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 hopi potteryHopi Pottery - Tewa Group

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

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Nampeyo, Fannie – Migration Pattern Jar (1970’s)

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 certainly 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 of 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 8 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” and a corn plant representing the corn clan.   It is in very good condition with no chips, cracks, restoration or repair.  There is one spot of spalling on the top of the shoulder which can be seen in the photos.  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

$ 2,200.00
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
Quotskuyva, Dextra – Jar with Hummingbird Design (1990’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 one of her pieces from the 1990s. The jar is very highly polished and painted colorful hummingbird below the shoulder.  Note the red on the head and the wings.  Behind the hummingbird is the bird tail design.  It is very detailed in its design.  Across the shoulder is a stylized bird pattern.  The jar is painted with bee-weed (black) and a red clay slip.   The piece as traditionally fired, which created the striking coloration to this piece.  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 Museum of Indian Art and Culture, along with a companion book entitled, “Painted Perfection“.

$ 2,200.00
Naha, Burel – Seedpot with Awatovi Spider and Star Design

This is an exceptional jar by Burel Naha.  He 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 on the top.  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 1930s 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.  The bottom half has an Awatovi spider as the design.  It is very intricately painted and a nice variation from his very realistic spider patterns.   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.

$ 1,800.00
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
Sahmie, Jean – Jar with Migration Pattern

Jean Sahmie is a daughter of noted potter Priscilla Nampeyo and a descendant of Nampeyo of Hano. This jar has a wide shoulder and a short neck.  The piece is painted with the classic migration pattern.  There are seven bird wings above and below the shoulder.  Note the thin lines making up the pattern!  The jar is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom, “J Sahme”.   While Jean no longer makes pottery, there is wonderful creativity in each of her pieces!

$ 400.00
Nampeyo, Rayvin – Jar with Rainbow Design

Rayvin Nampeyo (b. 1961) is a son of Leah Garcia Nampeyo, a grandson of Fannie Nampeyo and a great-grandson of Nampeyo of Hano. He is a brother of James Nampeyo.  This jar is from the 1990s.  It has a round shoulder and a short neck.  The jar is painted with four rainbow designs.  Each is detailed with Hopi-Tewa designs.  The top star design is stippled.  The jar has very light fire-clouds and it is signed on the bottom, “Rayvin Nampeyo”.  It is in very good condition with no chips, cracks, restoration or repair.

 

$ 275.00
Huma, Rondina – Small Bowl with Geometric Patterns

Rondina Huma has certainly been one of the most influential Hopi potters working today.  Since her two-time “Best of Show” awards 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 small bowl is from the early 2000s and it 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 a mountain design.   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 very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.

$ 925.00
Nampeyo, James Garcia – Bowl with Bear Claw Designs

James Garcia Nampeyo is a son of Leah Garcia Nampeyo, a grandson of Fannie Nampeyo and a great-grandson of Nampeyo of Hano.  This is a wide and very flat shoulder jar by James.  This wide, flat shape is one which is inspired by the historic Siyatki pottery from the area.  This bowl is fully stone polished and painted with a creative design. The squares are cloud symbols. The four other designs are either bear paws or hands.  A similar design is often used by various Hopi jewelers as a bear claw design.  The area surrounding the four bear paws is stippled to create the full style od design.  It is painted with bee-weed (black) and was traditionally fired to give it the coloration with some slight blushes.  It is signed on the bottom, “James G. Nampeyo”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 300.00
Youvella, Wallace – Large Seedpot with Carved Eagle

This is a larger seedpot by Wallace Youvella, the husband of Iris Nampeyo  It is very deeply carved with an eagle as the main design.  The eagle is surrounded by a rainbow pattern and the back of the seedpot is carved with a feather pattern.  The eagle and eagle feathers are slipped with a brown colored clay while the background is red. The lower tan area is the natural color of the clay.  Note the detail int he background and on the eagle!  Wallace was one of the first three men at Hopi in the mid-1970’s to begin making pottery (the others were Mark Tahbo and Thomas Polacca).  Interestingly, Thomas and Wallace (who were brothers-in-law) both started with traditional Hopi-Tewa designs but met resistance from the women potters, so began making pieces which were either fully polished and etched or deeply carved and slipped to look like a wood carving.  This piece is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 775.00
Youvella, Jr., Wallace – Seedpot with Hemis Mana Katsina

This is an intricate small bowl by Wallace Youvella, Jr.  He is the son of noted potters Wallace Youvella and Iris Nampeyo.  It is fully polished with a Hemis Mana Katsina as the design.  It is in relief on one side of the bowl. Note the detail to the hair and the face of the katsina!  The remainder is fully polished and it is traditionally fired so there are color variations on the surface.  This piece is signed on the bottom in the clay, “Wallace Youvella, Jr..  It is in excellent condition with no chips, cracks, restoration or repair.

