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 hopi potteryHopi Pottery - Tewa Group

Hopi-Tewa pottery is created on the Hopi Reservation which is located in northeastern Arizona.  It is an area which is surrounded by the Navajo Reservation. Hopi consists of three Mesas, each of which has several villages.  The Hopi-Tewa people speak the Tewa language and are primarily 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 forms and designs.  Sikyatki was located at the base of First Mesa.  The 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.  The intricate and beautiful designs are painted freehand using a yucca leaf brush.  The red and other colors are from natural clay slips.  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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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
Tahbo, Mark  – Large Open Plainware Bowl (1990’s)

Mark Tahbo was known not just for his painted pottery, but especially for the blushes on his pottery from the firing.  This bowl is from the 1990’s.  It is one of his larger plainware pieces and it is fully polished on the inside and the outside.  Mark polished it in a horizontal manner.  I remember that he had a similar piece but taller which he always kept in his kitchen.  This bowl was 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”.  It is in excellent condition with no chips, cracks, restoration or repair.  Definitely a classic of his pottery!

$ 2,200.00
Namingha, Les – Tall Jar with Hopi Bird Medallions

This is an exceptional large jar by Les Namingha.  It is the use of shape, texture, and design which are so strong on his piece.  The jar is tall and near the top, it is indented, with the clay pushed inwards.  In these areas, Les has painted a series of small medallions, each with different Hopi-Tewa designs.  Birds, bird wings, cloud, and lighting are all visible in the designs.  Each medallion is a different color and they either contrasting or complementary to the ones nearby. While the medallions are smooth, the rest of the jar is wonderfully textured with a rough surface and a touch of added mica!  Near the base, there is a water design which is tightly painted encircling the entire jar.  It is as if the birds are all flying in the sky above the water.  The jar gives voice to Hopi-Tewa designs of the past but filtered through the modern lense of Les’s creativity.  The jar is signed on the bottom in the clay.

$ 4,600.00
Lucas, Steve – Jar with Bird Wing Designs

This is a striking new larger jar by Steve Lucas.  He 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 jar is made by mixing together two of the Hopi clays created swirling colors in the clay (which can best be seen on the bottom). The jar has a wide shoulder and a slight neck.  The design above the shoulder is a bird wing pattern which connects in four sections. The polished areas are a deep red and a brown clay slip.  Note the complexity in the design and the coloration. It takes more time to polish the slips after they are painted, but the result is also more dynamic as they reflect the light.  Below the shoulder is a star pattern created out of diamond-shaped patterns.  Steve said of these designs:

“I think about the ancients. I used to hike out to Sikyatki a lot when I stayed out at my mom’s place and look at the pottery sherds. You could pick up a sherd, wipe it off, and the design would still be brilliant. I would be amazed at how well the painting had held up to all the weather over all those centuries. I would find some interesting designs, and I would put them on my pieces. Those ancients were good artists and are an inspiration to me.”  Steve Lucas, Spoken Through Clay

The jar was traditionally fired which created the 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’s great to see such strong new work from him both in design and form!

$ 2,600.00
Jim, Harrison – Jar with Mudhead Carved in Relief (1985)

Harrison Jim learned to make pottery from his mother-in-law Joy “Frogwoman” Navasie. He often collaborated with Marianne Navasie on his pottery.  This jar is a collaborative piece made by Marianne Navasie (1951-2007) and then carved and designed by Harrison.  The piece has a mudhead katina (one of the clowns) in front of a kiva with the kiva ladder behind him.  The figure is very detailed and carved in relief.  The remainder of the jar is painted with Hopi-Tewa birds.  The jar is signed on the bottom with a frog hallmark and “H. Jim”.  The piece won a third place ribbon at the 1985 Gallup Intertribal Ceremonials.  The ribbon is made out in the names of both Marianne and Harrison.  It is signed by Clara Lee Tanner.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 550.00
Naha, Sylvia – Seedpot with Corn, Lizard and Awatovi Star Design

Sylvia Naha created pieces with the white clay polished surface painted with bee-weed (black) and native clay slips.  Throughout the 1980’s, Sylvia was considered among the most innovative of the Hopi potters.  Her pieces were classic in form and amazingly intricate in design.  This seedpot has two of her classic designs on the top:  A lizard and a corn plant.  The lizard is painted with a series of triangular geometrics.  Opposite the lizard is a corn plant.  Corn has a strong symbolism for prosperity and abundance.  The bottom half is fully painted with the black-on-white Awatovi Star.  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 1930s, the whiteware pottery was rediscovered.  It was the imagery from his work which inspired much of Helen Naha’s (Sylvia’s mother) early pottery, as opposed to the more classic Sikyatki inspired pottery of Nampeyo of Hano.  The bottom of the seedpot is signed with a feather and an “S”.  The piece is in excellent condition with no chips, cracks, restoration or repair.

