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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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Maho, Garrett –  Tile with Hopi Bird

Garrett Maho is known for his traditional and innovative Hopi-Tewa pottery.  This tile is very tightly painted with a traditional Hopi style bird as the design. The bird is intricately painted and note the checkerboard pattern on the body!  The tile is painted with a deep red is an additional clay slip while the black is painted with bee-weed (a plant).  The tile has been traditionally fired so that there are blushes on the surface.  The piece is signed on the back in the clay.

$ 300.00
Nampeyo, Tonita – Jar with Double Hummingbirds

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 a taller shape with a rounded shoulder that leads to the mouth of the piece.  On one side it is painted with a traditional style hummingbird with the red polished head and wings.  On the opposite side there is another hummingbird, but the body is painted with a series of smaller Hopi designs. There are sections which are polished red.  The lines on the jar are very delicately painted in Tonita’s famous thin lines.  It has also been traditionally fired, which gives the jar the blushes on the surface.  It is signed on the bottom.  It is in very good condition with no chips, cracks, restoration or repair but some fugitive slip in the black.

$ 800.00
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
Abeita, Karen –  Bowl with Eagle Tail Designs

Karen Abeita is known for her traditional and innovative Hopi-Tewa pottery.  This bowl is painted with bee-weed (black) and a red clay slip and then traditionally fired.  Karen is known for her very intricately painted pottery. The bowl has an eagle tail and wings pattern painted around the surface.  Note as well the Hopi sash design around the mouth of the bowl!  It is very intricately painted.  The bowl is signed on the bottom.

$ 1,400.00
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
Tahbo, Mark  – Plate with Four Birds (2002)

This is an unusual plate by Mark Tahbo.  The plate is recessed with a small rim.  It is fully polished and the center is fully painted. The design has four Hopi birds encircling the piece.  The center square is slipped with the mauve clay he was using at this time. The square styling is similar to that used by Nampeyo of Hano in the painting on the top of her pottery.  Note on the birds and the delicately painted lines.  The plate was traditionally fired and has some great blushes on the surface.  It was painted with bee-weed (black) and then clay slips. The plate is signed on the back rim, “Mark Tahbo” and dated 2002.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 1,600.00
Lucas, Steve – Jar with Spider Design

Steve Lucas has been one of the most influential traditional Hopi potters of the past several decades. His large, thin walled vessels along with his detailed painting, precise lines and neo-traditional designs are hallmarks of his pottery. This jar is thin walled and highly polished.  The design is painted with delicate lines onto the polished surface.  It is a traditional spider pattern that was revived by Nampeyo of Hano.  The spider design is on one side and there is a bird wing pattern on the other. The red used for the design has mica in it and the black is bee-weed.  The jar is traditionally fired and the blushes are stunning!  Steve has won numerous awards for his pottery, from Best of Show at Santa Fe Indian Market, to the Helen Naha “Traditional” award.  The bowl is signed on the bottom with his name and an ear of corn (Corn Clan) and a Mudhead Katsina.

$ 2,600.00
Nampeyo, Adelle L. –  Bowl with Bat Wing Design Bowl

Adelle Lalo Nampeyo is known for her stylistic use of traditional Hopi designs.  This bowl is a traditional shape and painted with the classic batwing pattern, made famous by Nampeyo of Hano.  The opening is slipped red and the remainder is painted with intricate lines.  The bowl 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.

$ 115.00
Sahmie Nampeyo, Rachel – Triple Lobe Jar

Rachel Sahmie is a daughter of noted potter Priscilla Nampeyo and a descendant of Nampeyo of Hano.  She is a sister of noted potters Jean Sahmie and Bonnie Sahmie.  This is a fascinating piece, as there are three “lobes” to the piece, which technically is difficult to create.  It is almost as if there are three pots place one on another!  The bottom section has an eagle tail design.  The center section has a bird wing pattern and the top has stars.  The jar is painted with bee-weed (black) and slipped with a polished red clay to accent the designs.  It has been traditionally fired which creates the blush on the surface.  The jar is signed on the bottom with her name (hallmark) “RS”.

 

$ 600.00
Maho, Garrett –  Bowl with Raven Design

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

$ 650.00
Naha, Rainy – Jar with Eagle Tail Designs

Rainy Naha learned to make pottery from her mother, Helen “Featherwoman” Naha.  Rainy continues is a similar style using a white clay slip as the foundation for her work.  This jar is thin walled and very detailed in the painted designs.  Here, the eagle tail extends out from the mouth of the bowl.  The wide bands are the tail feathers of the bird while the circular extensions on both sides are the wings.  Each of the tails are composed of various Hopi designs.  Note how Rainy has used over four different clay colors to achieve the dynamic appearance of the designs!  Few potters spend the time to seek out so many colors and few are able to use them with such skill!  Rainy uses natural clay slips (bee-weed for the black) and a white kaolin clay.  Each of her pieces is also traditionally fired which gives the white a very pearlescent appearance.  It is signed on the bottom with a feather and “Rainy”.

$ 1,100.00
Nampeyo, Iris – Bowl with Corn Design

Iris Nampeyo is a daughter of Fannie Nampeyo and a 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 bowl is stone polished and the corn on the front is in applique relief.  The husk of the corn is sharp and the matte area extends around the corn.  This jar was made with the red Hopi clay, giving it this distinctive coloration.  There are slight blushes to the clay which can be seen in the surface.   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.  While she no longer makes pottery, her vessels remain classic.  This piece is signed on the bottom in the clay and it is in excellent condition with no chips, cracks, restoration or repair.

$ 900.00
Sahmie, Jean – Large Bowl with 16 Flute Players

Jean Sahmie is a daughter of noted potter Priscilla Nampeyo and a descendant of Nampeyo of Hano. This large bowl is fully vertically polished and painted with bee-weed (a plant)f or the black.  The vertical polish harkens to historic pottery which had this “onion skin” type of polished surface.  There are sixteen flute players encircling the bowl.  Each is painted with lines of rain separating them.  The bowl has been traditionally fired and it has some striking blushes on the surface.  It is signed on the bottom, “Jean Sahme”.  It is in very good condition with no chips, cracks, restoration or repair.  While Jean no longer makes pottery, there is a wonderful creativity in each of her pieces!

 

$ 800.00
Sahmie, Jean – Jar with Awatovi Style Designs

Jean Sahmie is a daughter of noted potter Priscilla Nampeyo and a descendant of Nampeyo of Hano. This jar has a wide shoulder and slightly turned out rim.  The shoulder of the jar is painted with a linear design and below that is a lightning pattern. The base has another lightning design. The designs for the jar are inspired by the classic Awatovi pottery.  The jar is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom with her hallmark and a corn plant (for Corn Clan).  While Jean no longer makes pottery, there is a wonderful creativity in each of her pieces!