$ 250.00
Youvella, Wallace – Seedpot with Sunface

This is an intricate miniature by Wallace Youvella, the husband of Iris Nampeyo  It is fully polished with a blue clay slip.  It is etched with a sunface as the central design.  The lighter blue areas are where he etched away from the polished surface but not deep enough for the tan.  Wallace was one of the first three men at Hopi in the mid-1970’s to begin making pottery (the others were Mark Tahbo and Thomas Polacca).  Interestingly, Thomas and Wallace (who were brothers-in-law) both started with traditional Hopi-Tewa designs but met resistance from the women potters, so began making pieces which were either fully polished and etched, or carved.  This piece is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 175.00
Nampeyo, Loren Hamilton – Jar with Flute Players

Loren Hamilton is a son of noted potter Tonita Nampeyo and a grandson of Fannie Nampeyo.  This jar is carved with two flute players and a corn plant.  The figures are then painted with additional clay slips to create pottery designs. There are additional shard patterns along the edge of the carving.  The recessed area around the carved designs in etched with linear patterns. The remainder of the ajr is polished tan.  The jar was traditionally fired and it is signed on the bottom in the clay, “Loren H Nampeyo”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 375.00
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.

$ 1,200.00
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
Namingha, Les – “Pueblo Series” Hopi and Zuni Birds Jar

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

“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 Hopi birds around the top half of the jar  The lines in the center again are all styles of Pueblo bird wings..  The center has stylized bird wings found on the pottery of numerous Pueblos and below that is a band of Zuni birds and butterflies.”

The jar is one of Les’s classic shapes with the wide body and short neck.  The jar has striking coloration and note the two birds on the top half are painted with a translucence which reveals the design below.  The blue band with the Zuni birds and butterflies has a bit of mica in the paint so that there is a textural element to that section.  The bottom is a bold linear geometric which accentuates the highly detailed designs on the remainder of the jar.  It is signed on the bottom.

$ 2,200.00
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
Namingha, Les – Pueblo Bird Wing Jar, “Pueblo Series”

This jar by Les Namingha is inspired by Hopi-Tewa and Pueblo bird wing designs.  Let’s start at the first photo and the bottom of the jar.  The is a classic Hopi-Tewa bird wing design painted in black on the red.  Looking up at the rest of the jar, in black (with tan highlights) there are a series of birds.  There are Hopi, Zuni, and even a San Ildefonso style bird.  The spiraling lines painted on top of the bird wings are more free form geometrics.  The jar utilizes a variety of colorations from the black, red, and brown of the pottery to primary colors.  It is a complex jar.  It is signed on the bottom in the clay.

““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 variations in birds and bird wing designs.  There are similar styles of birds seen at Zuni, Acoma, San Idefonso, Laguna and in ancient pottery.”.”  Les Namingha

$ 2,000.00
Namingha, Les – Bird Wing Grafitti Style Jar

This jar by Les Namingha is inspired by Hopi-Tewa wing designs.  The jar is one of Les’s classic shape with the wide shoulder and asymmetric rim.  The jar is painted with vivid colors to give it a “pop art” style. Les said he wanted to use the bird wings but overall to give the jar a very modern “graffiti” style of design.  While the colors are bold, the jar is a striking balance of colors which work well together.  The jar is signed on the bottom in the clay.

$ 1,800.00
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 – Sun and Rain Kewa Inspired “Pueblo Series” Jar

This jar by Les Namingha is inspired by the designs on Kewa pottery.  It is part of his “Pueblo Series”.  The jar has circular sun and linear rain designs near the base. Around the shoulder are water designs.  The area above the shoulder is intricately painted with a rising and setting sun pattern along with water and earth designs.  There is a striking complexity to the various shapes and colors used throughout this jar.  Les says of this style of his work:

“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.””  Les Namingha

The jar is signed on the bottom,  “Les Namingha”.