$ 300.00
Howato, Ted Tahbo – Large Jar with Eagle Tail Designs

Ted Tahbo Howato is the youngest son of Diana Tahbo and great-great-grandson of Grace Chapella.  This large jar is coil built and painted with bee-weed and red clay slips.  The jar is painted with eagle trial and bird wing patterns which extend downward from the rim.  It was traditionally fired which created the blushes on the surface.  The jar is signed on the bottom in the clay, “Ted T Howato” and a pipe, as he is “Tobacco Clan”.

$ 800.00
Jim, Harrison – Seedpot with Morning Singer Katsina in Relief

Harrison Jim learned to make pottery from his mother-in-law Joy “Frogwoman” Navasie. He often collaborated with Marianne Navasie on his pottery.  This jar is a collaborative piece made by Marianne Navasie (1951-2007) and then carved and designed by Harrison.  The piece has two Morning Singer Katsinas carved in relief on the top half.  They are deeply carved and highlighted with clay slips. The bottom half is painted with cloud and rain designs.  They are painted with bee-weed (black) and red clay slips.  The piece is signed on the bottom with a frog hallmark and tadpole (the hallmark for Marianne Navasie)  and “H. Jim”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 275.00
Huma, Rondina – Red Bowl with Geometric Designs (1980’s)

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 1980s.  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 imagery is her classic use of smaller square designs.  On this piece, there are additional fine-line linear patterns which create some of the separations of the smaller squares.  The rim of the bowl is fully painted with a water design.  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.

$ 1,400.00
Nampeyo, Fannie – Large Migration Pattern Jar (1972)

This is a classic jar by Fannie Nampeyo. She was the youngest daughter of noted potter Nampeyo of Hano and also the mother of noted potters Iris Nampeyo, Leah Nampeyo, and Thomas Polacca.  She was undoubtedly among the most skilled of her generation for painting designs pottery.  While her mother revived the “migration” or bird wing design, Fannie made is a signature design of her pottery and the Nampeyo family.  This jar is wide in shape with a round shoulder, and a short neck with a turned out rim.  However, it is the migration pattern which dominates the surface of this piece.  The migration pattern, or bird wings, extend around the entire jar in 9 sections.  The jar was traditionally fired so that it has some visually striking blushes on the surface.  It is signed on the bottom, “Fannie Nampeyo”.   It is in excellent condition with no chips, cracks, restoration or repair.  The piece was originally purchased in 1972.   Dextra Quotskuyva Nampeyo said of  the migration pattern:

“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.

$ 3,200.00
Namingha, Les – Tile with Hopi Birds

This large tile by Les Namingha uses a variety of his recent design elements.  In the background, the tile is painted with a variety of geometric patterns.  The various shapes are then layered on with two Hopi bird designs. The birds are flowing in shape and then intricately painted with Hopi-Tewa designs.  It is signed on the bottom in the clay, “Les Namingha”.

$ 1,000.00
Lucas, Steve – Jar with Hopi Eagle Tail Designs

This is a striking new large jar by Steve Lucas.  He 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 jar is painted above the shoulder with four eagle tail designs.  They extend down from the neck to the shoulder.  Separating them are the bird heads.  There are additional polished red and brown clay slips used without the jar.  It takes more time to polish the slips after they are painted, but the result is also more dynamic as they reflect the light.  Steve said of these designs:

“I think about the ancients. I used to hike out to Sikyatki a lot when I stayed out at my mom’s place and look at the pottery sherds. You could pick up a sherd, wipe it off, and the design would still be brilliant. I would be amazed at how well the painting had held up to all the weather over all those centuries. I would find some interesting designs, and I would put them on my pieces. Those ancients were good artists and are an inspiration to me.”  Steve Lucas, Spoken Through Clay

Below the shoulder, Steve has painted a series of polychrome rain and cloud patterns. Again, they are highlighted with the polished clay sections in red and brown.  Near the base, the entire piece is fully polished a deep red.  This definitely adds to the overall dynamic appearance of this piece.    The numerous colors and the precision of the painting is a bit breathtaking on this piece.  The jar was traditionally fired which created the 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).  Spectacular!

