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 Hopi Pottery - Tewa Group

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

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Nampeyo, Camille “Hisi” – Jar with Fluted Rim & Eagle Tail Design (1995)

Camille “Hisi” Quotskuyva learned to make pottery from her mother, Dextra Quotskuyva, a sister of noted painter Dan Namingha and a descendant of Nampeyo of Hano, Annie Healing and Rachel Nampeyo.  She is known for her use of traditional imagery and the delicate painting of her designs.  This is one of her classic shapes with an elongated neck and a fluted rim. The rim is fully polished red.  The body of the jar has a series of eagle tail designs.  They are highlighted with red and white clay slips! Note the delicate lines of her painting.  The black is painted with bee-weed and the jar is traditionally fired to create the fire clouds on the surface.  It is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 1,200.00
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
Namingha, Les – Hopi Shards Jar

This is a large jar by Les Namingha focuses on traditional Hopi-Tewa motifs.  The shoulder of the jar is fully painted with geometric “shard” patterns. They vary from checkerboard to hatchwork rain patterns and bird wings.  They are painted with bee-weed (black) and highlighted with a red clay slip.  Les has added his own variations with the small pointilism dots in red and black across the surface.  The final design has a very modernist appearance and yet the Hopi clay and firing maintain that traditional feel.  The top 3/4 of the jar (above the line) is polished, while the bottom is matte.  This creates a great textural feel to the piece when it is held.  It is also reminiscent of the work of Les’s aunt, Dextra Quotskuyva.  She often made pieces which were half polished and half matte.  The bottom has a fully pointilism design.  The traditional firing has created strong blushes across the surface of the jar.  The complexity of this piece is perfect for this shape, which gives lots of “canvas space” for the design.   Les is a descendant of Nampeyo and learned to make pottery from his aunt Dextra Quotskuyva.  It is signed on the bottom.

 

 

 

$ 4,000.00
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
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
Sahmie, Jean – Jar with Migration Pattern

Jean Sahmie is a daughter of noted potter Priscilla Nampeyo and a descendant of Nampeyo of Hano. This jar has a asymmetric rim and painted with a migration pattern around the shoulder. The design is intricately painted with very fine lines.  It is signed on the bottom with her hallmark.

$ 200.00
Namingha, Les – “Lair” Jar with Hopi Birds

This is a complicated jar by Les Namingha. The shape has an asymmetrically shaped rim.   The jar is titled, “Lair” and it has white painted Hopi style parrots.  They spiral around the jar and they are each painted with multi-color dots.  The around behind the birds are painted with complex geometrics.  There are bird wing patterns near the rim.  The background of the jar is painted with a metallic/micaceous color, which shows up well below the shoulder.  The complexity of this piece is perfect for this shape, which gives lots of “canvas space” for the design.   Les is a descendant of Nampeyo and learned to make pottery from his aunt Dextra Quotskuyva.  It is signed on the bottom.

 

 

 

 

$ 2,500.00
Quotskuyva, Dextra – Miniature Jar with Butterflies (1980’s)

This is an incredibly intricate miniature by Dextra Quotskuyva.   It was made in the early 1980’s and the top half and neck are stone polished. The jar has a butterfly pattern painted with a white clay on two of the sides.  Note as well how Dextra carved into the clay to create an open space for the bodies of the butterflies.  The sides are painted with flowers and the neck with a rain pattern. The lower half of the bowl is matte in contrast to the polished top. The jar is painted with kaolin clay (white), red clay and bee-weed (black).  It was traditionally fired so that there are blushes and color variations around the surface.  It is signed on the bottom with bee-weed, “Detra” with an ear of corn representing the Corn Clan.  Note as well that the base is polished in contrast to the sides which are matte.   The bowl is in very good condition with no chips, cracks, restoration or repair.  Dextra has been the subject of a retrospective of her pottery at the Museum of Indian Art and Culture called, “Painted Perfection“.

$ 1,400.00
Pavatea, Garnet  – Mini Bowl with Eternity Pattern Design

Garnet Pavatea is one of the great names in Hopi-Tewa pottery.  This small bowl is made with the red Hopi clay, which was a favorite of Garnet’s.  The bowl is painted with an eternity belt pattern which encircles the bowl.  It is delicately painted using bee-weed for the black. The bowl was traditionally fired.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom.

$ 125.00
Namingha, Les – “Cosmos” Jar

This is a fascinating jar by Les Namingha.  The shape has a very organic appearance with the high shoulder and fluted rim. The surface is what is really fascinating.  Les has applied layers of mica in two different colors and then sanded them down.  The surface is smooth, but the different layers of silver and gold colored mica show up!  There are sections then which are painted with constellation designs on the side and the planetary imagery on the shoulder.  The subtle complexity of this piece is perfect for this shape, which gives lots of “canvas space” for the design.   Les is a descendant of Nampeyo and learned to make pottery from his aunt Dextra Quotskuyva.  It is signed on the bottom.