$ 2,000.00
Namingha, Les – Hopi Moth and Birds Layered Design Jar

This jar by Les Namingha is inspired by Hopi-Tewa moth and bird designs.  The top of the jar has the Hopi style birds.  Around the shoulder are mountain patterns.  On the side of the jar are two sections with Hopi moths. In the areas with the moths and the birds, Les has layered the designs so that areas appear almost translucent!  The black areas with the white twisted lines are “tying” the top and bottom designs together.  The jar brings together numerous ideas and imagery from Hopi-Tewa pottery.  Les says of this style of his work:

“The concept of layering is inherent in our mortal journey. As time moves forward, our memories become layered. Some memories remain vibrant, others faint or hazy. Yet others, obscure or even hidden. Likewise, our experiences, words, works, emotions, prayers and songs build up in layers creating our existence. In turn, our societal interactions become exercises in layering. We see this in evidence with street art or graffiti writing where layers of thought and a desire to express a “proof of existence” create tapestries of color and marks. Blending, covering, harmonizing, dissonance, disappearing.”  Les Namingha

Around the base are vertical lines of color representing the grass, soil and earth with the birds and hummingbirds above. The jar is signed on the bottom.

$ 2,400.00
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
Duwyenie, Preston – Black Mica Jar with Silver Inset

This is a wide 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 is a single inset piece of silver on the top shoulder of the jar.  The silver has the appearance of “shifting sands”, much in a similar style to the pottery where he has carved a shifting sand pattern.  It 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.

$ 900.00
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
Quotskuyva, Dextra – Bowl with Blackbird Migration (1985), Painted Perfection p. 25

This is a classic open bowl by Dextra Quotskuyva.  She is certainly one of the great innovators among Hopi-Tewa potters.  Her work began with more classic imagery and then has evolved over the years to more unique and stylized designs. This piece is from about 1985 and it is featured in the book, “Painted Perfection” on p. 25.  The design is classic Nampeyo pattern of the Blackbird Migration.  The design is very intricately painted and swirls around the inside of the bowl. The bowl itself has a carved rim, which is almost mesa-like in shape.  From certain angles, it is as if the one is looking over the edge of the mesa and seeing the birds flying in the sky!  The bowl was traditionally fired to create the various fire clouds on 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 excellent condition with no chips, cracks, restoration or repair.  The bowl comes to us from the collection of Georgia Loloma, the wife of noted Hopi silversmith Charles Loloma.  It’s great to have a piece with such exceptional provenance!  Dextra has been the subject of a retrospective of her pottery at the Museum of Indian Art and Culture called, “Painted Perfection“.

$ 7,000.00
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
Quotskuyva, Dextra – Bowl with Red Tail Hawk Design (1980’s)

This is a traditional bowl by Dextra Quotskuyva.  She is certainly one of the great innovators among Hopi-Tewa potters.  Her work began with more classic imagery and then has evolved over the years to more unique and stylized designs. This piece is from the mid-1980’s, which can be seen in the color of the red clay, as well as her signature.  The bowl has a series of Red Tail hawk tail feathers painted in four sections.  Separating each of them is a triangular design, which represents the back and wings of the birds.  The red areas are stone polished and the black is painted with bee-weed (a plant). The bowl is traditionally fired so that there are blushes and color variations around the surface.  It is signed on the bottom with bee-weed, “Dextra” 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“.

$ 3,800.00
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
Lucas, Steve – Jar with Sun and Lightning Designs (1993)

This jar by Steve Lucas is from 1993.  It is very intricately painted with a sun and lightning pattern. The designs encircle the shoulder of the jar.  Note the very finely painted lines!  There are polished red areas while the black is painted with bee-weed.  The inside of the neck is also stone polished.  The jar was traditionally fired and has slight color variations from the firing.  It is signed on the bottom with his name and an ear of corn (Corn Clan) and a Mudhead Katsina (Koyemsi).  It is in excellent condition with no chips, cracks, restoration or repair.  