$ 3,400.00
Lucas, Steve – Jar with Sikyatki Birds

This is a complex new jar by Steve Lucas.  He 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 jar is painted with a series of interlocking birds which are inspired in style by the work of his ancestor, Nampeyo of Hano.  Each bird is painted with, red and brown clay slips, each of which is polished!  It takes more time to polish the slips after they are painted, but the result is also more dynamic as they reflect the light.  The area below the shoulder is also fully painted with a star pattern. The base of the bowl is polished a deep red.  It is this deep red clay slip with just a bit of mica, for which Steve is famous.  He said of the red:

“When I first learned to make pottery, the red slip painted in the designs was difficult to work with. It wouldn’t take heat very well and would scorch and turn black. The red was also difficult to polish. My aunt Dextra had a deep red color clay slip, and I decided to experiment with it. I took some of our base clay and added the red to it and it polished very well. I then decided to put some mica in there to get that sparkle. That’s where the new red came from, and Dextra liked how it turned out. I introduced them to that. It was nice that for my teacher, Dextra, I was able to share and teach her something.”  Steve Lucas, Spoken Through Clay

The numerous colors and the precision of the painting is striking.  The jar was traditionally fired which created the 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).  Spectacular!

$ 2,000.00
Namingha, Les – Tall Jar with Minimalist Hopi Birds

This tall jar by Les Namingha uses an elongated form as a foundation for his minimalist Hopi-Tewa birds.  The top of the jar has a very painterly style, which is then overpainted with concentric lines.  The side of the jar has four panels, each with a different Hopi-Tewa style of bird.  The birds have been minimalized into more geometric shapes and then layered using color variations.  Each panel is separated by a checkerboard pattern.  The lower section of the jar has black and white geometrics and the very base of the jar is textured.  He has used mica with the paint on the lower sections, so there is just a bit of “sparkle” in the piece.    It is a complex and striking jar.  It is signed on the bottom in the clay.

$ 4,200.00
Youvella, Nolan – Jar with Flute Player

Nolan Youvella is a son of noted potters Iris Nampeyo and Wallace Youvella.  He is known for his relief carved pottery.  This taller jar is fully polished.  It is etched on one side with a flute player and geometric cloud, wind and rain designs.  The jar was traditionally fired so there are light blushes on the surface.  The piece is signed on the bottom in the clay, “Nolan Youvella Nampeyo”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 400.00
Nampeyo, Camille “Hisi” – Long Neck Jar with Polished Inner Neck and Eagle Tail Design

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 her classic shapes with an elongated neck and a flared rim. The entire jar is fully polished and the inside of the neck (as far as you can reach!) is polished red.  The shoulder of the jar is painted with a connecting eagle tail pattern.  It is painted with her classic thin lines and perfect symmetry.  The black is painted with bee-weed and the jar is traditionally fired to create the fire clouds on the surface.  It is signed on the bottom, “Hisi Nampeyo”.  It is in excellent condition with no chips, cracks, restoration or repair.  It is from the late 1990’s.

$ 1,200.00
Naha, Rainy – Jar with Awatovi Mural 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 figures on the murals on this jar.  One side has one of the Hero Twins holding a bow and arrow.  The other is one of the Hero Twins holding a bird with dragonflies above the figure.  Both figures are very intricate and complex designed pieces!   They are painted much as depicted in the murals and some of her own stylized designs.  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 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.

$ 2,200.00
Naha, Rainy – Jar with Hano Clown

This is a charming new jar by Rainy Naha.  She is well known for her creative and intricately designed pottery.  The jar has a Hano or Koshari Clown as the image on two sides.  The Koshari provides amusement during Kachina ceremonies.  Koshari plays tricks, acts out absurd pantomimes, or cleverly mimics spectators. Like the more serious Kachinas, but in a humorous way, the clown helps maintain community harmony by reminding the people of acceptable standards of behavior within the Hopi community.  Rainy has captured the Koshari facing the viewer on one side, and the back of the Koshari on the other.  Check out the mocassins which almost seem too big on the clown, appearing in a whimsical manner.  Separating the front and back of the clown are two large panels which are painted with Hopi-Tewa designs from cloud to bird wings and rain patterns.  It is in the style of a shawl, which Hopi-Tewa women wear when they are at the dances.  The jar is first polished with white clay and then it is painted with bee-weed (black) and various colors of clay slips.  Some of the colors are polished and others are matte.  The jar is traditionally fired outside.  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.

$ 1,400.00
Quotskuyva, Dextra – Jar with Bird and Quail (1996)

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 was originally purchased from her in 1996. It has two medallions, each with a different bird.  Each bird is very intricately painted.  The area surrounding the birds is highly polished red clay slip.  The red she was using at this time polished to a high shine and has just a bit of mica which is reflective.  The jar was traditionally fired so there are very light blushes to the surface.  It 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.  Dextra was the subject of a retrospective of her pottery at the Wheelwright Museum, along with a companion book entitled, “Painted Perfection“.

$ 4,400.00
Naha, Rainy – Large Jar with Crow Mother and Eototo 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 Eototo on one side in the Mural style.  Eototo is the chief of all kachinas and knows all of the ceremonies. He is the spiritual counterpart of the village chief and as such is called “father” of all the kachinas.  The other side has the Crow Mother Katsina.  Crow Mother, or Angwusnasomtaka,  is a figure of great dignity. She appears on all three mesas, usually in connection with the initiation of the children.  Both figures are painted with exceptional detail and a variety of clay colors.  Check out the birds surrounding Eototo!  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 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.