 

 

 

 

$ 2,600.00
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
Quotskuyva, Dextra – Eagle & Earth Seedpot (1980’s)

This is a very highly detailed bowl by Dextra Quotskuyva.   It was made in the early 1980’s when Dextra was experimenting with the white clay slips. This bowl is slipped on the top and bottom with the white clay.  The top has one of her few very realistic presentations of an bird.  Here the eagle is painted on the polished white clay with bee-weed (a plant).  The eagle has more realistic elements and above the eagle are very highly detailed fine-line clouds and rain patterns.  It is these delicate lines for which Dextra was quickly known in her painting.  Do you see how the the eagle is not painted symmetrically from the head to the tail feathers?  This is a reflection by Dextra on the work of Nampeyo of Hano, who typically would have a stylized asymmetry to her designs!  The red band around the side of the bowl is stippled to give it texture an the feel of “the earth”. The bowl was traditionally fired so that there are blushes and color variations around the surface.  It is signed on the bottom with bee-weed, “Detra” with an ear of corn representing the Corn Clan.  The bowl is in very good condition with no chips, cracks, restoration or repair.  Dextra has been the subject of a retrospective of her pottery at the Museum of Indian Art and Culture called, “Painted Perfection“.

$ 3,200.00
Quotskuyva, Dextra – “Reflecting from the Four Corners of the Earth” (1982)

This is a fascinating bowl by Dextra Quotskuyva.   It was made in 1982 and the title of the piece is, “Reflecting from the Four Corners of the Earth”.  The bowl is thin walled and made with two different Hopi clays. The early 1980’s were definitely a period of experimentation for Dextra. When the bowl is turned over, the two clays can be seen swirling together in the matte, unpolished surface.  It is also this unpolished surface which gives the bowl a distinctive texture when being held.  The top of the bowl is slipped with a white kaolin clay and then painted with bee-weed (black).  The intricate designs are perfectly painted.  The title of the reflections is perfectly represented in the design!   The bowl was traditionally fired so that there are blushes and color variations around the surface.  It is signed on the bottom with bee-weed, “Detra” with an ear of corn representing the Corn Clan.  Note as well that the base is polished in contrast to the sides which are matee.   The bowl is in very good condition with no chips, cracks, restoration or repair.  Dextra has been the subject of a retrospective of her pottery at the Museum of Indian Art and Culture called, “Painted Perfection“.  This piece is pictured on page 39 of the book, “Painted Perfection”.

$ 4,400.00
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
Nampeyo, Adelle L. –  Jar with Migration Pattern

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

$ 130.00
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-Black, Tyra – Bowl with Bear Claw Design

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 bear claw pattern around the shoulder and base of the bowl. There are two different clay slips for additional color. Tyra also polished the inside of the bowl, which is always more difficult and adds to the complexity of the piece (it increases the chance for the piece to crack in drying).  The bowl is 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.

 

 

 

$ 575.00
Tewawina, Dana – Tile with Grandmother Katsina (21 years old)

Dana Tewawina (b. 1996) is a grandson of Rainy Naha and a son of Tyra Naha.  He has been making pottery with his grandmother Rainy and focusing on his painting on tiles.  This tile is painted with a traditional style Grandmother Katinsa figure.  The figure is painted on the polished white background and has a classic representation with red clay accents.  The tile is traditionally fired and signed on the back with his initials, a feather (for the Naha family) and a “4” for being 4th generation of the Naha family.  We hope to see more from this young potter!

 

 

 

$ 75.00
Tewawina, Dana – Tile with Hopi Eagle (21 years old)

Dana Tewawina (b. 1996) is a grandson of Rainy Naha and a son of Tyra Naha.  He has been making pottery with his grandmother Rainy and focusing on his painting on tiles.  This tile is painted with a traditional style Hopi bird with a sky pattern below the birds feet. It is slipped with a white clay and painted with an additional red clay slip. There is definitely a nice precision to the painting. The tile is traditionally fired and signed on the back with his initials, a feather (for the Naha family), a “4” for being 4th generation and a spider for Spider Clan.  We hope to see more from this young potter!

 

$ 65.00
Naha, Amber – Jar with Bat Wing Designs

Amber Naha is a  granddaughter of Rainy Naha.  This wide bowl has a cloud swirl and lightning design encircling the piece. Below the swirls are mesa and lightning patterns which are painted with various clay slips.  The black is bee-weed (a plant) and it is all painted on a white clay surface.  The bowl is traditionally fired which gives it the slight blush on the rim.  Amber is definitely a young Hopi-Tewa potter to watch!

