan.  It is in excellent good condition with no chips, cracks, restoration or repair.

$ 1,850.00
Tahbo, Mark  – Wide Bowl with Hummingird Design (1998)

Mark Tahbo was renown for his creative pottery shapes, designs, and firings.  He learned to make pottery from his great-grandmother, Grace Chapella.  Each piece reflects the symmetry and thin walls of an excellent potter. The designs are painted using native clay slips and bee-weed (a plant) for the black.  This bowl is wide with a flat top.  Mark would work hard to create this form inspired by the ancient Sikyatki pottery.  I remember when Mark originally made this piece and he said that it wasn’t the classic eagle tail design.  It’s hummingbirds!  The tail feathers are extending down and on the sides with the points are the hummingbirds.  Mark would often innovate his own creative designs for his pottery.  He said of this:

“There is so much in this pottery career that you have to go through. So many different stages. You are constantly learning. I finally came to this point in my life that when I choose a design it has to have a meaning or a story to connect all together. Today on some of my pieces I might even make the story up myself in order to create a new tale of my own.” Mark Tahbo, Spoken Through Clay

The placement of the imagery on this bowl looks classic, but it actually gives the piece a very modern appearance.  The bowl was traditionally fired which created the blushes on the surface.  It is signed on the bottom, “Mark Tahbo”.  There is a pipe to represent the Tobacco Clan.  It is in excellent good condition with no chips, cracks, restoration or repair.

$ 1,400.00
Nampeyo, Iris – Mauve Jar with Corn Design

Iris Nampeyo was famous for her pottery with the corn in relief.  This jar is unusual as it is slipped with a “mauve” colored clay.  It is an interesting story about the color, as Iris found this mauve colored clay in the early 1990’s and began to use it as a slip to polish her pottery.  What’s interesting is that other potters (Mark Tahbo and Jake Koopee) also found some of the mauve colored clay, but they were never able to polish it and have it retain its coloration.  To this day, Iris is the only Hopi-Tewa potter to have found a polish-able form of the mauve clay.  However, Al Qoyawayma, who is Hopi, also has a mauve colored clay which he uses on his work which can be stone polished as well.  For Iris, the result, as in this jar, is an unusual and striking coloration.  While it has a more purple hue, she always called it “mauve”.  Iris began using the corn in relief on the surface of her pottery in the early 1980’s. The corn is symbolic of being part of the Corn Clan.  The surface of the bowl is stone polished and the corn on the front is in applique relief.  The husk of the corn is sharp and the matte area extends around to the base of the jar.  The matte areas are in contrast to the remainder of the piece which is polished.  The opening is asymmetrical which is in keeping with the organic style of the form.  There is a simplicity and elegance in her pottery.  Iris recently passed away but her vessels remain classic.  This piece is signed on the bottom in the clay and it is in excellent condition with no chips, cracks, restoration or repair.

$ 900.00
Quotskuyva, Dextra – Bowl with Migration Pattern (1977)

Dextra Quostkuyva Nampeyo is certainly one of the most influential Hopi-Tewa potters of the last 50 years. Not only has she taught numerous potters (Steve Lucas, Yvonne Lucas, Les Namingha, Loren Ami, Hisi Nampeyo, to name just a few), but her creative designs and forms changed have dramatically influenced the pottery itself.  This is an exceptional early bowl from 1977  It is very thin walled and classic bowl shape. The piece is painted with the migration pattern.  Dextra said of this design:

“This is the one design that was really stressed for us to use, the migration pattern. Nothing but lines, representing the migration of all the people to all the places, including down below and up above. It has seven points at the top and bottom. All the x’s represent life from the bottom and top, telling you the universe is one. The thin lines, I just wanted to paint them real fast and real close to try and include everyone.”  Dextra Quotskuyva Nampeyo, Spoken Through Clay

The bowl has deep red clay near the rim and the remainder is painted with bee-weed (black).  The lines are very thin and close, as would be expected from her pottery!  This bowl is signed on the bottom, “Dextra Quotskuyva”.  It is in excellent condition with no chips, cracks, restoration or repair. Simple, elegant and a classic!

$ 3,600.00
Qoyawayma, Al – Hano Mana and Maori Design Wish Pot (1996)

Al Qoyawayma is known for innovative pottery.  This jar is a shape which he calls his “wish pot”.  It is a distinctive form and one that was inspired by his aunt Elizabeth White.  She made similar shapes and they would be designed with corn or other motifs.  The designs on Al’s pottery area ll in repousse, which is to say that they are pushed out from the inside, not applied to the surface!  This jar is from 1996 and is part of series he made inspired by Maori designs from New Zealand.  In  1991 he was a Fulbright Fellow with the Maori and South Pacific Arts/Te Waka Toi.  This jar has a Hano Mana katsina on the left and a Maori tribal symbol on the right.  What is amazing when you look at the jar from the side, the sharpness of the edge on the tribal design.  While the figurative work is matte, the remainder of the jar is stone polished to create a shine.  The jar is signed on the bottom.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 2,000.00
Huma, Rondina – Bowl with Pottery Shard Designs (2000)

Rondina Huma has certainly been one of the most influential Hopi potters working today.  Since her two-time “Best of Show” award at Santa Fe Indian Market, her tight style and intricately painted pottery has changed the face of contemporary Hopi pottery.   Each piece is coil built, fully stone polished and painted with native clays and bee-weed (black), and native fired.  This bowl is fully designed and painted.  Rondina said of this style of her pottery:

“This style is when I first started designing from the bottom to the top. I would get a bunch of sherds and I would put them together and see what pattern they created. Then I would take back the sherds to where I found them. I also polish the inside of all my pottery. People ask how I do it and how I can get so deep inside. I just think it makes a bowl look nicer if it is fully polished. The burgundy-colored [areas] are the water migration. It’s like a spring with the water coming up out of the earth and soaking back into the ground. It’s a full cycle, so the square has to be complete. I do most of the painting freehand. When I look at a pot, I already know what design I’m going to put on there. I can visualize what I’m going to paint, and it is never the same. I don’t really use a pencil—I’m afraid it won’t come off. I try to just measure with my hand to space out the designs.”  Rondina Huma, Spoken Through Clay

The bowl is very tightly painted with a variety of designs in each of the small squares.  They are all derived from historic Hopi-Tewa and Sikyatki pottery.  The rim of the bowl is complex with a variety of design and no patter repeated!   The tight patterns have become more and more intricate and detailed in each passing year.  Amazingly, the inside of the bowl is also fully polished!   It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.

$ 5,000.00
Loloma, Otellie – Jar with Women Faces and Fetishes (1965)

This is an extraordinary and unique jar by Otellie Pasiyava Loloma (1921-1993).  So, who is Otellie? She was from Second Mesa at Hopi.  She married Charles Loloma in 1942 and began studying ceramics in 1947.  In 1959 Otellie Loloma became one of the first instructors for the Southwestern Indian Art Project at the University of Arizona at Tucson. That project led in 1962 to the establishment of the Institute of American Indian Arts (IAIA) in Santa Fe, where Loloma was again one of the first faculty members hired. She instructed students in ceramics.  Otellie told fellow artist Jaune Quick-to-See Smith, “No one Hopi would probably recognize that they are Hopi figures because I have done it all from my own imagination.”  At IAIA she taught numerous present-day potters, including Preston Duwyenie, Jacquie Stevens, Dan Namingha, Robert Tenorio and Christine McHorse!  She is certainly an artist who had an extraordinary impact on the world of contemporary Native pottery!

This large jar is incised with women’s faces around the side.  Each one seems to meld into the next in a Picasso-esque style.  The rim has stone fetishes tied to it.  The jar was made in 1965 and has two ribbons, including an “Honorable Mention’ from the 1965 Scottsdale National and “Special Award” from the 1965 Gallup Intertribal Ceremonials.  Considering how most of the pottery created in the 1960’s was very traditional, this jar would defintley have stood out!  Consider as well, that it was NOT until 1968 that Tony Da created his first sgraffito pottery and entered it at Gallup Ceremonials.  The jar is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Otellie Loloma”.