$ 1,100.00
Nampeyo, Fannie – Mini Jar with Cloud Design (1970’s)

This is one of the smallest pieces we have had from 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 certainly among the most skilled of her generation for painting designs pottery.  This miniature is in the shape of a water jar  It has a cloud or water swirl encircling the shoulder of the piece.  It is signed on the bottom, “Fannie Nampeyo” and a corn plant representing the corn clan.   It is in good condition with no chips, cracks, restoration or repair.  Dextra Quotskuyva Nampeyo said of  the migration pattern:

$ 175.00
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
Namingha, Les – “Untitled” Pastel Painting

This painting by Les Namingha is untitled. It is from a series he has painted using pastel on paper.  The piece is a modernist approach to color.  They are all colors used in his pottery and it is interesting to see how they play against one another in Les’s mind. That playfulness comes out in the lines and colors of the piece.  There are hints of figures and even a dragonfly, but they ask the question of whether they are intentional or simply our minds seeing more in the pastel colors! It is framed in a wood frame with a white matte.  It is signed in the lower right corner, “Les Namingha”.

$ 900.00
Nampeyo, Fannie – Large Migration Pattern Jar (1970’s)

This is a spectacular large 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 certainly 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 of the Nampeyo family.  This larger jar is very wide in shape with a round shoulder and a short neck. The neck is slightly turned out on the 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 10 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” and a corn plant representing the corn clan.   It is in excellent condition with no chips, cracks, restoration or repair.  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

$ 2,800.00
Lucas, Steve – Red Tail Hawk Jar

Steve Lucas is known for his intricately painted designs and thin-walled pottery.  This jar has a red tail hawk as the design.  On two sides the tail feathers of the hawk extend down from the neck and are slipped with red clay.  The head of the bird is also slipped with a polished red clay.  Separating the two birds is a wing design.  Note how thin the lines are on the jar!  The shape of the jar also starts narrow they widens at the shoulder and comes to a small neck.  Perfect to show off the design!  The jar is traditionally fired and has slight color variations from the firing.  It is signed on the bottom with his name and an ear of corn (Corn Clan) and a Mudhead Katsina (Koyemsi).  

$ 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, Georgia Dewakuku – Open Bowl with Longhair Mana (1997)

Georgia Dewakuku Koopee is the mother of noted Hopi-Tewa potter Jacob Koopee.  She is a daughter of George and Angelisa Dewakuku and a niece of Garnet Pavatea and Myrtle Young.  Her sister Kathleen Dewakuku is also a well-known potter.  Georgia has not made a lot of pottery and this large open bowl is one of the few of hers I’ve seen. The bowl is coil built and painted with bee-weed and red clay slips. The inside of the bowl has a very intricately designed Longhair Mana Katsina.  The outer side of the bowl is painted with traditional rain and cloud imagery.  The bowl is signed on the bottom, “Georgia Koopee”.  It is in good condition with no chips, cracks, restoration or repair. It does have some fugitive black on the outside but it is in great condition on the inside.  Why does the black become fugitive? It is often the result of how it is painted onto the piece before it is fired and if it is painted on too thick it will come off after the firing.  It’s not “wear” it’s just that the bee-weed black didn’t adhere to the surface of the clay.

$ 650.00
Nampeyo, Iris – Large Tan Bowl with Corn Design

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

$ 1,400.00
Namingha, Les – “Pueblo Series” Jar with Zia Birds

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

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

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

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

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

$ 1,100.00
Lucas, Steve – Bowl with Katsinas and Sky Designs

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

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

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

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

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

$ 1,800.00
Tahbo, Mark  – Large Wide Shoulder Plainware Jar (2001)

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

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

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

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

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

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

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

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

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

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

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

$ 1,400.00
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 – Stoneware Vertical Line Jar

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

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

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

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

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

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

$ 5,800.00
Nampeyo, Tonita – Bowl with Eagle Tail Design

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

$ 550.00
Nampeyo, Tonita – Migration Pattern Jar

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

$ 450.00
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
Navasie, Joy “Frogwoman” – Water Jar with Hopi Birds (1980’s)

This jar by Joy “Frog Woman” Navasie is a striking shape.  The jar has a round shoulder and a turned out rim.  The piece is fully designed with four panels painted around the sides.  The jar is slipped with the white clay and then painted with a red clay slips and bee-weed (black).   Two panels are birds and the other two are cloud and rain designs.  The red is a deeper red clay she began to use in the 1980’s.  The jar is very finely painted with delicate lines.  What is really wonderful about the jar is the firing. There are just slight blushes so the jar is not a perfect white, but the colors from the firing create almost a “meringue” color.  The jar is signed on the bottom with her Frog Hallmark.  It is in excellent condition with no chips, cracks, restoration or repair.  