 

$ 500.00
Sahmie, Jean – Jar with Pottery Shard Base

Jean Sahmie is a daughter of noted potter Priscilla Nampeyo and a descendant of Nampeyo of Hano. This jar has a wind pattern painted around the shoulder.  Below the shoulder is a complex shard design.  Each of the sections has a different design and they are painted with bee-weed for the black and two different clay slips.  The red slip is polished and the burgundy is matte.  The jar is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom with her hallmark and a corn plant (for Corn Clan).  While Jean no longer makes pottery, there is a wonderful creativity in each of her pieces!

$ 500.00
Maho, Garrett –  Jar with Hopi Birds

Garrett Maho is known for his traditional and innovative Hopi-Tewa pottery.  Garrett said that the designs on this jar were inspired by the work of his grandmother,  Marilyn Mahle.  She would often use this classic style of Hopi birds as a design on her pottery.  The jar itself is highly polished.  The birds encircle the jar, rising above and below the shoulder.  They are painted with bee-weed and an additional red clay slip.  There is also the mauve clay slip, which is used on two sections of the jar.  The black is bee-weed, a plant.  The jar has been traditionally fired so that there are blushes on the surface.  The piece is signed on the bottom in the clay.  Garrett most recently won “Best of Pottery” at the 2018 Heard Indian Market.

$ 875.00
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
Maho, Garrett –  Bowl with Rainbird Design

Garrett Maho is known for his traditional and innovative Hopi-Tewa pottery.  This bowl has rainbird painted on one side with its wings outstretched.  As the jar is turned, there is an opening in the bowl and it is surrounded by a checkerboard pattern.  This is the bird’s nest!  The bowl is painted with a deep red clay 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.  Garrett most recently won “Best of Pottery” at the 2018 Heard Indian Market.

$ 350.00
Maho, Garrett –  Butterfly Tile

Garrett Maho is known for his traditional and innovative Hopi-Tewa pottery.  This tile is very tightly painted with a traditional Hopi style butterfly as the design.  Garrett has taken classic designs and used them for the wings of the butterfly!  It is very finely painted and traditionally fired.  The tile is painted with a deep red is an additional clay slip while the black is painted with bee-weed (a plant).  The tile has been traditionally fired so that there are blushes on the surface.  The piece is signed on the back in the clay.

$ 300.00
Maho, Garrett –  Jar with Moth Design

Garrett Maho is known for his traditional and innovative Hopi-Tewa pottery.  This jar has a classic moth pattern. The jar itself is a classic shape with the high shoulder and slightly turned out rim.  There are four moths painted above the shoulder.  Check out the detail int he heads and the bodies.  Below the shoulder is a band of traditional wind and cloud patterns.  The jar is highly polished and the deep red is an additional clay slip while the black is painted with bee-weed (a plant).  The jar has been traditionally fired so that there are blushes on the surface.  The piece is signed on the bottom in the clay.  Garrett most recently won “Best of Pottery” at the 2018 Heard Indian Market.

$ 875.00
Maho, Garrett –  Tile with Hopi Birds

Garrett Maho is known for his traditional and innovative Hopi-Tewa pottery.  This tile is very tightly painted with traditional Hopi birds as the designs.  The birds beaks are in black and circling towards the edges while the wings and tail feathers are placed in the diagonal center of the tile. The deep red is an additional clay slip while the black is painted with bee-weed (a plant).  The tile has been traditionally fired so that there are blushes on the surface.  The piece is signed on the back in the clay.

$ 300.00
Adams, Sadie – Tile with Hopi Bird

Sadie Adams is one of the great names in Hopi pottery throughout the 1900’s.  There was a creativity in her shapes and use of Hopi and Sikyatki designs.  As well, there was a wonderful perseverance in her work for nearly a century!  This is one of her tiles.  It is painted with a Hopi or Sikyatki style bird.  The sections of the bird are paitned with rain, wind and cloud designs.  The tile is fully polished and traditionally fired.  It is signed on the back with her hallmark and name.  It is in excellent condition with no chips, cracks, restoration or repair.  It is certainly and beautiful example of her pottery and painting skill.

$ 400.00
Sahmie, Jean – Tile with Bird Wing Designs

Jean Sahmie is a daughter of noted potter Priscilla Nampeyo and a descendant of Nampeyo of Hano. This is one of her intricately painted tiles.  The design is a double bird wing or migration pattern.  Each of the wings is tightly painted with fine lines. The black is bee-weed and the red is a clay slip.  The tile is traditionally fired.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the back with her hallmark and a corn plant (for Corn Clan).  While Jean no longer makes pottery, there is a wonderful creativity in each of her pieces!

 

$ 175.00
Cheeda, Zella – Plate with Geometric Designs (1970’s)

Elva Tewaguna Namepyo, was a daughter of Fannie Nampeyo, a granddaughter of the Nampeyo of Hano and a sister of Iris and Tonita Nampeyo and Thomas Polacca.  Her pottery was coil built, stone polished and painted with bee-weed and natural clay slips. This bowl has a very tightly painted classic migration pattern as the design.  The piece was traditionally fired to create the blushes on the surface.  It is signed on the bottom.  It is in very good condition with no chips, cracks, restoration or repair.  The original price tag from when it was purchased in the 1970’s is still on the bottom! Her daughter Adelle Nampeyo continues in the same family tradition.

$ 175.00
Koopee, Jacob – “Hopi Sikyatki” Bowl

This bowl by Jacob Koopee is from around 2000.  It is a round shape with a smaller opening.  The bowl is painted with four eagle tails designs.  Jake wrote of this piece, “Eagle tail with eagles emerging along with parrots.  Speckling represents the rain”.  The bowl has the four eagle tails and the four parrots painted in black (bee weed) and there are additional red and burgundy clay slips.  Typical of Jacob’s painting, there are thin lines as the design.  The bowl was traditionally fired which created the blushes on the surface.   The piece is signed on the bottom, “Koopee” and a flute player hallmark.  It is in excellent condition with no chips, cracks, restoration or repair.   This bowl also has a card with the designs written out by Jacob, which is a nice piece of provenance!   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.

$ 2,200.00
Sahmie Nampeyo, Rachel – Small Eagle Tail Bowl

Rachel Sahmie is a daughter of noted potter Priscilla Nampeyo and a descendant of Nampeyo of Hano.  She is a sister of noted potters Jean Sahmie and Bonnie Sahmie.  This small bowl is painted with a classic eagle tail design.  This design is one which Nampeyo of Hano revived from the Siyatki pottery of the 1400’s.  The black is bee-weed and the red is a polished clay slip.  It has been traditionally fired.  The bowl is signed on the bottom with her name (hallmark) “RS”.