$ 2,800.00
Loloma, Charles – Stoneware Vertical Line Jar

Charles Loloma is a name synonymous with innovative Hopi jewelry. He began his jewelry career with a brief period of time also making pottery in the 1950’s.  The pieces were made form earthenware and were painted and glazed.  By the 1960’s his jewelry was already achieving some fame and he discontinued making pottery.  His clay pieces are relatively rare but fascinating in terms of form, design and glaze. In many ways they mirror the innovative style of his jewelry relative to the other work being created at Hopi at the same time.  This jar is made from stoneware and it is striated in designs.  This is a style which he often used in his pottery, keeping them simple in form and design.  In many ways, this matched the underlying themes to his jewelry.  This is a classic piece of his pottery! It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom into the clay, “Loloma”.

$ 1,200.00
Loloma, Charles – Hummingbird Bowl (1950’s)

Charles Loloma is a name synonymous with innovative Hopi jewelry. He began his jewelry career with a brief period of time also making pottery in the 1950’s.  The pieces were made form earthenware and were painted and glazed.  By the 1960’s his jewelry was already achieving some fame and he discontinued making pottery.  His clay pieces are relatively rare but fascinating in terms of form, design and glaze. In many ways they mirror the innovative style of his jewelry relative to the other work being created at Hopi at the same time.  This bowl is glazed on the outside with a series of hummingbirds.  The rim and the inside are fully glazed to a shiny brown coloration.  This is certainly a striking piece of his pottery! It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom into the clay, “Loloma”.

$ 1,800.00
Qoyawayma, Al – Slipper Jar with Jaguar and Bird Men

Al Qoyawayma calls the shape of this jar his “Slipper” pots.  He explains; “It is a shape that is ubiquitous form in pre-historic pottery in areas from Hopi south to Chile.  The figures on the slipper bowls are formed from actual Teotihuacán (Mexico) pottery stamps.  The stamps are genuine with an estimated age of 0-200 AD. The animal representation may be a jaguar or perhaps other smaller animal.  The other 3 figure relief characters I might guess as “bird men”.  I give these stamps and figures respect because of their antiquity. Also, Teotihuacan was very cosmopolitan city and pyramid complex, and is said to have many cultural enclaves, some possibly with ancestors to the Hopi.  Some linguists believe that the Teotihuacán’s spoke Uto-Aztecan, the root language of Hopi.

The slipper pot (or “shoe pots”) are an ancient ubiquitous phenomena found in Chile with the northern most extent at Hopi (and that is interesting).  Even today the shoe pots are beings made in Mexico. There are similar Hopi forms, many with a curved conical “nose” and were used for cooking…so sometimes the pots are referred to as “culinary shoe pots” (archaeologically speaking). My aunt Polingaysi (Elizabeth White) gave me a full explanation of the construction and use of these shoe pots in the 1970’s. Interestingly the pots showed up in an excavation at the village of Sikyatki by Walter Fewkes in 1895. Sikyatki likely occupied by Keres speaking (Laguna and Acoma) group who are the Coyote Clan. My ancestry is of the Coyote Clan.”

$ 5,800.00
Nampeyo, James Garcia – Wide Bowl with Eagle Tail Design

James Garcia Nampeyo is a son of Leah Garcia Nampeyo, a grandson of Fannie Nampeyo and a great-grandson of Nampeyo of Hano.  This is a wide and very flat shoulder jar by James.  This wide, flat shape is one which is inspired by the historic Siyatki pottery from the area.  This bowl is fully stone polished and painted with the classic eagle tail design.  The neck of the bowl is polished a deep red.  The eagle tails extend down over the side of the bowl.  They are painted with a deep red clay slip along with bee-weed (black).  The bowl is traditionally fired to give it the coloration with some slight blushes.  It is signed on the bottom, “James G. Nampeyo”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 475.00
Nampeyo, Tonita – Bowl with Eagle Tail Design

Tonita Nampeyo is a daughter of Fannie Nampeyo and a granddaughter of Nampeyo of Hano.  She is known for her traditional pottery using natural clay slips and bee-weed for the black.  This bowl wide with sloping sides.  The top is painted with a red clay slip.  The sides are painted with an eagle tail design which extends towards the base.  The central square section of the design is highlighted with a red clay slip.  This is a design which was revived by Nampeyo of Hano from the Sikyatki pottery of the 1600’s.  The piece is traditionally fired for the striking color in the blushes.  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom, “Tonita Nampeyo”. The corn plant signifies that she is part of the Corn Clan.

$ 550.00
Nampeyo, Tonita – Migration Pattern Jar

Tonita Nampeyo is a daughter of Fannie Nampeyo and a granddaughter of Nampeyo of Hano.  She is known for her traditional pottery using natural clay slips and bee-weed for the black.  This jar is an elegant shape with a round shoulder and a slight neck.    The design on the jar called the “Migration pattern” and it is one that was revived by Nampeyo of Hano in the late 1800’s from ancient Sikyatki pottery.  The design is meant to tell the story of the migration of people from the third to the fourth world in Hopi legends as well as the migration of people around the world.  This jar is delicately painted and note the exceptional thin lines!  It is traditionally fired for the amazing color.  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom.

$ 450.00
Namingha, Les – Hopi Hummingbirds Jar

This is a striking painted jar by Les Namingha.  The jar is one of Les’s iconic shapes with a round body and an elongated neck. The background of the jar has been painted with large swaths of color which Les has blended one into the next.  The green, red. blue and brown all create a subtle mosaic flow of coloration meant to represent the colorations on a hummingbird.  On the surface of the jar are painted two large Hopi style hummingbirds.  Each large bird is designed as if they are in frantic motion.  They are further detailed with additional Hopi-Tewa designs.  Note the use of the classic red and burgundy colors in the designs.  The “yellow” of the birds represents the “yellow-ware” of the classic Hopi-Tewa pottery.  The coloration works well on this jar on various levels.  The jar is signed on the bottom.

$ 2,000.00
Namingha, Les – Mesa Birds at Sunset

This is an intricately painted jar by Les Namingha.  The jar is one of Les’s iconic shapes with a round body and an elongated neck. The background of the jar has striated bands of color.  Les has combined the color with mica to give the piece added dimension and texture.  The sections of them are reflective of the Hopi mesas and their colorations at sunset. There are give Hopi-Tewa birds which are painted onto the surface of the jar.  Each bird is a different color and they are detailed with Hopi-Tewa designs.  Each bird is designed as if they are reflecting the colors of the setting sun. Striking! The jar is signed on the bottom.

$ 2,000.00
Clashin, Debbie – 18″ “New Beginning”  Jar with Grandmother Katsina and Dragonflies

Debbie Clashin has become one of the exciting leaders in Hopi-Tewa pottery over the past several years.  She is known for her large-sized traditional fired vessels. This very large jar is entitled, “New Beginning”.  Debbie said that the designs symbolize the arrival of the Grandmother Katsina in the winter and the beginning of the Hopi new year in the cycle of the katsinas.  She has painted the Grandmother Katsina as a cradle doll on the sides of the jar.

“The Grandmother Katsina (Hahay-i wu-uti) shares with Crow Mother the title of Mother of all the Katsinam. Her husband is said to be Eototo and her children are the monsters, the Nataskas. She appears during the Bean Dance (Powamuya), the Serpent Ceremony and at Home Going (Niman). She speaks in a high voice and is very talkative. Flat carvings of the Grandmother Katsina are given to Hopi infants. As a young girl matures, she receives larger, more detailed forms of the Grandmother Katsina.”

This large jar is a wide shape and a slightly turned out neck.  The entire piece is stone polished and then it is painted with bee-weed and natural clay slips.  Separating the three katsina figures are large Hopi dragonflies which have dark and light red wings!  The jar is traditionally fired with blushes across the surface of the jar and a few little darker areas.   It is signed on the bottom with her name and a pipe for his “Tobacco Clan”.  Quite an exceptional jar!

$ 6,500.00
Duwyenie, Preston – White Plate with Silver Shard

This plate by Preston Duwyenie is made from white Hopi clay found near Third Mesa at Hopi.  The entire plate is stone polished on the front and back.  He has inset a single piece of silver, which looks much a pottery shard resting in the sand.  The silver piece is from cast from cuttlefish bone.  The textured surface of the silver then has his famous “shifting sand” style of design.   The plate is signed on the back in the clay with Preston’s hallmark which is a woman carrying a child, which comes from 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.