$ 3,200.00
Navasie, Joy “Frogwoman” -Tall Jar with Bird Designs (1980’s)

This jar by Joy “Frog Woman” Navasie is a distinctive shape with a low shoulder and an elongated neck.  The jar is painted with two panels of designs, each with a Hopi style bird.  The birds are highlighted with a deep red clay.  The neck of the jar is also painted with a bird wing pattern.  The jar is slipped with the white clay and then painted with natural clay slips and bee-weed (black).  The red clay on this jar is a deeper red clay she began to use in the 1980’s.  It has been traditionally fired so there are some variations in the coloration from white to almost a pinkish color.   The jar is signed on the bottom with her Frog Hallmark.  It is in very good condition with no chips, cracks, restoration or repair.  

$ 1,200.00
Duwyenie, Preston – 21″ Tall Black Micaceous Jar with Tablita Design

This is a striking large jar by Preston Duwyenie.  The piece is coil built from micaceous clay.  The shape is a tall, elongated jar with a narrow asymmetric opening.  The jar is slipped in a micaceous clay and then fired black. The mica then gives the piece a very metallic appearance to the surface.  The silver pieces are inset into the clay after the firing.  Preston said of this style of jar:

“The imagery of the Water Drinking Maiden is clearly depicted on the tall vessel that itself contains the preciousness of water.  In the Pueblos of the Southwest there are certain dances where the women wear this elaborated headdress known as a “tablita” i.e. “Shalako” and “Butterfly Maiden” which I am alluding to with the silver pieces. The largest ingot is the headdress, the other two are the torso and legs.”

Each of the silver pieces is 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.

$ 3,400.00
Duwyenie, Preston – Small 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 half 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.

$ 500.00
Nampeyo, Iris – Tan Bowl with Double 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 1980s. 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 has a round body and an asymmetric rim.  The design of the corn has two detailed ears of corn surrounded by the corn husk.  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.

$ 1,200.00
Naha, Sylvia – Seedpot with Star and Flower Design

This miniature seedpot is an exceptionally intricate piece by Sylvia Naha.  She was a daughter of Helen “Featherwoman” Naha and a sister of Rainy and Burell Naha.  She was known for her distinctive pieces painted with intricate designs on a white polished clay surface.  Throughout the 1980s, Sylvia was considered among the most innovative of the Hopi potters.  Her pieces were classic in form and amazingly intricate in design.  This seedpot has a star pattern on the top and bottom of the piece.  On the sides are four flower patterns.  The center of each flower is very detailed with a fine-line hatchwork pattern.  There is an additional tan clay slip which is painted on the stars.  The black on the painting is from Bee-Weed (a plant) and the other colors are natural clay slips.  The seedpot is in excellent condition with no chips, cracks, restoration or repair.  The jar is signed on the bottom with a feather and an “S”. 

$ 300.00
Nampeyo, Iris – Large Wide Jar 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 1980s. 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 as it is very wide with a low shoulder.  The corn is elongated across the wide surface.  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.

$ 2,200.00
Hooee, Daisy Nampeyo – Jar with Bird Wing and Geometric Designs

Daisy Hooee Nampeyo is one of the extraordinary Hopi-Tewa women making pottery in the last century.  She was a daughter of Annie Nampeyo Healing and a granddaughter of Nampeyo of Hano.  Her daughter is Shirley Benn and granddaughter Cheryl Naha Nampeyo.  Daisy spent many of her formative years with her grandmother and learned how to make pottery at a very early age.  However, she began to lose her vision and had an operation to remove cataracts due to an infection.  She attended the L’Ecole des Beaux-Arts in Paris through her benefactor, Anita Bladwin. When she returned to Hopi, she married Ray Naha, then Leo Pablano (from Zuni) and finally Sidney Hooee from Zuni.  Her life story is as fascinating as her pottery. This jar is an unusual shape with a low shoulder and a turned out rim. The body of the piece is fully painted with detailed bird wings and cloud designs. The interior of the jar has a stippled appearance.  The jar was traditionally fired to create the surface coloration.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom, “Daisy H. Nampeyo”.   Definitely a piece of history!