 

$ 125.00
Tahbo, Mark  – 16″ Wide Eagle Tail Shoulder Jar (1999)

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

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

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

$ 100.00
Clashin, Debbie – Large Jar with Hopi Birds

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.  Her recent work also reflects designs which originated at Sikyatki in the 1400’s and revived by Nampeyo of Hano and Debbie’s ancestor Grace Chapella.  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 is two connected birds.  Each pair covers have the jar.  The bodies of the birds have traditional Hopi-Tewa designs and they are surrounded by stars.  Separating them are vertical lines and bird tails. The painting on the jar is delicate and flowing with the additional areas on the birds 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”.

$ 2,800.00
Clashin, Debbie – Jar with Birds & 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.  Her recent work also reflects designs which originated at Sikyatki in the 1400’s and revived by Nampeyo of Hano and Debbie’s ancestor Grace Chapella.  This jar is fully polished and painted with bee-weed (black) and natural clay slips. The design is a series of Sikatki inspired birds and dragonflies.  The birds (the black swirls) spiral down toward the base of the jar and are surrounded by the dragonflies.  It is delicately painted and striking in appearance.  It was 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”.

$ 1,200.00
Clashin, Debbie – Bowl with Moth Design

This is classic design bowl by Debbie Clashin.  She is a cousin of noted potter Mark Tahbo and a descendant of Grace Chapella.  Debbie has quickly become well known for her large-sized traditional Hopi-Tewa pottery. The shape of this bowl has a sloping shoulder.  The piece is painted with two moths, one on each side.  It was a design which was originated by Grace Chapella.  Next to each moth is a three-pointed section which represents the three Hopi mesas.   The rest of the design are the stars in the sky at night.  The jar is painted with bee-weed and natural clay slips.  It was traditionally fired with blushes across the surface of the jar along with a few darker areas from the smoke.   It is signed on the bottom with her name and a pipe for his “Tobacco Clan”.

$ 975.00
Duwyenie, Preston – Black Shifting Sand Jar with Silver Insets

This is a striking wide shoulder jar by Preston Duwyenie.  It is made from Hopi clay and then slipped with mica on the base and neck. The shoulder of the jar is carved in a natural manner to represent the sand in the desert and its constant movement.  The “sand” sections are matte while the remainder is slipped with mica.  The entire jar is fired black and the result is stunning!  The micaceous areas are almost metallic in appearance.  The matte is a perfect contrast.  There are also three inset pieces of silver, which have an additional “shifting sand” pattern.  The silver is cast against cuttle-fish bone (a type of squid).  This process creates a similar style of shifting sand design to complement the clay.  The jar is flat on the bottom and signed in the clay with Preston’s hallmark which is a woman carrying a child as the hallmark for his name in Hopi.  Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.

“Why the shifting sand designs? Preston says he remembers watching a smooth pebble caught in sand being shifted by the wind, “there was beauty in its isolation within the sea of sand. It was like an island.  The endless sands of time, and the fact that people, too are tossed about by the wind. There is always rippling in our lives”.

$ 2,500.00
Namingha, Les – Mosaic Design Bowl

This is a more classic Hopi-Tewa bowl by Les Namingha.  The bowl is a wide, but rounded shape.  The design on the top is painted with very small shard or mosaic patterns.  Each of the tiny shards has different designs.  Note as well in various sections how some are all checkerboard, while others are snow patterns and some are traditional Hopi designs.  Each of the sections is separated by asymmetric bands which criss-cross the top of the bowl.  The side of the bowl is painted with five different clay slips which alternate around the piece.  Some are polished and some are matte.  Below the checkerboard pattern is another band of shard designs.  At the base of the bowl, there is a spiraling water design interspersed with Les’s pointillism.  The coloration and the intricacy of the design are spectacular on this piece.  Les is a descendant of Nampeyo and learned to make pottery from his aunt Dextra Quotskuyva.  It is signed on the bottom.  Les said of this style of his work:

“I was studying minimalist and geometric painters. This led to merging contemporary abstract patterns with Hopi mosaic designs. The subtle combination still maintained the design balance while decreasing the use of mosaic elements. It was refreshing to introduce minimalist ideas into the intense painting process.”

 

$ 3,400.00
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
Namingha, Les – Large “Thunderbird” Bowl

This larger bowl by Les Namingha is as part of his “Lyrical” series of Nampeyo birds.  Les says of these pieces:

In the Lyrical Series, my goal is to work with various colors.  Sunrise, sunset, dusk, or other types of blending and washing of colors.  In complement to that I use various bird designs by Nampeyo of Hano. The birds are often painted in the style they appear on the pottery so they are more detailed and contrast against the colors behind them.

He is certainly 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.   This dramatic bowl has four “thunderbirds” as the surface design.  Les says he was inspired by a black-and-white on red bowl by Nampeyo of Hano made around 1901 (see last photo).  The birds painted by Nampeyo are stylized and make one think about both Fred Harvey jewelry and Northwest coast designs.  Here the birds are painted black-and-white on a red background. Behind the birds are stylized bird wings and linear graphics. The colors spiral around the bowl much like the Thunderbird designs.  It is always fascinating when an artist is able to look back at a historic vessel and reinterpret it through modern eyes!  It is signed on the bottom.  The ancient and modern are perfectly balanced in this bowl!

$ 3,600.00
Nampeyo, Eiva L. –  Bowl with Bat Wing Design Bowl

Eiva Lalo Nampeyo is a daughter of Elva Tewaguna Namepyo, a granddaughter of Fannie Nampeyo, the great-granddaughter of the Nampeyo of Hano.  She is as sister to potters Adelle,  Miriam Nampeyo, Elton Tweaguna and Neva Namepyo.  She learned to make pottery from her mother and grandmother.  This jar is a striking variation on the classic bat wing design.  Here there is a linear pattern above the shoulder which then extends down to the bat wing patterns.  The red clay slip is used to highlight the bat wings. It is signed on the bottom.

$ 195.00
Nampeyo, Adelle L. –  Wide Shoulder Bat Wing Design Bowl

Adelle Lalo Nampeyo is known for her stylistic use of traditional Hopi designs.  This wide bowl is a classic shape with a wide shoulder.  The design is the classic bat wing pattern, made famous by Nampeyo of Hano.  The opening is slipped red and the remainder is painted with intricate lines.  The bowl 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
Quotskuyva, Dextra – Double Opening Bowl with Hummingbird & Star (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 a fascinating bowl which has two openings.  On one side there is a flower painted on the clay with a tiny hummingbird.  The other side has a black painted star pattern.  The bowl is signed on the inside.  The bowl sits on a clay tile, which has been traditionally fired and is also signed in the clay.  The fine lines of the painting, along with the blush from the traditional firing make this an exceptional piece of her pottery. It is painted with red clay slips along with bee-weed (black).  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“.