$ 800.00
Namingha, Les – “Clangere” Jar

This is an intricately painted jar by Les Namingha.  The piece is entitled, “Clangere”.  While much of Les’s pottery is inspired by Hopi and Zuni imagery, there are often those pieces inspired by music.  Les says of this jar:

“Clangere” Latin.  Clang(ing). The design represents sound and reverberations.”

The shape of the jar is one of his classic forms with a wide body and elongated neck. The piece is painted with strong geometric patterns, which certainly do make one think of music and sound.  The small sections of pointilism are a style which he often uses on his pottery.  The design extends downward to the vase and up to the neck.  The colors are vivid but easily connect to the concept of this piece.   It is signed on the bottom.

$ 2,500.00
Koopee, Jacob – Wide Jar with Pottery Shard Designs (2001)

This is an amazing large jar bowl by Jacob Koopee.  Jake was known for his large pieces and his variations on traditional Hopi-Tewa designs.  This jar was one which I originally purchased from Jake for the gallery and sold and it has come back to the market.  The design is distinctive with sections of pottery shards.  The area around each incised around the design, as if the shard are lying on the surface.  Each shard is different, from a migration pattern to snow and black-on-red designs.  There are four prints on the top of the jar. The remainder is “splattered” with bee-weed (the black). I remember Jake saying that he wanted it to look like the shards were sitting in sand.  The jar is a striking example of his skill as both potter and painter.  It is traditionally fired and painted with bee weed (black) and natural clay slips.  Jake won numerous awards during his career including “Best of Show” in 2005 at both Santa Fe Indian Market and the Heard Museum Market.  I was lucky to have been a pottery judge both years at both events, and it was exciting to see an artist create such dynamic work.

$ 4,000.00
Navasie, Joy “Frogwoman” – Water Jar with Hopi Birds (1980’s)

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
Namingha, Les – “Hopi-Zuni Modern” Large Jar

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
Navasie, Joy “Frogwoman” – Large Jar with Hopi Birds (1980’s)

This large jar by Joy “Frog Woman” Navasie is a classic shape for her pottery.  It has a very high shoulder and a short neck. The high shoulder allows for all the design work to be seen.  There are four panels of designs and each opposing panel has a similar pattern.  There are classic Hopi bird, cloud and rain designs.  The jar is slipped with the white clay and then painted with a red clay slips and bee-weed (black).   The red is a deeper red clay she began to use in the 1980’s.  The jar is very finely painted with delicate lines.   The jar is signed on the bottom with her Frog Hallmark.  It is in excellent condition with no chips, cracks, restoration or repair.  There is one small area of fugitive black, which can be seen in the photos.

$ 1,500.00
Nampeyo, Elva Tewaguna – Bowl with Eagle Tail Design (1971, Fred Harvey Tag)

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
Nampeyo, Adelle L. –  Jar with Migration Pattern

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
Duwyenie, Preston – Black Micaceous Seedpot with Silver Crescent Moon Lid

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
Duwyenie, Preston – Black Mica Jar with 2 Silver Insets

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
Duwyenie, Preston – Black Micaceous Seedpot with Silver Corn Plant Lid

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
Lucas, Steve – Large Jar with Katsina and Rain Designs (1995)

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
Quotskuyva, Dextra – Bowl with Cloud and  Rain Design (1970’s)

Dextra Quostkuyva Nampeyo is certainly one of the most influential Hopi-Tewa potters of the last 50 years. Not only has she taught numerous potters (Steve Lucas, Yvonne Lucas, Les Namingha, Loren Ami, Hisi Nampeyo, to name just a few), but her creative designs and forms changed have dramatically influenced the pottery itself.  This is an earlier bowl from the 1970’s.  It is thinly walled and a simple design.  The bowl is painted with a cloud pattern at the bottom and linear rain and lightning designs.  This bowl is signed on the bottom, “Dextra Quotskuyva (Nampeyo)”.  It is in excellent condition with no chips, cracks, restoration or repair.  A fascinating jar with an equally interesting design!

$ 1,800.00
Nampeyo, Tonita – Jar with Migration Pattern

Tonita Nampeyo is a daughter of Fannie Nampeyo and a granddaughter of Nampeyo of Hano.  She is known for her traditional pottery using natural clay slips and bee-weed for the black.  This large jar is an elegant shape with a low shoulder and a slightly turned out rim.  The design on the jar called the “Migration pattern” and it is one that was revived by Nampeyo of Hano in the late 1800’s from ancient Sikyatki pottery.  The design is meant to tell the story of the migration of people from the third to the fourth world in Hopi legends as well as the migration of people around the world.  This jar is delicately painted and note the exceptional thin lines!  It is traditionally fired for the amazing color.  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom.

$ 650.00
Naha, Rainy – Awatovi Star & Solstice Design

This is a complex jar by Rainy Naha.  She learned to make pottery from her mother, Helen “Featherwoman” Naha.  Rainy continues is a similar style using a white clay slip as the foundation for her work.  This jar is a classic Sikyatki style with a wide sloping shoulder.  The jar is slipped with a white clay and then painted with natural clay slips and bee-weed (black).  The design on the jar combines two of Rainy’s most famous patterns. There is the Awatovi Star in at the very top of the bowl.  Awatovi was a village near Hopi which created black-on-white pottery and it was revived by Rainy’s mother. The spikes of the star are the hatchwork designs in black-on-white.  Note to the side of them are four triangles with different colors, representing the four seasons.  Separating the spikes of the star are four of the solstice panels with the four phases of the moon.  Around the shoulder is a band of Hopi-Tewa designs including an eternity design, snow rain, and colors representing the four directions.  Some of the colors are polished and some are left matte, but there are over six different colors used on this piece!  The painting on the surface is wonderfully intricate and varied.  The jar is signed on the bottom with her name and feather hallmark.

$ 1,000.00
Naha, Rainy – Jar with Ten Interlocking Parrots

The “interlocking” or “tumbling” parrots is a design originated by Rainy Naha. This piece has a very round shoulder and slight neck.  This shape allows both the top and bottom parrots to be easily seen. The bowl is fully polished with a white clay slip and then there are five sections of interlocking birds for a total of ten.  Each bird is painted with various Hopi-Tewa designs and then additional clay slips for the color.  Note the variety of designs in the birds with small hatchwork patterns and even four directional color sets.  Rainy uses bee-weed (black) and natural clay slips for her colors. The jar is traditionally fired.  Rainy learned to make pottery from her mother, Helen “Featherwoman” Naha.  The bowl is signed on the bottom with the feather hallmark and “Rainy”.  Rainy has won numerous awards for her pottery at Santa Fe Indian Market and the Heard Market and her work continues to be a creative inspiration in Hopi-Tewa pottery.

$ 1,600.00
Naha, Rainy – Jar with Awatovi Mural Parrot and Hero Twin Figures

Rainy Naha is well known for her creative and intricately designed pottery.  This jar is a new design for her and it is inspired by the Awatovi murals.   Awatovi was a Hopi village from around 1300 to 1700.  In the 1930’s J. O. Brew of the Peabody Museum conducted extensive archeological excavations at Awatovi.  Most of the murals were actually removed and are now at the Peabody Museum.  The last image is one of the actual murals.  Rainy Naha has depicted two of the katsina figures on the murals on this jar.  One side has one of the Hero Twins with the rainbow over the back of the figure. The other side has a figure holding a parrot with prayer sticks and another parrot off to the side.  Both are very intricate and complex designed pieces!   They are painted much as depicted in the murals and some of her own stylized designs.  They are intricately painted and all the various colors are from natural clay slips.  Separating the two figures are bands of Hopi-Tewa designs.  Each of the squares has a different design from classic Hopi-Tewa pottery.  So why the Awatovi designs? Rainy’s mother, Helen “Feather Woman” Naha, lived on a ranch in the Jeddito Valley, below the Awatovi Ruins and Helen was the first revivalist of their black and white pottery.  Rainy has continued this revival with her innovative designs.  The jar is painted with vairous clay slips along with bee-weed, which is the black.  It was traditionally fired and it is signed on the bottom with a feather and “Rainy”.  Rainy has won numerous awards for her pottery at Santa Fe Indian Market and the Heard Market and her work continues to be a creative inspiration in Hopi-Tewa pottery.