$ 950.00
Hooee, Daisy Nampeyo & Shirley Benn – Bowl with Hopi Birds

This is a collaborative piece by Daisy Hooee Nampeyo and her daughter, Shirley Benn.  Daisy was a daughter of Annie Nampeyo Healing and a granddaughter of Nampeyo of Hano.  Her daughter is Shirley Benn and granddaughter Cheryl Naha Nampeyo.  Daisy spent many of her formative years with her grandmother and learned how to make pottery at a very early age.  However, she began to lose her vision and had an operation to remove cataracts due to an infection.  She attended the L’Ecole des Beaux-Arts in Paris through her benefactor, Anita Bladwin. When she returned to Hopi, she married Ray Naha, then Leo Pablano (from Zuni) and finally Sidney Hooee from Zuni.  Her life story is as fascinating as her pottery. This bowl was made by Daisy and painted by her daughter, Shirley Benn. The bowl is thin-walled and the designs are very delicately painted. They are a series of classic Hopi-Tewa birds which encompass the surface of the piece.  The bowl was traditionally fired to create the surface coloration.  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom, “Daisy Hooee Nampeyo, Shirley Benn”.   Definitely a piece of history!

$ 250.00
Nampeyo, Rachel – Jar with Bird Design (1970’s)

Rachel Namingha Nampeyo was a granddaughter of Nampeyo of Hano and a daughter of Annie Healing. She was the mother of noted potters Priscilla Nampeyo, Dextra Quotskuyva, Eleanor Lucas, Emerson Namingha and Ruth Namingha. She was known for her use of traditional designs on her pottery and continuing the pottery legacy of her grandmother.  This jar is a classic shape with the wide shoulder and short neck.  The design has two birds encircling the jar.  They are larger with polished red heads and tail feathers.  The jar is in good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Rachel Nampeyo”.

$ 500.00
Quotskuyva, Dextra – Large Jar with Eagle Tail Design (Late 1980’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 large jar is from the late 1980s.  The piece is part of a series she created where she did not polish the surface of her pottery but instead left it matte.  Dextra was always experimental in her approach to pottery and would often push the boundaries of what was “acceptable” in Hopi-Tewa wares.  This large jar is a classic Sikyatki form with a wide shoulder and a short neck.  The top of the jar is very intricately painted with an eagle tail design.  The thin lines and complex pattern are highlighted by polished red areas.  The large red sections accentuate both design and form.  The black is bee-weed and the red is a clay slip.  The jar was traditionally fired and there are a few blushes on the surface.  It is signed on the bottom in bee-weed, “Dextra” along with a corn plant to represent the Corn Clan.  It is in excellent condition with no chips, cracks, restoration or repair.  Dextra was the subject of a retrospective of her pottery at the Wheelwright Museum in Santa Fe, along with a companion book entitled, “Painted Perfection“.

$ 7,700.00
Namingha, Les – Large Jar with Hopi and Geometric Designs

This large jar by Les Namingha is inspired by Hopi-Tewa shapes and designs.  The band around the shoulder is a series of very classic Hopi-Tewa designs.  They are painted in traditional colorations.  However, it is the top and bottom of the jar which become the overall focus. The top has multi-color ellipses which extend downward from the rim and over the Hopi designs.  They give the jar a dynamic appearance.  When looking down from the top, the color and shape variations almost have a kinetic feel!  Les said he wanted it to look like a “pinwheel” with spinning colors.  The bottom of the jar has more solid geometric shapes and the multi-color forms are more angular. The jar itself is a classic Hopi shape with the wide shoulder and short neck.  It is a complex and striking jar.  It is signed on the bottom in the clay.

$ 5,000.00
Naha-Nampeyo, Cheryl – Seedpot with Hopi Birds

Cheryl Naha Nampeyo is a daughter of Shirley Benn and a granddaughter of Daisy Hooee.  She is also a descendant of Nampeyo of Hano. This seedpot is fully painted with Hopi bird designs on each side.  The birds are very detialed with their bodies consisting of various rain and cloud elements.  The red areas are fully polished and the piece was traditionally fired.  There are slight blushes from the firing.  The seedpot is signed on the bottom in the clay, “C. Naha Nampeyo”.

$ 150.00
Namingha, Les – Oval Bowl with Hopi Birds (2004)

This oval bowl by Les Namingha is from 2004.  It is painted with acrylic on both the inside and outside.  On the inside, the central panel is painted with a series of Hopi birds.  They are very highly detailed with Les’s famous pointillism style.  There is a strong variation of color and complementary delicate lines.  The around the inside walls of the bowl are very textured to have the feeling of layers of paint.  The outside of the bowl is painted brown.   It is a fascinating piece and great to see how his work has evolved over time.  It is signed on the bottom in the clay, “Les Namingha”.