$ 3,600.00
Naha, Rainy – Jar with Bat Wing Design

This small jar is a classic Hopi-Tewa design by Rainy Naha.  The bat wing pattern is one that was often used by her mother, Helen “Featherwoman” Naha. The bat wings are painted with very thin lines and the pattern extends over the shoulder.  Rainy uses natural clay slips (bee-weed for the black) and a white kaolin clay.  Each of her pieces is also traditionally fired which gives the white a very pearlescent appearance.  It is signed on the bottom with a feather and “Rainy

$ 575.00
Setalla, Stetson – Large Wide Bowl with Mountain and Cloud Patterns

Stetson Setalla is a son of noted potter Pauline Setalla.  This wide bowl is fully painted triangular mountain designs along with cloud patterns. The designs are intricately painted with hatchwork and geometric patterns. The bowl is coil built and painted with bee-weed and natural clay slips.  Note the various colors he has used on this bowl, which is certainly unusual!  The bowl is traditionally fired with striking fire clouds on the surface.  Interestingly, the first time I met Stetson was through the famous photographer Jerry Jacka, around 1998.  Jerry was photographing Stetson’s pottery for is book on Hopi art and asked Stetson to stay until I arrived so I could see his pottery!  Definitely a talented potter from the very beginning!  This bowl is signed on the bottom.

$ 800.00
Naha, Sylvia – Jar with Lizard & Corn Plant Designs

Sylvia Naha created pieces with the white clay polished surface painted with bee-weed (black) and native clay slips.  Throughout the 1980’s, Sylvia was considered among the most innovative of the Hopi potters.  Her pieces were classic in form and amazingly intricate in design.  This jar has two of her classic designs, the lizards and the corn plants. Each lizard is painted with a series of triangular geometrics.  They are painted at a slant on the jar.  Separating the lizards are two corn plants. Corn has strong symbolism for prosperity and abundance.  The jar is in excellent condition with no chips, cracks, restoration or repair.  The jar is signed on the bottom with a feather and an “S”.

$ 800.00
Navasie, Joy “Frogwoman” – Large Water Jar with Birds (1980’s)

This is a large water jar by Joy Navasie.  It is slipped with the white clay and then painted with natural clay slips and bee-weed (black).  The shape is a classic for her with a round body and a slightly turned out neck.  The neck has a single band of rain and cloud designs. The sides of the jar are fully painted in four panels.  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.  The jar is fully polished, even on the inside!  It has been traditionally fired so there are some variations in the coloration from white to almost a pinkish color.   The jar is signed on the bottom with her Frog Hallmark.  It is in very good condition with no chips, cracks, restoration or repair. 

$ 1,800.00
Nahsonhoya, Agnes – Carved Seedpot with Bird

Agnes Nahsonhoya is a daughter of noted potter Pauline Setalla and a niece of Eunice “Fawn” Navasie. She is also the sister of Dee Setalla and Stetson Setalla. She learned to make pottery from her mother and her aunt. Her pieces are signed her name and also a bear paw, as she is bear clan.  This seedpot is coil built and carved with a bird circling the side and top of the piece.  The sections of the bird are carved into the clay and consist of rain and cloud patterns.  The head of the bird sprials onto the top of the piece.  It is signed on the bottom.

 

$ 300.00
Naha-Nampeyo, Cheryl – Small White Bowl with Ants

 

Cheryl Naha Nampeyo is a daughter of Shirley Benn and a granddaughter of Daisy Hooee.  She is also a descendant of Nampeyo of Hano. This is one of her small “ant bowls”.  She says of these:

The story was told to me by my grandmother Daisy Hooee Nampeyo as it was told to her grandmother.  Long ago, the People wanted to get rid of the ants around the house.  They would hunt for the hives in the bushes or trees.  Once a hive was found, they would use honey.  The honey was poured into small pots and place on top of anthills. All the ants would come out because they found that it was sweet.  The people would use a hoe to move the pots of ants away from the home.  That is how they got rid of the ants and that is why we call them “Ant pots”.

This small bowl is made from white clay and it is painted with bee-weed (black).  There are a series of ants encircling the bowl as part of the story of moving the ants.  The bowl is signed on the bottom in the clay, “C. Naha Nampeyo”.

$ 25.00
Naha, Rainy – Large Jar with Awatovi Star Design

Rainy Naha is known for her delicately painted Hopi-Tewa pottery.  This is one of the larger pieces we have had from her designed with the Awatovi Star pattern.  As she only makes a few pieces each year this size, we are certainly pleased to have it in the gallery.   The jar is striking shape with a wide shoulder and a sloping neck.  This design, 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 jar 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.

$ 2,600.00
Naha-Black, Tyra – Bowl with Bird Designs

Tyra Naha-Black is a daughter of Rainy Naha.   She learned to make pottery from her mother and continues to make traditional style Hopi-Tewa pottery in the style her grandmother, Helen “Feather Woman” Naha.  This bowl is coil built and painted with native clay slips and bee-weed (black).  It is a classic design with a series of birds encircling the bowl and connected with fineline patterns.  It is a variation on the classic “migration” pattern.  The bowl is traditionally fired and signed on the bottom with a feather and spider (Spider Clan ) and a “3” for being Third Generation of the Naha family.

 

 

 

 

$ 250.00
Naha, Rainy – Bowl with Awatovi Star Design

Rainy Naha is known for her delicately painted Hopi-Tewa pottery.  This bowl is one of her classic shape 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.

$ 800.00
Nampeyo, Tonita – Migration 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 a classic shape with a wide shoulder and a slightly turned out neck.  The design is 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 good condition with no chips, cracks, restoration or repair but some fugitive slip in the black.  It is signed on the bottom.

$ 275.00
Namingha, Les – Wide Jar with Birds and Swirls

This is a traditional Hopi-Tewa jar by Les Namingha.  The jar is a wide shape, which is inspired by the ancient Sikytaki pottery as well as Nampeyo of Hano.  The design is painted on the top with the black bee-weed as well as several different colors of red and tan clay slips. The designs on the jar are a series of birds.  Two of the larger panels have the birds and bird tails.  The other two sections has the swirling birds with a pointilism use of red and black surrounding them.  The side of the jar has an alternating rain and eternity band.  The design around the rim is both angular and one that seems to easily identify the jar as one by Les.   The blushes on the surface are from the firing.  The jar is from 2013 and it is in excellent condition with no chips, cracks, restoration or repair.   Les is a descendant of Nampeyo and learned to make pottery from his aunt Dextra Quotskuyva.  It is signed on the bottom.

$ 2,800.00
Duwyenie, Preston – Tall Black Micaceous Jar with Silver Insets

This is a distinctive jar by Preston Duwyenie.  The piece is a tall jar with a narrow opening. The piece is slipped in a micaceous clay and then fired black. The mica then gives the piece a very metallic appearance.  There are two inset pieces of silver on one side 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.

$ 2,100.00
Lucas, Steve – Small Jar with Bird Tail Designs

This small bowl by Steve Lucas has a very complex design.  The bowl is stone polished and then painted. The design is a series of bird tails which are then highlighted with both red and white clay slips.  The overall appearance is very modernistic yet based in classic Hopi imagery.  The bowl 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.