$ 2,100.00
Naha, Rainy – Jar with Awatovi Star Design

Rainy Naha is known for her delicately painted Hopi-Tewa pottery.  This bowl is one of her classic shapes with a wide shoulder and just a slight neck.  The design is the “Awatovi Star” pattern, which was revived by her mother, Helen “Featherwoman” Naha.  Awatovi is one of the ruins near Hopi where a white slipped style of pottery was made.  It is a fascinating place as it was where Coronado made contact with the Hopi in 1540.  During the excavations in the 1930’s the whiteware pottery was rediscovered.  It was the imagery from his work which inspired much of Helen’s early pottery, as opposed to the more classic Sikyatki inspired pottery of Nampeyo of Hano.  This bowl has the “Awatovi Star” pattern painted on the top and the bottom.  Around the shoulder is her “eternity band” design.  The bowl has been traditionally fired and there is some variation to the color with the fired cloud, which certainly adds to the beauty of the piece.  It is tightly painted using bee-weed (black) on a white kaolin clay surface. There is a balance of the design on the surface as the piece is turned which is simply beautiful!  It is signed on the bottom with a feather and her name.

$ 975.00
Naha, Rainy – Jar with Awatovi Mural Katsina Figures

Rainy Naha is well known for her creative and intricately designed pottery.  This jar is a new design for her and it is inspired by the Awatovi murals.   Awatovi was a Hopi village from around 1300 to 1700.  In the 1930’s J. O. Brew of the Peabody Museum conducted extensive archeological excavations at Awatovi.  Most of the murals were actually removed and are now at the Peabody Museum.  The last image is one of the actual murals.  Rainy Naha has depicted two of the katsina figures on the murals on this jar.  One side has an Aholi katsina, while the other one Rainy said she was uncertain who it depicted. They are painted much as depicted in the murals and some of her own stylized designs.  They are intricately painted and all the various colors are from natural clay slips.  Separating the two figures are a band of Hopi-Tewa designs.  Each of the squares has a different design from classic Hopi-Tewa pottery.  So why the Awatovi designs? Rainy’s mother, Helen “Feather Woman” Naha, lived on a ranch in the Jeddito Valley, below the Awatovi Ruins and Helen was the first revivalist of their black and white pottery.  Rainy has continued this revival with her innovative designs.  The jar is painted with various clay slips along with bee-weed, which is black.  It was traditionally fired and it is signed on the bottom with a feather and “Rainy”.  Rainy has won numerous awards for her pottery at Santa Fe Indian Market and the Heard Market and her work continues to be a creative inspiration in Hopi-Tewa pottery.

$ 2,000.00
Clashin, Debbie – Jar with Birds and Bird Tails

Debbie Clashin has become one of the exciting leaders in Hopi-Tewa pottery over the past several years.  She is known for her large-sized traditional fired vessels.  This jar is a classic shape with a wide shape and short neck. The design has two birds circling the jar.  Separating them are two bird tails.  The bodies of the birds are painted with a burgundy red clay slip and a polished red.  The black is bee-weed, a plant.  The lines of the jar are finely painted and there is a striking contrast to the matte and polished surfaces.  The jar is traditionally fired with blushes across the surface of the piece.   It is signed on the bottom with her name and a pipe for his “Tobacco Clan”.

$ 1,100.00
Clashin, Debbie – Large Jar with Eagle Tail Design

Debbie Clashin has become one of the exciting leaders in Hopi-Tewa pottery over the past several years.  She is known for her large-sized traditional fired vessels.  This large jar is a wide shape and a slightly turned out neck.  The entire piece is stone polished and then it is painted with bee-weed and natural clay slips.  The neck is painted with a burgundy red clay slip.  Extending downward from the neck is an eagle tail design.  The lines are tightly painted and perfectly fit the shape of the jar.  This is a classic Hopi-Tewa design revived by Nampeyo of Hano.  The delicate line and the dark color of the red around the jar make it a very striking piece!  The jar is traditionally fired with blushes across the surface of the piece.   It is signed on the bottom with her name and a pipe for his “Tobacco Clan”.

$ 2,400.00
Nampeyo, Adelle L. –  Bowl with Migration & Mesa Designs

Adelle Nampeyo is known for her stylistic use of traditional Hopi designs.  This bowl 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 thinly painted lines.  Below the shoulder is a double band of black and red, representing the mesas.  The designs are 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.

$ 125.00
White, Elizabeth – Large Red Jar with Bean Dance Figures (1970’s)

Elizabeth White created distinctive pottery using the various colors of Hopi clay. She originated the use of the ear of corn as a design in repousse (pushed out from the inside) on her pottery. Her pottery is all signed in the clay with her Hopi name Polingaysi, which means, “butterfly sitting among the flowers in the breeze”.  This jar is one of her classic narrow jars with two ears of corn.  The coloration of the clay is the traditional red clay (well, reddish-orange), which is used in Hopi pottery.  The coloration is striking on this larger jar.   The entire piece is stone polished in a vertical manner and the figures are matte.  There are two figures, which are taken from an Awatovi mural design.  They are part of the winter “Bean Ceremony” when they grow bean sprouts in the kivas. The figures are pushed out from the inside of the jar, not applique on top of the surface.  The jar is in good condition and a few rough area in the matte.  Interestingly, Polingaysi was a school teacher and taught at Hopi and  Navajo schools for almost 40 years.  On retirement from teaching, she became an artist, a poet, and a philosopher.  Her career as a potter was begun late in life, after her retirement, so there is very little of her work available.  This is certainly one of the largest pieces we have had of her work in the gallery.  The last photo is one of Elizabeth White working on this piece! Definitely check out the work of her nephew, Al Qoyawayma for comparison and the evolution of this style!

$ 5,500.00
Naha, Helen “Feather Woman” – Awatovi Star Design Bowl (1978)

This smaller bowl by Helen Naha, also known as “Feather Woman”, has her iconic Awatovi Star design.  Helen created distinctive pottery using the white clay slip throughout her career.  The designs were all painted using bee-weed (black) and natural clay slips.  She learned to make pottery from her mother-in-law, Paqua Naha yet had her own style in form, imagery, and composition.  Helen is known for her revival of the pre-historic Awatovi pottery.   Awatovi is one of the ruins near Hopi where a white slipped style of pottery was made.  It is a fascinating place as it was where Coronado made contact with the Hopi in 1540.  During the excavations in the 1930’s the whiteware pottery was rediscovered.  It was the imagery from his work which inspired much of Helen’s early pottery, as opposed the more classic Sikyatki inspired pottery of Nampeyo.  This bowl has the “Awatovi Star” pattern painted on the top and the bottom.  The bowl has a larger opening and the entire interior is also fully polished!  Around the shoulder is an eternity band.  The bowl was traditionally fired and there is some variation to the color with the fired cloud, which certainly adds to the beauty of the piece.  The bowl is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom with her hallmark feather.  It was originally purchased in 1978.

$ 1,000.00
White, Elizabeth – Red Clay Jar with Double Corn (1981)

Elizabeth White created distinctive pottery using the various colors of Hopi clay. She originated the use of the ear of corn as a design in repousse (pushed out from the inside) on her pottery. Her pottery is all signed in the clay with her Hopi name Polingaysi, which means, “butterfly sitting among the flowers in the breeze”.  This jar is one of her classic narrow jars with two ears of corn.  The coloration of the clay is the traditional red clay (well, reddish-orange), which is used in Hopi pottery.  The coloration is striking on this larger jar.   The entire piece is stone polished to a high shine except for the two ears of corn which are unpolished matte.  The narrow shape is very much like the jars that her nephew Al Qoyawayma makes which he calls “wish pots”.  He tells the story that the name comes from Elizabeth as she said people would look at the pieces and say, “I wish I could have one”.  This jar is in excellent condition with no chips, cracks, restoration or repair.  Interestingly, Polingaysi was a school teacher and taught at Hopi and  Navajo schools for almost 40 years.  On retirement from teaching, she became an artist, a poet, and a philosopher.  Her career as a potter was begun late in life, after her retirement, so there is very little of her work available.  This jar was originally purchased in 1981.  It is a classic of her work and an important addition to any collection!