$ 650.00
Nampeyo, Elva Tewaguna – Bowl with Eagle Tail Design (1971, Fred Harvey Tag)

Elva Tewaguna Namepyo, was a daughter of Fannie Nampeyo, a granddaughter of the Nampeyo of Hano and a sister of Iris and Tonita Nampeyo and Thomas Polacca.  Her pottery was coil built, stone polished and painted with bee-weed and natural clay slips. This wide shape bowl is one of her classic shapes.  The design is an eagle tail design which was made famous by Nampeyo of Hano.  The eagle tail design is delicately painted with the tail feathers extending over the shoulder of the bowl.  The piece was traditionally fired to create the blushes on the surface.  It is signed on the bottom before fired, “Elva Nampeyo”.  Interestingly, it has an original Fred Harvey sticker from 1/71.  The original price was $55!  The tag adds a wonderful provenance to the piece.   It is in very good condition with no chips, cracks, restoration or repair.  Her daughter Adelle Nampeyo continues in the same family tradition.

$ 550.00
Nampeyo, Adelle L. –  Jar with Migration Pattern

Adelle Nampeyo is known for her stylistic use of traditional Hopi designs.  This jar has a migration pattern encircling the shoulder of the piece.  Note how she has used the lines for the migration pattern above the shoulder and the bird wings below.  The design is painted with bee-weed (black) and a red clay.  The migration design is a classic Hopi-Tewa pattern revived by Nampeyo of Hano and tells the story of the migration of the people around the world.  The jar is traditionally fired to create the coloration on the surface of the jar.  The coloration works beautifully with this piece with shades from white to orange.  It is signed on the bottom.

$ 150.00
Duwyenie, Preston – Black Micaceous Seedpot with Silver Crescent Moon Lid

Preston Duwyenie is renown for his elegant pottery which is often highlighted with silver medallions.  This seedpot is made from micaceous clay and fired black.  The sparkle on the surface comes from the mica clay slip.  The lid is designed in the shape of a crescent moon.  It is cast from cuttlefish bone so there is a “shifting sand” design on both sides. Preston makes the lid to fit perfectly into the seedpot.  Both the lid and the seedpot are signed on the bottom with Preston’s hallmark.  It is a woman carrying a child on her back, which is also Preston’s Hopi name, which means “carried in beauty”.  Preston is from Third Mesa at Hopi and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.  He is married to pottery Debra Duwyenie and now resides in Santa Clara Pueblo.  Preston has won numerous awards for pottery, including “Best of Show” at the Heard Indian Market.

$ 650.00
Duwyenie, Preston – Black Mica Jar with 2 Silver Insets

This is a classic jar by Preston Duwyenie.  The shape is one which Preston calls a “shoulder jar” as it is inspired by the historic Sikyaki pottery with the wide shoulders. Preston’s modernist version has a wide shoulder and a small neck.  The piece is made from micaceous clay and slipped with a micaceous clay slip.  It is fired black and the mica gives the piece a somewhat metallic appearance.  There are two inset pieces of silver on the top shoulder of the jar.  Each silver piece has the appearance of “shifting sands”, much in a similar style to the pottery where he has carved a shifting sand pattern.  They are cast by Preston against cuttlefish bone, to create the distinctive texture.  The jar is signed on the bottom in the clay with Preston’s hallmark, which means “carried in beauty”.  There is certainly something both modern and ancient about this striking piece!   Preston is from Third Mesa at Hopi and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.  He is married to pottery Debra Duwyenie and now resides in Santa Clara Pueblo.  Preston has won numerous awards for pottery, including “Best of Show” at the Heard Indian Market.