$ 425.00
Duwyenie, Preston – Shifting Sand Seedpot with Fan Design

Preston Duwyenie is know for his Hopi pottery which blends modern and traditional aspects of the art. This seedpot is made from a red clay which he finds near Second Mesa at Hopi.  The clay fired a tan coloration.  The body of the piece is fully polished.  The top area above the shoulder has the shifting sand design.  What makes the sand area so fascinating is how he carves it so that it has very natural appearance.  It flows around the entire surface, just as if the clay has been swept away. The top view of the piece shows the design nicely and the shadows the design creates.  The lid is made from silver and cast against cuttlefish bone. Preston cut the lid so that it has a stylized fan half-circle or plant shape.  The casting creates a similar style of ‘shifting sand’ design to complement the clay areas!  The the seedpot and the silver lid are signed on the bottom with Preston’s hallmark which is a woman carrying a child and his 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.

Why the shifting sand designs? Preston says he remembers watching a smooth pebble caught in sand being shifted by the wind, “there was beauty in its isolation within the sea of sand. It was like an island.  The endless sands of time, and the fact that people, too are tossed about by the wind. There is always rippling in our lives”.

$ 750.00
Nampeyo, James Garcia – Large Jar with Eagle Tail Design

James Garcia Nampeyo is a son of Leah Garcia Nampeyo, a grandson of Fannie Nampeyo and a great-grandson of Nampeyo of Hano.  This is a large wide shoulder jar by James.  It is fully polished and painted with a very classic eagle tail design. This motif was made famous in the pottery of Nampeyo of Hano when she revived it from historic Sikyatki pottery. The design is painted in four sections and the black is bee-weed and the red, a clay slip.  The jar is traditionally fired with some slight blushes to the surface.  It is signed on the bottom.

$ 975.00
Begaye, Nathan – Large Polychrome Jar with Cloud Swirls

Nathan Begaye was a unique innovator among Pueblo and Navajo potters.  His ethnic connection to both Hopi and Navajo let his work flow between the two distinctive styles and yet find their own unique space.  His pottery used traditional designs, forms and techniques, yet somehow appeared very modern.  This large jar by Nathan is coil built and stone polished vertically to create an “onion skin” appearance to the surface.  The jar is then painted with different clay slips of various colors. All his different colors were always natural clays.  The design on this jar takes it inspiration from the ancient Tularosa pottery and their swirl patterns, as well as the cloud designs on Hopi pottery.  The jar is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

 

 

$ 1,100.00
Qoyawayma, Al – Polycrome Triangular Box with Moth Man

This triangular “box” by Al Qoyawayma is an exceptional piece of his pottery. The shape is distinctive with the three flat sides and the flat lid.  The three sides allow him space to create his multi-layer carved designs.  On the “back” panel is the classic Month Man which is derived from ancient kiva art. Here he is depicted with a plant design. On the there is a Hopi style bird with cloud and lightning designs above.  On the opposite side is a complex pattern of bird wings and a old style bird near the base.  I included some close shots of the sides to show the real depth of the layers of carving and the textural nature of the corn patterns in the carved areas.  The lid is carved in multiple layers and has a swirled bird and prayer feathers.   The various layers of carving allow for him to give additional depth to the piece.  The colors are all natural clay slips which are often stone polished to create the shine in contrast to the matte surfaces.  The colorations on this piece are stunning and add to the striking appearance and balance of form, sculpture and design!  It is signed on the bottom in the clay.  Simple perfection!

$ 11,000.00
Qoyawayma, Al – Cliff Dwelling and Butterfly

Al Qoyawayma calls the shape of this jar his “Serenity vase”.  It is a distinctive form with the two overlapping spouts. This polychrome jar is carved with a very old style Sikyatki butterfly on one side.  It has various layers of carving which give added depth to the design and the various colors are all from different clay slips. The opposite side has a pueblo cliff dwelling which has areas which are recessed and the entire surface is fully carved!  Note the various shapes of the doors with the keyhole, square the even ones with the fallen beams!    It is a classic piece with a striking balance of designs and form. The jar is signed on the bottom in the clay.

$ 3,900.00
Qoyawayma, Al – Large Full Arch Mesa Verde Jar

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. I have included photos of the process, as I think they are both fascinating and also show the incredible skill and time it takes to make a piece like this happen!  Beyond the technical, this large bowl has a very intricate designed Mesa Verde series of buildings. There are the tall towers in the background, both round, and square. In the front is a fully covered kiva with a ladder and an older kiva with the roof missing.  The front has the rocks sculpted into the clay.  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!

$ 18,000.00
Qoyawayma, Al – “Modern Migration” Polychrome Lidded Jar

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

$ 17,500.00
Namingha, Les – Large “Urban Polychrome” Jar

This is one of the largest pieces we have had this year 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.  Les says of this piece:

“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. This concept of layering is the idea behind Urban Polychrome and other works in the Urban Series.”

On the surface of the jar, it is possible to see large Hopi style birds, geometric patterns, pointillism and checkerboard patterns.  Each connects to the other while some are overlaid on top of the next.  It is a complex piece and yet it has its own flow and dynamic appearance. The layered lines at the bottom, much like the lines of stone on a piece of jewelry by Charles Loloma, have their own distinctive texture. It is an exceptional piece in size and design.  It is signed on the bottom.

$ 7,200.00
Qoyawayma, Al – Double Lobe Jar with Doorways & A Star

This is a thoughtful piece from Al Qoyawayma.  It is one of his architectural pieces, with the pueblo wall scene carved into the center of the jar. The shape has two lobes and the top and bottom part are vertically polished.  It is the center section which is fascinating with three different pueblo doorways and one window, found in ruins throughout the southwest.  Each of these are carved into the clay and note the detail on the walls.  The color variations are created using various clay slips.  Al says about this piece:

There are four opening shapes….only three are doorways. The “cross” or Star design is that used in weavings, pottery and petroglyphs. One could ask “which star”. Well it is likely more emblematic of many different stars depending on location.  The Polynesians used stars to navigate.  A late 1970’s recreation of the double hulled vessel used to navigate the Pacific is called Hokulea, or the “Star of Gladness”.  I like that metaphor. In Hopi, star is “soohu” and gladness is “háalayi”.  Although Hopi and Polynesian language may have no relation I like that “Ho-ku” and “soo-hu” are phonetically similar and “lea” might sound a little like “-layi”.  No matter.  I worked with and was a friend of Hawaiian artist and historian Herb Kané.  I asked if I could create a piece by that name (and he said yes)….and created a star in the motif. So a “long story” short I have an affinity for a star that brings or gives us gladness or happiness…..and especially the “Star of Bethlehem”.