$ 1,800.00
Quotskuyva, Dextra – Bowl with Red Tail Hawk Design

This is a traditional bowl by Dextra Quotskuyva.  She is certainly one of the great innovators among Hopi-Tewa potters.  Her work began with more classic imagery and then has evolved over the years to more unique and stylized designs. This piece is from the mid 1980’s, which can be see in the color of the red clay, as well as her signature.  The bowl has a series of Red Tail hawk tail feathers painted in four sections.  Separating each of them is a triangular design, which represents the back and wings of the birds.  The red areas are stone polished and the black is painted with bee-weed (a plant). The bowl is traditionally fired so that there are blushes and color variations around the surface.  It is signed on the bottom with bee-weed, “Detra” with an ear of corn representing the Corn Clan.   The jar is in very good condition with no chips, cracks, restoration or repair.  Dextra has been the subject of a retrospective of her pottery at the Museum of Indian Art and Culture called, “Painted Perfection“.

$ 5,400.00
Naha, Helen “Feather Woman – Wide Jar with Bat Wing Design (1970’s)

Helen Naha created distinctive pottery using the white kaolin clay slip throughout her career.  The designs were all painted using bee-weed (black) and natural clay slips.  She learned to make pottery from her mother-in-law, Paqua Naha yet had her own style in form, imagery, and composition. This jar has a wide shoulder and a slight neck.  It is a shape which Helen frequently used on her pottery. The sides are painted with a batwing design which extends down below the shoulder.  Helen would often make the mouth of the vessel large enough so she could get her hand in to polished the inside. The interior of this jar is fully polished.  The bottom has her hallmark “feather”.   It is in very good condition with no chips, cracks, restoration or repair.

$ 975.00
Naha, Helen “Feather Woman – Bowl with Cloud Designs (1978)

Helen Naha created distinctive pottery using the white kaolin clay slip throughout her career.  The designs were all painted using bee-weed (black) and natural clay slips.  She learned to make pottery from her mother-in-law, Paqua Naha yet had her own style in form, imagery, and composition. This bowl was originally purchased in 1978.  It is painted with a cloud pattern around the body of the piece.  Above the clouds and rain is a red clay slip and below are additional colors.  There is a separate band of “stippled” black, which adds another “color” to the bowl.  As with much of Helen’s pottery, the inside is fully polished.  She would try to make the mouth of the vessel large enough so she could get her hand inside to polished the inside.  The bottom has her hallmark “feather”.   It is in excellent condition with no chips, cracks, restoration or repair.

$ 625.00
Clashin, Debbie – Storage Jar with Awatovi Birds & Koshari Clowns

This is an extraordinary large storage jar by Debbie Clashin.  She has become one of the exciting leaders in Hopi-Tewa pottery over the past several years.  She is known for her large-sized traditional fired vessels.  This large jar has a wide shoulder but is also taller in height.  The entire piece is stone polished and then it is painted with bee-weed and natural clay slips.  The top half of the jar is painted with two large birds, bird tails and panels with sun and mesa designs. The bottom half has four Koshari clowns as the design.  They are stylized but you it is easy to the see the classic figure in the center.  The design is one which she has modified from the work of her cousin, Mark Tahbo.  Separating the clowns are small dragonflies.  It is exciting to see a Hopi-Tewa potter bringing back this classic shape which few potters make today!  The jar is traditionally fired with blushes across the surface of the jar and a few little darker areas.   It is signed on the bottom with her name and a pipe for his “Tobacco Clan”.

$ 4,400.00
Duwyenie, Preston – White Shifting Sands Plate with Silver Inset

This small plate by Preston Duwyenie is made from white Hopi clay found near Third Mesa at Hopi.  The back of the plate is stone polished and the front is carved to have the appearance of “shifting sand”.  The sand design has an organic and natural flow to each ribbon of sand, giving the appearance of them flowing across the surface.  On this plate, each of the bands is very tightly carved against the next, which creates a very striking appearance.  I photographed the plate with a quarter turn, which shows off how each line of sand has a different shadow as the piece is turned.  The center of the plate has a single inset piece of silver which is cast from cuttlefish bone.  The textured surface of the silver is similar to that of the surface of the plate.  The plate is signed on the back in the clay with Preston’s hallmark which is a woman carrying a child, which comes from 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.

$ 525.00
Clashin, Debbie – Large Jar with Dragonflies and Cloud Spirals

This is a large jar by Debbie Clashin.  It is inspired by the classic Sikyatki style pottery with a wide shoulder and a slight neck.  Around the jar are dragonfly designs.  Dragonflies are symbolic prayer messengers.  Note the extension downward of the cloud designs in two sections. They rise up to the painted band around the neck which has more cloud and rain motifs.  The jar is painted with bee-weed and natural clay slips.  It was traditionally fired with blushes across the surface of the jar.  Debbie is a cousin of noted potter Mark Tahbo and a descendant of Grace Chapella.  Debbie has quickly become well known for her large-sized traditional Hopi-Tewa pottery.   It is signed on the bottom with her name and a pipe for his “Tobacco Clan”.

$ 2,000.00
Qoyawayma, Al – “Modern Migration” Polychrome Lidded Jar

This large jar by Al Qoyawayma is stunning in his use of numerous clay slips, various levels of carving and his own innovative shape.  Al says his inspiration for his polychrome pieces is to imagine how Hopi Sikyatki pottery might have evolved without western contact. This jar has two sharp shoulders and a central band which is fully carved.  The band is designed with corn, various birds, and prayer feather patterns.  Each is slipped and polished with various clays!  The top has a stylized version inspired by the Migration pattern.  Here there are two sections which are like the historic migration design and they spiral into a larger red parrot and a green eagle. The center of the jar (which is the lid), has a star pattern and then a spiral for the galaxy.  Note the various layers of carving along with all the different colors of clay.  The amount of time to design, carve and polish this jar is extraordinary!  There are over five different clay slips used on this piece!  This piece is a striking balance of form, sculpture, color, and design!  It is signed on the bottom in the clay.

$ 17,500.00
Lucas, Steve – Large Jar with Bird Tail Designs

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 a stunning piece of his pottery in form and design. The jar has a flat side and it extends up to the neck.  The side is fully painted with a variety of Hopi star and cloud designs.  Along the shoulder, the jar has four sections of eagle tail designs.  The tails are slipped in red and brown. Separating them are larger panels with additional bird tail designs.  These incorporate a green clay slip in addition to the red.  The jar has both an ancient and modern appearance to the design. The tight precision painting gives the jar an impressive appearance.  The piece was traditionally fired and the last photo shows the jar when it came out of the firing!  The jar has a dynamic coloration from the firing.  It is signed on the bottom in the clay, “S. Lucas” and a mudhead (koyemsi) and an ear of corn (corn clan).  Spectacular!

$ 5,000.00
Qoyawayma, Al – Harmony Jar with Flowers and Figure

Al Qoyawayma calls the shape of this jar his “Harmony Shape”.  It has an elongated neck and round body.  It is carved on both sides.  One side has flower,s the other a figure.  The carved areas have additional clay slips.  It is simple and elegant, definitely harmonious!   All the various colors are derived from native clays.   It is a classic piece with a striking balance of designs and form.

$ 4,500.00
Qoyawayma, Al – Large Wide Jar with Dancers and Jaguar

Al Qoyawayma often creates vessels based on ancient forms.  This large jar is based on the Gila River forms which were wide and had a low, sharp shoulder.  On this jar, it is fully polished and Al has created a scene with figurative dancers which are pushed out from the inside in the clay. The jar has a procession of dancers encircling the piece.  Each is matte while the area around is polished. The last figure is a small boy and as the jar is turned, he is being chased by a jaguar!  The form and design are both humorous and charming on this piece.  It is signed on the bottom.