$ 1,200.00
Duwyenie, Preston – Black Micaceous Seedpot with Silver Corn Plant Lid

Preston Duwyenie is renown for his elegant pottery which is often highlighted with silver medallions.  This seedpot is made from micaceous clay and fired black.  The sparkle on the surface comes from the mica clay slip.  The lid is designed in the shape of a corn plant.  It is cast from cuttlefish bone so there is a “shifting sand” design on both sides. Preston makes the lid to fit perfectly into the seedpot.  Both the lid and the seedpot are signed on the bottom with Preston’s hallmark.  It is a woman carrying a child on her back, which is also Preston’s Hopi name, which means “carried in beauty”. Preston is from Third Mesa at Hopi and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.  He is married to pottery Debra Duwyenie and now resides in Santa Clara Pueblo.  Preston has won numerous awards for pottery, including “Best of Show” at the Heard Indian Market.

$ 750.00
Lucas, Steve – Large Jar with Katsina and Rain Designs (1995)

Steve Lucas is one of the leading Hopi-Tewa potters working today.  Each piece is coil built, stone polished, painted with native clay slips and bee-weed (black) and traditionally fired.  Steve has won “Best of Show” at Santa Fe Indian Market and his work remains some of the most refined and creative.  This large jar is from 1995 and won a Second Place Ribbon at Santa Fe Indian Market.  The shape, with the wide shoulder and the short neck, is perfect for his design.  The design is an interesting deconstruction of Katsina faces.  There is a Longhair face a Chakwaina half-moon design.  The other patterns are various Hopi-Tewa eagle tail and rain designs.  The deep red is stone polished and it is a striking contrast to the black areas.  Note the very finely painted lines and the hatchwork designs.  These add to the overall impact of the jar. The piece was traditionally fired and has slight blushes on the surface.  It is signed on the bottom in the clay, “S. Lucas” and a mudhead (koyemsi) and an ear of corn (corn clan).  It is in very good condition with no chips, cracks, restoration or reapir.

$ 3,600.00
Quotskuyva, Dextra – Bowl with Cloud and  Rain Design (1970’s)

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

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

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

$ 650.00
Naha, Rainy – Jar with Awatovi Mural Parrot and Hero Twin Figures

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

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

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

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

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

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

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

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

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

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

Adelle Nampeyo is known for her stylistic use of traditional Hopi designs.  This bowl has a migration pattern encircling the shoulder of the piece.  Note how she has used the lines for the migration pattern above the shoulder and the thinly painted lines.  Below the shoulder is a double band of black and red, representing the mesas.  The designs are painted with bee-weed (black) and a red clay.  The migration design is a classic Hopi-Tewa pattern revived by Nampeyo of Hano and tells the story of the migration of the people around the world.  The jar is traditionally fired to create the coloration on the surface of the jar.  The coloration works beautifully with this piece with shades from white to orange.  It is signed on the bottom.

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

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

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

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

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

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

$ 1,800.00
Naha, Helen “Feather Woman – Wide Jar with Bat Wing Design (1970’s)

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

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

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

$ 600.00
Duwyenie, Preston – White Shifting Sands Plate with Silver Inset

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

$ 525.00
Qoyawayma, Al – “Modern Migration” Polychrome Lidded Jar

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

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

Steve Lucas is one of the leading Hopi-Tewa potters working today.  Each piece is coil built, stone polished, painted with native clay slips and bee-weed (black) and traditionally fired.  Steve has won “Best of Show” at Santa Fe Indian Market and his work remains some of the most refined and creative.  This large jar is a stunning piece of his pottery in form and design. The jar has a flat side and it extends up to the neck.  The side is fully painted with a variety of Hopi star and cloud designs.  Along the shoulder, the jar has four sections of eagle tail designs.  The tails are slipped in red and brown. Separating them are larger panels with additional bird tail designs.  These incorporate a green clay slip in addition to the red.  The jar has both an ancient and modern appearance to the design. The tight precision painting gives the jar an impressive appearance.  The piece was traditionally fired and the last photo shows the jar when it came out of the firing!  The jar has a dynamic coloration from the firing.  It is signed on the bottom in the clay, “S. Lucas” and a mudhead (koyemsi) and an ear of corn (corn clan).  Spectacular!

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

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

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

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

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

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

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

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

$ 2,800.00
Clashin, Debbie – Dragonfly Plate

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

$ 900.00
Huma, Rondina – Bowl with Hopi Bird Designs

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

$ 875.00
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Maho, Garrett –  Bowl with Raven Design

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

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

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

$ 1,950.00
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