The three doorways can be found in various ruins in the Southwest.  The “tee-door” is the most recognizable.  It’s possible origin in the americas is a much longer discussion. We don’t have a precise story about the T-door shape….at least I don’t, but I like it. It can be found in other locations around the world. The “trapzodial” shaped door is common throughout the Americas, especially pre-Ican precision stone architecture.  The last polygonal shape is just part of a doorway where the beam above the door has rotted away and the outline created by doorway rock falling away….I saw it in a ruin

Al’s architectural pieces are among his most iconic works!  This one encompasses much of the story of his art!

$ 6,900.00
Qoyawayma, Al – Two Spout Polychrome Stirrup Jar

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

$ 8,500.00
Navasie, Paqua- Ash Tray/Open Bowl (1930’s)

Paqua Naha was the mother of noted potter Joy “Frogwoman” Navasie and the mother-in-law of Helen “Featherwoman” Naha. She was known for her traditional designs and use of the various colors of clay at Hopi.  She developed the white ware in around 1951-2. She was the first to sign her pottery with her Frog Hallmark, as “Paqua” means Frog in Hopi. This is one of her “ash trays”, which was probably made for being a souvenir.  It is made from the red clay and the painted with designs around the side and on the top.  The piece is signed with her hallmark Frog.  The piece is in very good condition with no chips, cracks, restoration or repair.  It appears as if it was varnished at some time, which was often typical with “utilitarian” pieces which would be used.

$ 175.00
Tahbo, Mark  – Large Jar with 16 Kastsina Masks (1998)

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

$ 3,000.00
Quotskuyva, Dextra – Jar with Swans (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 a more classic piece of her pottery.  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 has four swans painted around the shoulder.  Note how the deep red is polished on the neck and the rim of the jar.  The base of the jar is matte red and the inside of the mouth of the jar is an unusual tan coloration.  The swans are painted to extend up from the shoulder.  Note the photo of the jar from the top and how she has squared the rim but has the birds swirls around! It is this attention to the small details which makes her work so spectacular.  The jar is signed on the bottom in the clay, “Dextra” along with a corn plant to represent the Corn Clan.  It is in excellent condition with no chips, cracks, restoration or repair.  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“.

$ 4,500.00
Nampeyo, Elva Tewaguna – Bowl with Migration Pattern (1970’s)

Elva Tewaguna Namepyo, was a daughter of Fannie Nampeyo, a granddaughter of the Nampeyo of Hano and a sister of Iris and Tonita Nampeyo and Thomas Polacca.  Her pottery was coil built, stone polished and painted with bee-weed and natural clay slips. This bowl has a very tightly painted classic migration pattern as the design.  The piece was traditionally fired to create the blushes on the surface.  It is signed on the bottom.  It is in very good condition with no chips, cracks, restoration or repair.  The original price tag from when it was purchased in the 1970’s is still on the bottom! Her daughter Adelle Nampeyo continues in the same family tradition.

$ 275.00
Nampeyo, Elva Tewaguna – Mini Bat Wing Bowl (1970’s)

Elva Tewaguna Namepyo, was a daughter of Fannie Nampeyo, a granddaughter of the Nampeyo of Hano and a sister of Iris and Tonita Nampeyo and Thomas Polacca.  Her pottery was coil built, stone polished and painted with bee-weed and natural clay slips. This small bowl is a very traditional design with a batwing pattern.  The piece was traditionally fired to create the blushes on the surface.  It is signed on the bottom.  It is in very good condition with no chips, cracks, restoration or repair.  Her daughter Adelle Nampeyo continues in the same family tradition.

$ 200.00
Nampeyo, Fannie – Bowl with Migration Pattern (1970’s)

Fannie Nampeyo 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 bowl is very flat, in the style of the ancient Sikyatki pottery. The design is a migration pattern painted onto the surface.  The bowl was traditionally fired so that it has some visually striking blushes on the surface.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom, “Fannie Nampeyo”.

$ 800.00
Nampeyo, Elva Tewaguna – Wide Bowl with Bat Wing Design (1970’s)

Elva Tewaguna Namepyo, was a daughter of Fannie Nampeyo, a granddaughter of the Nampeyo of Hano and a sister of Iris and Tonita Nampeyo and Thomas Polacca.  Her pottery was coil built, stone polished and painted with bee-weed and natural clay slips. This wide shape bowl is a very traditional form for Hopi-Tewa pottery.  This design, the bat wing pattern, is one which was revived by Nampeyo of Hano.   The piece was traditionally fired to create the blushes on the surface.  It is signed on the bottom.  It is in very good condition with no chips, cracks, restoration or repair.  Her daughter Adelle Nampeyo continues in the same family tradition.

$ 500.00
Komalestewa, Alton – Large Wide Shoulder Melon Jar

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

$ 3,000.00
Nampeyo, Fannie – Large Migration Pattern Jar (1960’s)

Fannie Nampeyo 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 coil built and very tightly painted.  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 in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom, “Fannie Nampeyo”.

$ 1,500.00
Nampeyo, Camille “Hisi”  – Large Jar with Swan Design (1999)

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 largest pieces we have had of her work in years.  It is a very wide shoulder jar in the classic Sikyatki shape. The designs are painted on the surface.  It is a series of four swans, each encircling the piece.  They are painted with bee-weed and the red is a highly polished clay with just a bit of mica.  The jar was traditionally fired which created the blushes on the surface.  This jar is from 1999 and while Hisi makes very few pieces today, the delicate lines of her work from this period are among her best.  The jar is signed and dated on the bottom.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 2,900.00
Clashin, Debbie – Tall Jar with Koshari Figures

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

$ 3,800.00
Clashin, Debbie – Large Jar with Three Eagles

This is an exceptional large wide shoulder jar by Debbie Clashin.  She is a cousin of noted potter Mark Tahbo and a descendant of Grace Chapella.  Debbie has quickly become well known for her large-sized traditional Hopi-Tewa pottery. The wide shape rounds up from the shoulder and there is just a slight neck.  The design around the shoulder consists of three eagles.  Each is painted with more complex Hopi-Tewa patterns for their bodies. They are highlighted with additional red and brown clay slips.  Debbie said that it is always more complicated to design a piece with just three designs than four, to create equal symmetry.  It’s not just the design here but the open spaces near the top, which are so engaging.  The jar has been traditionally fired and the blushes encompass the entire surface.  The open spaces and their color ranges add to the “design” of the jar.  It is signed on the bottom with her name and a pipe for his “Tobacco Clan”.