$ 14,000.00
Sale!
Maho, Garrett –  Bowl with Four Tumbling Birds

Garrett Maho is known for his traditional and innovative Hopi-Tewa pottery.  This bowl has four birds in a swirling or tumbling motion around the top of the piece.  They are painted with a deep red clay slip as well as the black which is painted with bee-weed (a plant).  The bowl has been traditionally fired so that there are blushes on the surface.  The piece is signed on the bottom in the clay.

$ 975.00 $ 800.00
Naha, Helen “Feather Woman” – Large Awatovi Star Design Jar

This is a classic wide shoulder jar by Helen Naha, also known as “Feather Woman”.  She created distinctive pottery using the white clay slip throughout her career.  The designs were all painted using bee-weed (black) and natural clay slips.  She learned to make pottery from her mother-in-law, Paqua Naha yet had her own style in form, imagery, and composition.  Helen is known for her revival of the pre-historic Awatovi pottery.   Awatovi is one of the ruins near Hopi where a white slipped style of pottery was made.  It is a fascinating place as it was where Coronado made contact with the Hopi in 1540.  During the excavations in the 1930’s the whiteware pottery was rediscovered.  It was the imagery from his work which inspired much of Helen’s early pottery, as opposed the more classic Sikyatki inspired pottery of Nampeyo.  This jar has the “Awatovi Star” pattern painted on the top and the bottom.  The shape of the jar has a more open mouth, which reveals more of the painted imagery when viewing from the side.  Just above the shoulder is her “eternity band” design.  The inside of the bowl is also polished, which Helen tried to do on most of her pottery when she could reach her hand inside.  The jar has been traditionally fired and there is some variation to the color with the fired cloud, which certainly adds to the beauty of the piece.  The jar is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom with her hallmark feather.

$ 2,800.00
Clashin, Debbie – Dragonfly Plate

Debbie Clashin has become one of the exciting leaders in Hopi-Tewa pottery over the past several years.  She is known for her large-sized traditional fired vessels.  This plate is fully polished.  It is painted on the front with a larger dragonfly, several small dragonflies and a series of “dragonfly wings” extending across the surface.  It is a wonderful use of design and the space.  The plate is painted with bee-weed and a red clay slip and traditionally fired.  There are blushes across the surface of the plate.   It is signed on the back with her name and a pipe for his “Tobacco Clan”.

$ 900.00
Huma, Rondina – Bowl with Hopi Bird Designs

Rondina Huma has certainly been one of the most influential Hopi potters working today.  Since her two-time “Best of Show” award at Santa Fe Indian Market, her tight style and intricately painted pottery has changed the face of contemporary Hopi pottery.   Each piece is coil built, fully stone polished and painted with native clays and bee-weed (black), and native fired.  This is one of her early pieces from the 1970’s.  The bowl is made from red Hopi clay and then painted with bee-weed. The bowl is fully polished on the inside and outside.  The design has two Hopi birds which are painted encircling the piece.  It is always interesting to see her early work and how it certainly evolved over time.  The bowl is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.

$ 800.00
Nampeyo, Camille “Hisi”  – Small Bowl with Hopi Birds

Camille “Hisi” Quotskuyva learned to make pottery from her mother, Dextra Quotskuyva, a sister of noted painter Dan Namingha and a descendant of Nampeyo of Hano, Annie Healing and Rachel Nampeyo.  She is known for her use of traditional imagery and the delicate painting of her designs.  This is one of the smaller pieces of her pottery.  It is stone polished and painted with two Nampeyo style Hopi birds on the top.  It is painted with bee-weed and a red clay slip.  Note the subtle variations in color from the firing.  It is in good condition with no chips, cracks, restoration or repair.  It is signed on the bottom.

$ 300.00
Adams, Sadie – Jar with Cloud and Rain Designs

This is a small jar by Sadie Adams. It is fully polished on the inside and outside. The design is a classic Sikyatki inspired rain and cloud pattern.  It is painted with bee-weed  (black) and two sections of polished red.  The jar is signed on the bottom with her hallmark flower.  It is in good condition with no chips, cracks, restoration or repair.  There is some fugitive black areas.

$ 200.00
Nampeyo, Priscilla Namingha – Migration Design Jar (1970’s)

This is an exceptional jar by Priscialla Namingha Nampeyo.  She was a great-granddaughter of Nampeyo of Hano and granddaughter of Annie Healing,  She was also a sister of Dextra Quotskuyva Nampeyo. Priscilla was the matriarch of a family of renown potters, including Rachel, Bonnie, Nyla and Jean Sahmie.  Priscilla began making pottery when she was only seven years old, under the guidance of Nampeyo of Hano. This jar is thin walled and painted with the classic migration pattern.  It is one of those pieces that captures the essence of her pottery skill with very thin lines and a design which matches the shape.  Priscilla was known for her traditional work and this jar is simply one of her best.  It was traditionally fired and so it has blushes across the surface.  It is signed on the bottom “Priscilla Namingha Nampeyo”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 950.00
Naha, Helen “Feather Woman – Water Jar with Bat Wing Design (1970’s)

Helen Naha created distinctive pottery using the white kaolin clay slip throughout her career.  The designs were all painted using bee-weed (black) and natural clay slips.  She learned to make pottery from her mother-in-law, Paqua Naha yet had her own style in form, imagery, and composition. This jar has a wonderful shape with a low shoulder and slightly turned out rim.  The design is the classic batwing pattern which extends down below the shoulder.  The bottom has her hallmark “feather”.  It is really wonderful to note her attention to the little details and that even the entire inside of the jar is fully polished! Note the wonderful bold lines of Helen’s painting!  It is in very good condition with no chips, cracks, restoration or repair.

$ 1,800.00
Tahbo, Dianna – Jar with Bird Tail Designs (2001)

Diana Tahbo was known for her tightly painted pottery and especially her beautiful miniatures.  This tall jar is vertically polished and then painted.  The design has bird tails in two sections and bird wings in two others.  The jar was traditionally fired, which created the blushes on the surface.  The interesting thing about when she vertically polished her pottery (as well as when Mark did the same thing) is that the lines of the polishing are visible after the firing.  It adds one more layer of depth to the piece.  The jar is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 575.00
Nampeyo, Priscilla Namingha – Large Eagle Tail Bowl (1990’s)

Priscilla Namingha Nampeyo was a great-granddaughter of Nampeyo of Hano and granddaughter of Annie Healing,  She was also a sister of  Dextra Quotskuyva Nampeyo. Priscilla was the matriarch of a family of renown potters, including Rachel, Bonnie, Nyla and Jean Sahmie.  Priscilla began making pottery when she was only seven years old, under the guidance of Nampeyo of Hano. This large bowl is a classic of her style.  It is thin walled and painted with the classic “eagle tail” pattern, which was made famous by Nampeyo.  The top section is slipped with red clay while the design itself is painted with bee-weed (a plant) for the black. Each of the four eagle tails extends down over the shoulder and are surrounded by the bird wings.  The bowl was traditionally fired, so there are striking blushes on the surface.  Priscilla was known for her traditional designs along with the tightly painted designs.  The bowl is signed on the bottom “Priscilla Namingha Nampeyo”.  It is in excellent condition with no chips, cracks, restoration or repair.  It is nice to see such a large and classic designed piece of her work in the gallery!

$ 3,200.00
Kahe, Val – Seedpot with Shard Design

Val Kahe is a daughter of noted potter Gloria Kahe.  She is known for her intricately painted pottery.  This is one of her more complex designed seedpots. The top half has a series of pottery shards, which are inter-connected.  Most are painted with bee-weed (black) while some are polished a deep red and then painted with the black bee-weed.  Each of the red shards is a different bird or moth or flower or mosquito!  Check out the very fine lines used in her painting!  The seedpot has then been traditionally fired to create the fire clouds.  It is signed on the bottom.

$ 875.00
Sale!
Maho, Garrett –  Bowl with Raven Design

Garrett Maho is known for his traditional and innovative Hopi-Tewa pottery.  This bowl has an unusual raven design.  There are two of the birds and they are painted on both sides of the piece. The deep red is an additional clay slip while the black is painted with bee-weed (a plant).  The bowl has been traditionally fired so that there are blushes on the surface.  The piece is signed on the bottom in the clay.