$ 1,100.00
Clashin, Debbie – 16″ Tall Jar with Koshari Figures and Birds

This is an exceptional tall jar by Debbie Clashin.  She is a cousin of noted potter Mark Tahbo and a descendant of Grace Chapella.  Debbie has quickly become well known for her large-sized traditional Hopi-Tewa pottery. This tall jar has straight sides and a short neck.  The difficulty in this type of shape is to get the sides even and straight. Her addition of the shoulder and the slight neck is a strong variation in the form, as it seems to give it feeling of completion. The design is one that I first saw her cousin, Mark Tahbo, do years ago.  It is a Koshari clown depicted three times around the piece.  Look in the center of the design and you can see the eyes, then the headdress and the arms and legs.  Certainly, it is stylized but a wonderful way to combine Hopi-Tewa culture into the pottery designs!  The Koshari Clown is a staple at most Hopi ceremonial dances, but also at the Rio Grande pueblos.  It is one of those cross-over figures who can be traced to the diaspora of Tewa people after the return of the Spanish in 1694 after the Pueblo Revolt.  The figures here are tightly painted with thin lines and the mottled surfaces add a nice variance in design.  There are also two small birds on the top of each of the Koshari figures.  They are again reminiscent of Mark Tahbo’s style.  The jar is traditionally fired with intense colorations from the fire clouds across the surface of the piece.  The open spaces and their color ranges add to the “design” of the jar.  The black is all bee-weed and the reds are natural clay slips.  It is signed on the bottom with her name and a pipe for his “Tobacco Clan”.  The last photo is one of Debbie holding the jar for scale.

$ 4,000.00
Nampeyo, James Garcia – Jar with Spiral 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 jar has a classic Hopi shape with the wide shoulder and short neck.  The design is one which finds inspiration in the work of Nampeyo of Hano.  There is a period when she made pieces with a checkered design (see last photo).  This jar draws from that along more classic Hopi-Tewa spiraling cloud patterns.  The piece is tightly painted with a design which meets the form.   It is painted with bee-weed (black) and was traditionally fired to give it the coloration with some intense blushes.  It is signed on the bottom, “James G. Nampeyo”.  It is in very good with no chips, cracks, restoration or repair.

$ 525.00
Naha, Burel – Large Seedpot with Awatovi Star Design

Burel Naha is the son of Helen “Featherwoman” Naha and a brother of Rainy Naha and Sylvia Naha.  While he no longer makes much pottery, he was well known for his intricately painted pieces and especially the use of the spider design.  This seedpot has a stylized version of the Awatovi Star design.  The “Awatovi Star” pattern 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.  Burel’s design has the star on the top and the bottom.  The central design is the “eternity band” which was also seen on Helen’s pottery.  The bottom half has a swirling cloud and the top has a plant design.  The piece is tightly painted and traditionally fired.  It is painted using bee-weed (black) on a white kaolin clay surface.  It is signed on the bottom with a feather and a Long Hair katsina, which is his hallmark.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 1,600.00
Naha, Helen “Featherwoman” – Bowl with Bird Migration Design (1970’s)

Helen “Feather Woman” Naha was known for her traditional white-ware pottery.  This bowl is from the 1970s and it has a series of birds in flight as the design.  If the design looks somewhat familiar, it should, as it is her variation on the classic “migration pattern”.  Here, Helen has made the design into birds in flight.  The top has the bird heads while the bottom the bird wing. There are intricate lines connecting the birds together. The piece is also polished on the inside!  The bowl is painted with bee-weed (black) and a red clay slip.  It was traditionally fired and there are slight color variations from the firing.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom with her hallmark feather.

$ 975.00
Namingha, Les – Jar with Cloud Swirls

This jar by Les Namingha uses traditional Hopi clay, is painted with bee-weed and natural clay slips,  and it was traditionally fired. The jar is from the late 1990’s.  The piece is fully polished and it has a free flowing cloud, rain and sun design.  It is interesting to see how early on Les had evolved from traditional Hopi-Tewa designs to more create and innovative imagery.  Today, his work utilizes acrylic as opposed to the traditional clay slips.  The various colors on the surface are the blushes from the firing.  It is signed, “Les Namingha” and it is in excellent condition with no chips, cracks, restoration or repair.

$ 900.00
Namingha, Les – “Polychrome I (Dextra Series)” Acrylic on Canvas

This painting by Les Namingha is entitled, “Polychrome II (Dextra Series)”.  It is one of a series of acrylic paintings on canvas he made which explore both his pottery and that of his aunt, Dextra Quotskuyva.  This piece was made in 2010.  The central panel has a classic Hopi-Tewa design with two hummingbirds.  Note the intricacy of the two birds and the surrounding designs.  The various colors depict both his work and Dextra’s.  The painting is signed on the front and on the back.  It is in excellent condition.

$ 1,800.00
Qoyawayma, Al – Large Mesa Verde Jar with Seven Kivas

This is a spectacular large piece from Al Qoyawayma.  It is one of his architectural pieces from his “Mesa Verde” series.  The oval area is pushed into the clay and then the building is pushed back out from the inside of the bowl.  This piece is one of his more complex works.  There are towers in the background and in the front are seven kivas.  Each is highlighted with vigas and windows. There is even a building to the front left and a stairway down to the front of the bowl!  It is quite extraordinary in complexity and size.  Note how Al etches and then paints all the “bricks” that make up the buildings!  This is one of the largest and most complex architectural pieces we have had from Al in several years.  Al’s architectural pieces are among his most iconic works.  The bowl is signed on the bottom in the clay.  It is from the late 1990’s and it is in excellent condition with no chips, cracks, restoration or repair.