$ 2,500.00
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
Navasie, Joy “Frogwoman” – Mini Bowl with Lid (1980’s)

Joy Navasie was known for her white slipped pottery and classic use of design elements. She learned to make pottery from her mother, Paqua, who also used the white clay and signed with a frog as a hallmark.  The white kaolin clay is a slip which is applied to the surface of the bowl and then black (bee-weed) and red clay slips are used for painting.  This is one of her few miniatures.  It is from the 1980’s, which can be determined by both the color of the red clay slip she used and the detail in the painting.  Not only did she not make many miniatures, but I’m not sure I’ve seen one with such a complicated lid!  The lid is carved so that it rests inside the mouth of the bowl.  The bowl is painted with a classic bird wing pattern.  It is painted with a red clay slip and the black bee-weed. It is signed on the bottom with her frog hallmark.  It is in good condition with no chips, cracks, restoration or repair.  There is one small area of the black which is fugitive.

$ 475.00
Duwyenie, Preston – “Shards” Black Water Jar with 21 Silver Insets

Stunning!  This is an exquisite water jar by Preston Duwyenie.  The water jar is made from micaceous clay and fired black.  The multiple layers of micaceous clay give the jar a metallic appearance to the surface.  The shape is a classic double shoulder water jar with a fluted rim.   The jar is entitled, “Shards” and Preston has taken cast 21 silver “shards” against cuttlefish bone.  Each “shard” is the cut and a space carved into the clay before the jar is fired.  After it is fired, each piece is then put into the jar and it is etched around the silver. 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.  The complement of the silver and the silvery color of the micaceous clay is perfection!  The last two photos show the jar before it was fired and after it was fired black (before insetting the silver).   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 at Santa Clara Pueblo.  Preston has won numerous awards for pottery, including “Best of Show” at the Heard Indian Market.

 

$ 4,500.00
Huma, Rondina – Tall Jar with Geometric Shard Design

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 pieces from the early 1990’s.  The rim has the linear mountain pattern and below is the pottery shard design.  The squares are larger than in her later work, but there is still a striking flow of pattern.   The red clay is polished while the black (bee weed) is painted onto the burnished surface.  The bowl is traditionally fired to create the coloration.  Rondina says that she tries to not duplicate the same “shard” patterns on the same vessel!  The tight patterns became more and more intricate and detailed in each passing year.  An amazing part of this piece is that the entire interior is fully polished!  Rondina says that she makes pieces with openings large enough to fit her hand so that she can fully polish the inside! The jar is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.

$ 1,850.00
Youvella, Wallace – Seedpot with Deer (1976-9)

This is an intricate miniature by Wallace Youvella, the husband of Iris Nampeyo  It is fully polished red and the design is a wildlife scene with a deer and mountains.  The seedpot was made between 1976-9.  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, Janell – Bowl with Bat Wing Design

Janell Nampeyo is a daughter of Adelle Nampeyo, a granddaughter of Elva Tewaguna Namepyo, a great-granddaughter of Fannie Nampeyo, and a great-great-granddaughter of the Nampeyo of Hano.  She creates coil built pottery painted with bee weed.  This bowl has a batwing design painted from the neck of the bowl.  The rim is slipped with a red clay.  The bat-wing pattern is one that was revived by Nampeyo of Hano.  It is signed on the bottom.

$ 125.00
Clashin, Debbie – Plate with Awatovi & Sikyatki Birds

This is striking plate by Debbie Clashin.  She is a cousin of noted potter Mark Tahbo and a descendant of Grace Chapella.  Debbie has quickly become well known for her large-sized traditional Hopi-Tewa pottery. This plate is fully polished and painted with bee-weed for the black and an orange/red clay slip.  The design is derived from the Awatovi murals, which  were near Hopi.  The bird on the left is one of the Awatovi style birds. In the center is a band with cloud and rain designs and on the right a Hopi-Tewa style Nampeyo bird which was derived from the Sikyatki pottery.  It’s an interesting combination to have representations from both of the earlier styles of Hopi pottery on one piece.  The back is stippled with numerous dots from the black bee-weed.  The plate has been traditionally fired which creates the blushes across the surface.   It is signed on the bottom with her name and a pipe for his “Tobacco Clan”.

$ 1,200.00
Sale!
Ami, Loren – Total Eclipse Sun Canteen

This canteen by Loren Ami was made in recognition of the solar eclipse of 2017.  It has the sun design on the front and note on the left side he used the brown clay slip and the right the red.  It symbolizes the eclipse in a visually striking manner!  The handles and neck are polished with a red clay slip.  Loren also braided the leather strap.  He learned to make pottery from Dextra Quotskuyva and the canteens were one of the special pieces she taught him to make.  Each piece is coil built, painted with native clays (red) and bee-weed (black) and outdoor fired.  The red areas are stone polished and there is a bit of mica in the red clay.   This piece is signed on the back with his name and a spider design for the Spider Clan.  Loren is certainly one of the traditionalist Hopi-Tewa potters to watch.

$ 950.00 $ 650.00
Clashin, Debbie – Polychrome Water Jar with Eagle Tail Design

This is is a wide shoulder water jar by Debbie Clashin.  She is a cousin of noted potter Mark Tahbo and a descendant of Grace Chapella.  Debbie has quickly become well known for her large-sized traditional Hopi-Tewa pottery. This jar has a wide shoulder and a slightly turned out neck.  The body of the piece is painted with a mesa and eagle tail pattern.  In addition to the black (bee weed) she has used a deep red and an orange color of clay.  They provide a visual along with textural aspect to this jar. The rim is stippled with the bee weed.  Note how the design and the colors accentuate the shape fo this jar!  It has been traditionally fired which creates the blushes across the surface of the bowl.   It is signed on the bottom with her name and a pipe for his “Tobacco Clan”.

$ 1,200.00
Naha, Sylvia – Awatovi Star and Migration Tall Jar

Sylvia Naha was a daughter of Helen “Featherwoman” Naha and a sister of Rainy and Burell Naha.  She was known for her distinctive pieces painted with intricate designs on a white polished clay surface.  Throughout the 1980’s, Sylvia was considered among the most innovative of the Hopi potters.  Her pieces were classic in form and amazingly intricate in design.  This is a tall jar and it is painted with the Awatovi Star pattern on the top and bottom.  Under the star are bird wing designs.  The striking feature to this jar are all the finely painted lines!  This style was inspired by the “migration pattern” which Sylvia modified and made more complex with her flow of lines across the surface of the piece.  The black on the painting is from Bee-Weed (a plant) and the red and other colors are natural clay slips.  The jar is in excellent condition with no chips, cracks, restoration or repair.  The jar is signed on the bottom with a feather and an “S”.  It is certainly a striking piece by his exceptional Hopi-Tewa potter!

$ 900.00
Navasie, Dolly Joe “White Swann” – Jar with Bird Tail Design

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

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

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

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

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

$ 4,800.00
Begaye, Nathan – Kiva Bowl with Frog in Center

Nathan Begaye was a unique innovator among Pueblo and Navajo potters.  His ethnic connection to both Hopi and Navajo let his style flow between the two distinctive cultures and yet find their own unique space.  His work used traditional designs, forms and techniques, yet somehow appeared very modern.  This is a very unusual and traditional style bowl.  The shape is a “kiva” bowl with the kiva steps on the side.  On the outside they are painted with dragonflies and on the inside with clouds.  The center of the bowl has a traditional frog as the pattern with a cloud design on its head.  The bowl is slipped with a white clay and the painted with natural clay slips and traditionally fired.  It is signed on the bottom with his wave/cloud hallmark.  It is in very good condition with no chips, cracks, restoration or repair.