$ 650.00 $ 500.00
Quotskuyva, Dextra – “Bird Wings” Jar (1984), Painted Perfection p. 75

Dextra Quostkuyva Nampeyo is certainly one of the most influential Hopi-Tewa potters of the last 50 years. Not only has she taught numerous potters (Steve Lucas, Yvonne Lucas, Les Namingha, Loren Ami, Hisi Nampeyo, to name just a few), but her creative designs and forms changed have dramatically influenced the pottery itself.  This is an earlier jar from 1984.  It is painted with a very fine-line bird wing pattern. The design is repeated four times around the shoulder of the piece.  The rim of the jar is also very tightly painted. It is painted with natural clay slips and bee-weed (black) and traditionally fired to create the blushes or fire-clouds on the surface.   The jar is signed on the bottom in the clay, “Dextra” along with a corn plant to represent the Corn Clan.  It is in very good condition with no chips, cracks, restoration or repair.  There is a little superficial slip crack on the base, which can be seen in the photo of the signature.  This jar is also published in the book, “Painted Perfection” on page 75.  Dextra was the subject of a retrospective of her pottery at the Museum of Indian Art and Culture, along with a companion book entitled, “Painted Perfection“.

$ 1,950.00
Tahbo, Mark  – 16″ Wide Eagle Tail Shoulder Jar (1999)

This is a striking very large wide shoulder jar by Mark Tahbo.  The jar is a classic Hopi or Sikytaki shape, with the wide shoulder and a slight neck. The neck is just slightly turned out, which for Mark, it was the little details in his pottery which were important to him.  The shoulder of the jar is painted with an intricate eagle tail design.  Mark would often try and stylize patterns so that they were not just a repetition of previous work.  Here, the tail feathers can be seen in the center of the design, and then the wings extruding outward and mottled.  The jar was painted with bee-weed (black) and then clay slips.  Note that he used a deep red clay, but also a mauve clay slip in the center areas.  It was only around 1998-9 that he began to use the mauve clay, which he found near Hopi.  It was difficult to use and he didn’t have much, so he used it as an accent in his designs.  The jar is traditionally fired and the blushes are simply amazing!  The color variations range from white to orange almost red!  Mark worked diligently to create blushes on the surface of the pottery so that they would almost function as another design element!  The jar is signed on the bottom, “Mark Tahbo” and dated ’99.  The jar is in excellent condition with no chips, cracks, restoration or repair. The owners of the jar acquired it directly from Mark. Finding pieces of his this size, design and coloration is a great testament to his skill as a potter and painter!

$ 5,000.00
Tahbo, Grace – Mini Canteen and Ladle

Grace Tahbo is a relative of Mark Tahbo’s who is known for her miniature pottery.  This miniature canteen is painted with a cloud and lightning design  The black is bee-weed (a plant) and the red and orange are two different clay slips.  Grace also made the little fiber handle for the canteen.  The little ladle goes with the canteen and it is also clay. Both are traditionally fired.  The canteen is signed, “G. Tahbo” and a pipe for Tobacco Clan.

$ 100.00
Folwell, Susan & Les Namingha – “Corn Maiden: Earth Mother” Jar

Susan Folwell (Santa Clara )and Les Namingha (Hopi-Tewa/Zuni) collaborated together for the first time on a series of vessels in a show entitled “Corn:Maiden:Cultures” in 2015. The concept for the exhibition was that the Corn Maiden in Pueblo culture can also be found as a primal female archetype in cultures throughout the world.  There is play back and forth on these vessels as the multi-cultural figures are placed within a Pueblo context as the “Corn Maiden”, who brings the corn, the harvest and life.  This jar has been in an exhibit at the Museum of Indian Art and Culture since 2016.

This large jar was made by Les.  The designs painted by Susan on two sides show a Hopi maiden and a Pueblo maiden.  Her idea was to leave the faces empty, so that they did not represent just one person, but all women.  The two women represent the Pueblo and Hopi ancestry of Les and Susan. Playing from Susan’s more realistic portrayals, Les painted a more modern version of the women on the other two sides.  The angular shape of this vessel, made from Zuni clay, is unusual but also perfect for this important imagery.  In many ways, this powerful jar brings together the ideas of womanhood, femininity, modernism and the continuing importance of the Corn Maiden concept in Pueblo culture.  The dark brown background works perfectly for this intense jar.  Check out more of their exceptional collaborative pottery in the book, “Spoken Through Clay”.

$ 7,700.00
Koopee, Jacob -19″ Wide Open Bowl with Migration Pattern & Cradledolls

This is an amazing large open bowl by Jacob Koopee.  Jake was known for his large pieces and his variations on traditional Hopi-Tewa designs.  This large open bowl is coil built and it is painted on the outside and the inside. On the outside there is the classic migration pattern.  Jake had an ability to paint the fine lines of the pattern thin and even. The inside of the bowl is also fully painted with hand prints and cradle dolls.  Each of the cradle dolls is a different katsina, including a Qooqule, Grandmother, Runner and other figures.  The small hand prints were meant to represent the children given the cradle dolls as gifts.  The bowl is signed on the bottom with a flute player, which was one of Jake’s signatures.  This immense bowl is a striking example of his skill as both potter and painter.  It is traditionally fired and painted with bee weed (black) and natural clay slips.  Jake won numerous awards during his career including “Best of Show” in 2005 at both Santa Fe Indian Market and the Heard Museum Market.  I was lucky to have been a pottery judge both years at both events, and it was exciting to see an artist create such dynamic work.

$ 16,000.00
Qoyawayma, Al – Two Spout Polychrome Stirrup Jar

This stirrup jar by Al Qoyawayma is inspired by historic pieces with a similar handle and wide body. The jar has two spouts and he has carved on both sides of the piece.  The design on one side is a wave pattern, while the other has a prayer feather pattern.   The carved areas are also polished, which is striking with this carving of some of the sections!  The ends are carved with a figure and a sun design.  The colors are derived from various clay slips.  The contrast of carved, polished and matte surfaces works beautifully on this piece.  The various layers of carving allow for him to give additional depth to the piece.

$ 8,500.00
Tahbo, Mark  – Large Jar with 16 Kastsina Masks (1998)

This is an exceptional large jar by Mark Tahbo. It came from a collector who purchased it directly from Mark. It looked very familiar and when I went though some old photos, I realized I had been at Hopi the day it was fired!  Mark had been firing pieces for Santa Fe Indian Market in1998 and asked me to come up and photograph some of the firings.  At the end of the photos are some photos of this being taken out of the firing! What an amazing coincedence!  It’s no surprise that this jar is thin walled and a great shape.  The entire surface is fully polished. The jar was made in 1998 and it was one of the first times he had deviated from more classic Sikyati designs of Nampeyo and his great-grandmother Grace Chapella.  Here each of the figures around the shoulder has a different katsina mask including the grandmother katsina, hornet, cloud, star, and others.  Note how the mask of each one is different and painted with both red, white and mauve clay slips!  The band closer to the neck has star, bird, corn, raincloud, butterfly and flower patterns.  Again, they are painted with the various clay slips!  The complexity in design and the variations in color are certainly a hallmark of this period of his pottery. The jar was traditionally fired and there are great blushes on the surface. Mark fired his pottery outdoors using sheep dung and the smoke created the intense colorations.  He was always fascinated with the blushes in the clay and worked hard to give his pottery a rich appearance. This jar is in excellent condition with no chips, cracks, restoration or repair.  It is signed and dated on the bottom. 

$ 3,000.00
Nampeyo, Elva Tewaguna – Mini Bat Wing Bowl (1970’s)

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 small bowl is a very traditional design with a batwing pattern.  The piece was traditionally fired to create the blushes on the surface.  It is signed on the bottom.  It is in very good condition with no chips, cracks, restoration or repair.  Her daughter Adelle Nampeyo continues in the same family tradition.

$ 200.00
Nampeyo, Elva Tewaguna – Wide Bowl with Bat Wing Design (1970’s)

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 a very traditional form for Hopi-Tewa pottery.  This design, the bat wing pattern, is one which was revived by Nampeyo of Hano.   The piece was traditionally fired to create the blushes on the surface.  It is signed on the bottom.  It is in very good condition with no chips, cracks, restoration or repair.  Her daughter Adelle Nampeyo continues in the same family tradition.