$ 19,750.00
Qoyawayma, Al – Large Water Jar with Four Flute Players (1986)

Al Qoyawayma is known for innovative pottery.  This piece is from 1986 and is a classic wide shoulder water jar.  The jar is stone polished in a vertical manner, which historically is often called an “onion skin” polish.  The jar has four flute players as the design and they are each created in repousse, which is to say that they are pushed out from the inside (not applique).  Al has often used the Flute Player, or Kokopelli, as a design on his pottery.  It is an ancient figure often found on rock art throughout the southwest and “represents wisdom, goodness, and fertility.”  The jar is signed on the bottom.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 6,500.00
Qoyawayma, Al – Large Sikyatki Inspired Polychrome Bowl

This large jar by Al Qoyawayma is a amazing piece with sophisticated clay work and beautiful detail in the carved designs.  The jar has an elegant shape with a narrow base and a wide shoulder with a slightly turned out neck.  Al looks back to the past for inspiration in his designs on his polychrome pottery.  He is also thinking about the future and historic “what if”, in the sense that how would Hopi pottery have evolved if no Western contact.  His polychrome pieces are often a response to this thoughtful query.  This jar has Sikytaki inspired patterns with bird, plant and corn patterns.  The corn design is carved in relief on the surface of the jar.  The small green slipped bird is a perfect addition to the piece!  All the carving is accented with various clay colors.  There are several colors on the top of this piece that are very difficult to achieve in a polished form (such as the tan and yellow colors!). This piece is a striking balance of form, sculpture, color and design!  The jar is signed on the bottom in the clay.

$ 13,000.00
Qoyawayma, Al – Butterfly Woman Vase

Al Qoyawayma is well known for his innovative Hopi pottery.  This jar employs his classic technical style of repousse.  What is repousse?  It means that the clay is pushed in from the front to create the oval shape for the design and that the figure is then pushed out from the inside! The figure on this piece is a Butterfly Woman stylized after Hopi mural drawings.  The figure is actually pushed out from the inside and is not applique (i.e. clay added to the surface).  While this is a time-consuming process, the results are dramatic. The figure is wonderfully detailed.  The remainder of the jar is fully polished in contrast to the matte area of the design.  Note the slight asymmetry to the rim.  The jar is signed on the bottom.

$ 5,800.00
Namingha, Les – “Four Seasons Hopi & Zuni Birds” Jar

This is an intricate jar by Les Namingha.  He is one of those potters who continues to defy expectations in his innovative clay art.  He pulls from his artistic background as well as his Zuni and Hopi heritage.  His most recent work has pulled from Hopi imagery yet combined it in a manner which is modern in appearance.   On the surface the jar, there are four seasons and he has portrayed them in an interesting manner.  There are spring, summer, and winter with the three different Hopi birds.  Each bird is painted with various Hopi-Tewa designs. One section with the dark blue at the top is the winter/Fall with the additional bird design made up of Zuni dots behind the Hopi birds.  The large red area with white linear designs is the start of the new year.  The coloration and designs work perfectly on this piece!  It is signed on the bottom.

$ 2,000.00
Qoyawayma, Al – Mesa Verde Architectural Jar with Three Kivas

This is a spectacular architectural piece from Al Qoyawayma.  It is one of his pieces from his “Mesa Verde” series.  The oval area is pushed into the clay and then the building is pushed back out from the inside of the bowl.  Beyond the technical, this large bowl has a very intricate designed Mesa Verde series of buildings. There are four tall towers in the background, which are square in shape.  Against the back as well is a long wall,which is beautifully incised and painted with clay slips to give the “bricks” a more realistic appearance.  In the front of the piece are three kivas.  A kiva is a ceremonial round room which historically was built into the ground. There are two covered kivas and one to the right which is missing the roof.  The other two have small ladders which lead down into the kiva.  The bowl is signed on the bottom in the clay.  Al’s architectural pieces are among his most iconic works!

$ 12,500.00
Clashin, Debbie – Large Jar with Awatovi Birds & 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 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 design has two large birds, bird tails and and panels with sun and mesa designs. The painting on the jar is delicate and flowing with the additional areas which are mottled.  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”.

$ 2,400.00
Clashin, Debbie – Jar with Two Large Birds

This water 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 sloping shoulder and a slightly turned out rim from the neck.  The jar is painted with two large stylized birds on each half of the jar.  The heads of the birds gracefully turn in while the tail feathers extends backward.  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”.