$ 750.00
Huma, Rondina – Wide 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 wide bowl is fully designed and painted.  The rim has a very intricate triangular pattern and above the shoulder is a mesa design in a burgundy clay slip.  The small areas area each individually painted with bee-weed (black) and then highlighted with a polished red clay slip.  Each of the sections is hand painted and was inspired by pottery shards.  On this bowl the shard design is very tight and very small.  Rondina says that she tries to not duplicate the same “shard” patterns on the same vessel!  The tight patterns have become more and more intricate and detailed in each passing year.  Amazingly, the inside of the bowl is also fully polished!   The bowl is traditionally fired so that creates the color variations on the surface.  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.

$ 5,000.00
Koopee, Jacob – Bowl with Eagle Tail Design (2000)

This bowl by Jacob Koopee is from 2000.  It is one of his classic shapes with the narrow base and wide shoulder.  The design is the classic eagle tail which extends down over the side of the jar.  The jar is vertically polished to create the “onion skin” appearance.  There is a red and white clay used for the designs on the tails.  The jar was traditionally fired to create the colorations.   The piece is signed on the bottom, “Koopee” and a flute player hallmark.  It is in excellent condition with no chips, cracks, restoration or repair.  Jake won numerous awards during his career including “Best of Show” in 2005 at both Santa Fe Indian Market and the Heard Museum Market.  I was lucky to have been a pottery judge both years at both events, and it was exciting to see an artist create such dynamic work.

$ 1,400.00
Naha, Helen “Featherwoman” – Wedding Vase with Birds (1970’s)

This tall wedding vase is by Helen “Featherwoman” Naha.  It is her classic shape with the sharper shoulder and spouts. The design has two birds on each side.  The tails of the birds go up the spout.  The designs are painted with bee-weed (black) and red clay slips.  The white is a kaolin clay which is first applied to the jar and then stone polished.  The wedding vase is signed on the bottom with a feather, which was Helen’s hallmark.  The jar is in very good condition with no chips, cracks, restoration or repair.

$ 1,200.00
Navasie, Joy “Frogwoman” – Jar with Bird Designs (1970’s)

Joy Navasie was known for her white slipped pottery and classic use of design elements. She learned to make pottery from her mother, Paqua, who also used the white clay and signed with a frog as a hallmark.  The white kaolin clay is a slip which is applied to the surface of the bowl and then black (bee-weed) and red clay slips are used for painting.  This jar is a classic of her pottery from the early 1970’s.  The design is painted in four panels and they are separated by fine lines.  Each panel has a different bird or parrot as the image.  The red areas are the wings of the birds in each of the sections. Note the color of the red which is typical of her work at this period of time.  Later she would change slips and use the darker colored red clay. The jar is signed on the bottom with her frog hallmark.  It is in very good condition with no chips, cracks, restoration or repair.

$ 1,200.00
Nampeyo, Fannie – Bowl with Blackbird Migration Pattern (1960’s)

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

$ 775.00
Folwell, Susan & Les Namingha – “Corn Maiden: Earth Mother” Jar

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

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

$ 8,800.00
Naha, Rainy – Jar with Moth and Dragonfly Designs

This is an intricately designed jar by Rainy Naha.  She learned to make pottery from her mother, Helen “Featherwoman” Naha.  Rainy continues is a similar style using a white clay slip as the foundation for her work.  This jar has a moth on one side and two dragonflies on the other side.  The moth is a design often used by Grace Chapella on her pottery and note the three designs on either side of the moth.  They represent the three mesas.   Separating the moth and dragonflies are intricate panels with Awatovi inspired swirl and fineline designs. She has various colors of clay used to accent the painted designs.  The black is bee-weed while the colors are all natural clay slips.  The jar is traditionally fired which gives the white a very pearlescent appearance.  It is signed on the bottom with a feather and “Rainy”.

$ 1,200.00
Naha, Sylvia – 14″ Tall Lizard, Corn & Shard Design Jar (1980’s)

Sylvia Naha created pieces with the white clay polished surface painted with bee-weed (black) and native clay slips.  Throughout the 1980’s, Sylvia was considered among the most innovative of the Hopi potters.  Her pieces were classic in form and amazingly intricate in design.  This seedpot is a “miniature” version of complicated “shard” pattern pottery.  Half of the seepdot has a lizard and stalk of corn.  The other half is a very intricate pottery shard design. The shards have various images taken from both Sylivas pottery (like the turtle) and traditional Hopi-Tewa pottery.  It is in excellent condition with no chips, cracks, restoration or repair.  The seedpot is signed on the bottom with a feather and an “S”.

$ 4,500.00
Huma, Rondina – Bowl with Geometric Pottery Shard Patterns

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

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

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

$ 1,600.00
Sale!
Ami, Loren – Hilili Katsina Jar

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

$ 600.00 $ 400.00
White, Elizabeth  – Corrugated Water Jar (1970’s)

Elizabeth White was an aunt of noted potter Al Qoyawayma and taught him to make pottery.  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 corrugated pieces.  I asked Al Qoyawayma why she created the corrugated surfaces and his response was,

“I think Elizabeth liked experimenting.  She used at least three kinds of textured surfaces.  The “corrugated” simulation, the “basket bowl” and of course the “simulated corn” texture.  In the basket bowl she would press the clay into the basket to get the texture of the basket and then finish with a smooth rim.”

This jar is “corrugated”, meaning that she would not smooth down the coils but would impress them with her finger or a tool to create the layered surface. The result is certainly one that almost does have a basket appearance!  This jar is also made from the traditional Hopi red clay.  It 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. It is a classic of her work and an important addition to any collection! It is definitely a charming piece of her pottery!

$ 1,000.00
Namingha, Les – Sikyatki Sunrise Canteen

This is a exceptional large jar by Les Namingha.  Les is a descendant of Nampeyo and learned to make pottery from his aunt Dextra Quotskuyva.  This jar is one of his famous shapes, as it is inspired by a canteen, but reformed with a wider surface for more design.  One side of the jar has a Sikyatki (Hopi pottery from the 1400’s) bird with extended wings. The colors are all reminiscent of Hopi with the black and red and intricate patterns in the body of the piece. The circles are like the reflections of light at sunrise.  As the jar is turned there is the dramatic painted section.  It is a complex compilation of Hopi designs which encompass most of the surface of the jar.  The setting of the white clay and painted surface adds to the dramatic effect.  There is something both modern and very ancient about this jar!  It is signed on the bottom.

$ 3,800.00
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