$ 500.00
Komalestewa, Alton – Large Wide Shoulder Melon Jar

This is stunning wide shoulder melon jar by Alton Komalestewa.  It is the combination of color, form and polish which makes it exceptional.  Alton learned to make pottery from his mother-in-law, Helen Shupla.  She was famous for her traditional melon bowls and over the years Alton has taken and refined this form with thinner walls and a highly polished surface.  This large jar is thin walled and highly stone polished.  As it was being made, each of the undulating ribs are pushed out from the inside.  It is technically difficult to stretch the clay and create even ribs.  This jar was then fired brown, but it is a color that ranges from brown to red to nearly black . The jar is signed on the bottom in the clay and Alton has also included his hallmark, which isa  katsina face. The jar is in excellent condition with no chips, cracks, restoration or repair.

$ 3,000.00
Navasie, Dolly Joe “White Swann” – Jar with Bird Tail Design

Dolly Joe Navasie is best known by her name White Swann.  She is the daughter of Eunice “Fawn” Navasie and a sister of Dawn and Fawn Navasie.  This jar is coil built and painted with bee-weed (black) and a red clay slip. The design is a classic eagle tail pattern which extends down from the shoulder.  The jar is traditionally fired to create the blushes.  It is signed on the bottom, “White Swann”.   It is in very good condition with no chips, cracks, restoration or repair.

$ 325.00
Setalla, Pauline – Canteen with Bird Design (1970’s)

Pauline Talasyousia (Setalla) (b. 1930) married Justin Navasie Setalla.  She was raised in the village of Mishongovi and learned to make pottery from her mother-in-law, Agnes Navasie and her sister-in-law Eunice “Fawn” Navasie.  She had ten children, including Dee Stealla, Agnes Nasonhoya, Gwen Setalla and Stetson Setalla, who are all potters.  This is one of her canteens from the 1970’s.  It is a classic Hopi shape with the round belly.  The design is a bird pattern which is painted on the front of the piece.  The black is bee-weed and the white and red are clay slips. The canteen is flat on the back but it also stands.  It was traditionally fired which created the coloration of the pink and white.  The canteen is in good condition with some fugitive black and a small chip on the back of the lip.  It is signed, “Pauline S.” on the back.

$ 500.00
Koopee, Jacob – Bowl with Migration Pattern (2004)

This bowl by Jacob Koopee is from 2004. This jar I originally purchased from Jake and now it has come back to the gallery!  First about the color. The jar is made with the red Hopi clay and it is almost a brown coloration from the firing!  The rim and various other areas have the purple or mauve colored clay slip that he started to use on his pottery.  The design is a migration pattern with the bird wings but note how he modified it.  The rim has the migration lines over a mauve clay.  The bird wings extend down from the top and up from the shoulder and are etched with small lines.  Separating them are the bird heads which are again painted with the mauve clay.  All the designs are outlined with a white clay slip.   The bottom has small hand designs which Jake cut out and would use the white clay to spray around the hands.  The impact of the hands and the birds is striking and the white clay has just a little texture!  The jar was traditionally fired to create the colorations.   The piece is signed on the bottom, “Koopee” and a flute player hallmark.  It is in excellent condition with no chips, cracks, restoration or repair.  Jake won numerous awards during his career including “Best of Show” in 2005 at both Santa Fe Indian Market and the Heard Museum Market.  I was lucky to have been a pottery judge both years at both events, and it was exciting to see an artist create such dynamic work.

$ 4,800.00
Nampeyo, Fannie – Bowl with Blackbird Migration Pattern (1960’s)

This bowl by Fannie Nampeyo is a classic bowl shape.  form.   The design is a black bird migration pattern with the bird in black above the shoulder and the bird tail below the shoulder.  The design has a great flow around the entire piece.  It was traditionally fired creating the striking color variations on the surface.  It’s not often that we see such complex painting on Fannie’s smaller pieces.  It is in very good condition with no chips, cracks, restoration or repair. It is signed on the bottom, “Fannie Nampeyo” and it is from the 1960’s.

$ 775.00
Huma, Rondina – Bowl with Geometric Pottery Shard Patterns

Rondina Huma has certainly been one of the most influential Hopi potters working today.  Since her two-time “Best of Show” award at Santa Fe Indian Market, her tight style and intricately painted pottery has changed the face of contemporary Hopi pottery.   Each piece is coil built, fully stone polished and painted with native clays and bee-weed (black), and native fired.  This is one of her larger bowls and it is fully painted. The rim has an eternity band and the body of the bowl is divided up into sections. The burgundy colored clay is left matte and is typically a border while the red is stone polished.  Each of the section is hand painted and was inspired by pottery shards.  This is one of her later pieces and the shard design is very tight and very small.  Rondina says that she tries to not duplicate the same “shard” patterns on the same vessel!  The bowl is traditionally fired which creates the dynamic coloration in the blushes on the surface.  One of the most amazing parts of this bowl is one that you can’t see.  The entire inside of the bowl is fully polished!  Rondina typically makes the mouth of the bowl large enough so that she can fit her hand into the piece and stone polishes the inside.  Almost no other potters still do this but Rondina says it’s just the way she was taught!  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.

$ 5,500.00
Nampeyo, Camille “Hisi”  – Wide Bowl with Star Pattern

Camille “Hisi” Quotskuyva learned to make pottery from her mother, Dextra Quotskuyva, a sister of noted painter Dan Namingha and a descendant of Nampeyo of Hano, Annie Healing and Rachel Nampeyo.  She is known for her use of traditional imagery and the delicate painting of her designs.  This wide bowl has a star on the top of the piece. The star design with the fineline patterns surrounding it is inspired by the Awatovi pottery from the 1400’s. The star pattern here is painted with a red clay and the surrounding lines are painted with bee-weed, a plant.  When looked at from the side, the bowl has a mountain and rain pattern while from the top, the star emanates out from the center design.  Note the subtle variations in color from the firing.  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom.

$ 1,600.00
Ami, Loren – Hilili Katsina Jar

Loren Ami’s pottery is inspired by traditional Hopi designs and forms. Each piece is coil built, painted with native clays (red) and bee-weed (black) and outdoor fired.  This jar is one of his classic shapes with a wide shoulder and a turned out neck.  Loren said that the design on this jar was inspired by the Hilili Katsina.  The are inspired by the mask worn by the katsina.  The Hilili Katsina’s name comes from the call or noise that he makes. He is a Guard Kachina, who is mainly seen holding Yucca whips. He has become a popular guard at the ceremonies due to his dancing style. He can bee seen in the Powamu and Night dances.  The jar has been traditionally fired which creates the blushes on the surface.  Note the use of the mica in the red clay slip!  It is signed on the bottom.

$ 600.00
Quotskuyva, Dextra – Mini Bowl with Bat Wing Design (1976)

This miniature bowl by Dextra Quotskuyva was made in 1976.  Dextra is certainly one of the great innovators among Hopi-Tewa potters.  Her work began with more classic imagery and then has evolved over the years to more unique and stylized designs.  The bowl has the classic bat wing design painted on the surface in four sections.  Each of the wings is very tightly painted with Dextra’s fineline work.  The bowl was traditionally fired so that there are blushes and color variations around the surface.  It is signed on the bottom with bee-weed, “Detra” with an ear of corn representing the Corn Clan.   The jar is in very good condition with no chips, cracks, restoration or repair.  Dextra has been the subject of a retrospective of her pottery at the Museum of Indian Art and Culture called, “Painted Perfection“.

$ 950.00
Qoyawayma, Al – Lidded Jar with Mosquito Man Design

This jar is an unusual shape for Al Qoyawayma.  The jar has a base which then extends out to the body of the piece. The entire piece is fully polished tan with one carved area of design. The image is the “mosquito man”, which is seen on Kiva Murals and pre-historic pottery throughout the Southwest.  Note the various levels of carving on this piece from the face of the figure all they way to the stars in the sky. All the various colorations are natural clay slips which are matte and polished.  The lid is another unique shape, which seems to replicate the overall shape of the jar.  It is a stunning piece with a simplicity in form but complexity in the design.

$ 4,500.00
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.

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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

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“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
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