$ 800.00
Clashin, Debbie – Jar with Birds and Dragonflies

This is wide 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 sloping shoulder and there are two sections with swirling birds.  Surrounding the birds are dragonflies and rain patterns.  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”.

$ 700.00
Quotskuyva, Dextra – Jar with Nampeyo Style Eagle Tail Design (1980’s)

This is a very traditionally inspired jar by Dextra Quotskuyva.  She is certainly one of the great innovators among Hopi-Tewa potters.  Her work began with more classic imagery and then has evolved over the years to more unique and stylized designs. This piece is from the mid-1980’s.  It is inspired by the work of Nampeyo of Hano and the early style of painted red on the pottery.  In the early 1930’s Mary Colton at the Museum of Northern Arizona introduced a new clay slip to Hopi.  Previously the red had a more ‘painterly” appearance (see last photo of a jar by Nampeyo of Hano), which allowed the clay to show through. The new red is the one we see used today which more completely covers the painted area.  This jar looks back at the earlier style of Nampeyo and the red which has a more “painterly” appearance.  This jar is painted with red around the neck and the remainder has a classic eagle tail design.  However, note the very thin lines for the checkerboard pattern on the bird tail. The style of the painting is certainly Dextra’s but there is a wonderful homage to the work of her great-grandmother as well!   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, “Dextra” with an ear of corn representing the Corn Clan.   The jar is in very good condition with no chips, cracks, restoration or repair. The piece comes to us from the collection of Georgia Loloma, the wife not noted Hopi jeweler Charles Loloma and it is a piece the acquired directly from Dextra.  Dextra has been the subject of a retrospective of her pottery at the Museum of Indian Art and Culture called, “Painted Perfection“.

$ 6,500.00
Koopee, Jacob -19″ Wide Bowl with Migration Pattern & Hopi Cradle Doll Designs

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.  Our consignor has asked us to lower the price, which makes this large bowl an exceptional value.

$ 9,200.00
Komalestewa, Alton –  Melon Jar with 21 Ribs (1980’s)

Alton Komalestewa 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.  This large melon jar is an earlier piece of his pottery from the 1980’s and it is made with Santa Clara clay.  The jar has 21 melon ribs which each pushed out from the inside so that there is an undulation of the ribs.  Typical of Alton’s work, there is also a symmetry to each rib!  Of course, it is technically difficult to stretch the clay and create even ribs. The jar is highly polished and fired a brown coloration. Again, much like Helen, Alton has continually experimented with various colors of clay throughout his career to create distinctive vessels.  The jar has been traditionally fired and it is signed on the bottom by Alton and he also uses a katsina face as part of the hallmark of his name.  It is in very good condition with no chips, cracks, restoration or repair.

$ 2,400.00
Navasie, Joy “Frogwoman” – Jar with Birds (1980’s)

This smaller jar by Joy “Frog Woman” Navasie is one of her classic shapes.  The jar has straight sides and it is polished on the inside and the outside.  The jar is slipped with the white clay and then painted with natural clay slips and bee-weed (black).   The sides of the jar are very tightly painted in four panels.  It’s nice to see a smaller piece with such precision to the lines!  Two panels are birds and the other two are bird tail designs. The black painted with bee-weed (a plant) and the red is a deeper red clay she began to use in the 1980’s.  It has been traditionally fired so there are some variations in the coloration from white to almost a pinkish color.   The jar is signed on the bottom with her Frog Hallmark.  It is in excellent condition with no chips, cracks, restoration or repair.  

$ 1,100.00
Navasie, Joy “Frogwoman” – Jar with Birds and Bird Wing Neck (1980’s

This jar by Joy “Frog Woman” Navasie is one of her classic water jar shapes.  The jar has a high shoulder, an elongated neck and a turned out rim.  The body of the jar is painted with four panels of designs.  The jar is slipped with the white clay and then painted with natural clay slips and bee-weed (black).   It’s nice to see this period of her work painted with such precision to the lines!  Two panels are birds and the other two are bird wings.  Note the very complex hatchwork patterns, which are an unusual addition to her painting.  The red clay on this jar is a deeper red clay she began to use in the 1980’s.  It has been traditionally fired so there are some variations in the coloration from white to almost a pinkish color.   The jar is signed on the bottom with her Frog Hallmark.  It is in excellent condition with no chips, cracks, restoration or repair.  

$ 1,400.00
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
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
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.

$ 1,600.00
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
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, 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
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
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
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
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
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 – 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
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
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
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
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
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
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
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
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
Sale!
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 $ 450.00
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
Sale!
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 $ 700.00
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
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
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
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
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 the 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 simplicity in form but complexity in the design.  The last photo is of the “Mosquito Man” mural at Pottery Mound, NM.

$ 4,900.00
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
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
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
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“.

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

Spoken Through Clay

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

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

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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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