$ 300.00
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
Huma, Rondina – Small Bowl 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 is painted with a lightning and feather pattern, while below the shoulder are pottery shard 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.  The size of each of the squares for her shard pattern are larger than on her later work.  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.  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.

$ 1,200.00
Naha, Helen “Featherwoman” – Wide Awatovi Star Design Jar (1980’s)

Thiswide jar by Helen “Featherwoman” Naha is and interesting stylization of her classic “Awatovi Star” pattern.  Helen revived the black-and-white Awatovi star design from the ruins of the village pottery in the 1950’s.  This jar has the familiar star pattern on the top and the bottom.  What is unusual is that she added a single band of color which accentuates the star design!  In addition to the star pattern there are additional areas of rain and plant designs.  This jar is painted with bee-weed (a plant) and the red is an additional clay slip.  The jar was traditionally fired outside and has some very light blushes to the clay. It is signed on the bottom with a feather, which was Helen’s hallmark.  The jar is in excellent condition with no chips, cracks, restoration or repair.

$ 1,400.00
Naha, Helen “Featherwoman” – Jar with Star and Bird Tails (1980’s)

This jar by Helen “Featherwoman” Naha is one of her more complex designs from the 1980’s.  The jar is coil built and the white is a kaolin clay slip which is applied to the surface.  Helen learned to make this style of pottery from her mother-in-law, Paqua (the first Frogwoman).  This jar is painted with a star pattern around the neck.  This is the “Awatovi Star”, for which she is most famous.  Below the shoulder is a stylized eagle tail pattern.  The black is bee-weed (a plant) and the red is an additional clay slip.  The jar was traditionally fired outside and it fired a very even white. It is signed on the bottom with a feather, which was Helen’s hallmark.  The jar is in excellent condition with no chips, cracks, restoration or repair.

$ 950.00
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
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
Clashin, Debbie – Large Polychrome Eagle Tail Jar

This is striking large 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 wide jar is inspired by the shapes of the ancient Sikyatki pottery, with a low, wide shoulder.  The jar is stone polished and painted with both red and burgundy clay slips and bee-weed (for the black).  There are four large eagle tails surrounding the jar.  They extend down over the side of the jar.  Note the precision of her painting and the lines in the design.  The jar is traditionally fired outside to create the blushes in coloration.  The various blushes enhance the designs and shape of the jar.  It is signed on the bottom with her name and a pipe for his “Tobacco Clan”.

$ 2,400.00
Namingha, Les – Constellation Fineline Jar

This is an striking jar by Les Namingha.  The jar has a double shoulder  with an indention in the side near the base and one around the shoulder.  The form and a slight neck. The surface is gunmetal metallic in coloration.  The surface is then fully painted with linear geometrics.  The lines seem to flow endlessly across the surface of the piece. They seem to create a series of fineline constellation patterns with dots of gold and black in the background against the metallic “sky”.  The intricacy of the linear design is both delicate and consuming of the surface.  Les is a descendant of Nampeyo and learned to make pottery from his aunt Dextra Quotskuyva.  It is signed on the bottom.

 

 

 

$ 2,600.00
Duwyenie, Preston – Black Micaceous Seedpot with Silver Lid

Preston Duwyenie is renown for his elegant pottery which is often highlighted with silver medallions.  This seedpot is made from micaceous clay and fired black.  The sparkle on the surface comes from the mica clay slip.  The lid is cast from cuttlefish bone (a type of squid!) and then Preston make the lid to fit perfectly into the seedpot.  It is signed on the bottom in the clay with Preston’s hallmark.  It is a woman carrying a child on her back, which is also Preston’s Hopi name, which means “carried in beauty”.  Preston is from Second 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.

$ 500.00
Tahbo, Mark  – “Double Snake” Tile

This is one of the few large tiles by Mark Tahbo.  The designs on this piece are painted with bee-weed (a plant) and there is an additional red clay slip used.  The coloration is from the traditional firing.  Mark says of this piece,

“This tile is very large in size making it very difficult to have it turn out in such perfect condition.  But I did it!!  The design is inspired by Nampeyo of Hano.  She used it inside a bowl. I took the design and altered it to give it my own personal flare.  This piece shows two snakes in revers and connected together.  One has a diamond back and the other is a Hopi style serepnt.  Personally, I see the design as two feathered snakes, which are part of Hopi ceremonies.  The two “insect like” figures are the shrines for prayers.  There is a rare color used in this tile.  There are slight hints of blue!  It is a clay which is similar to the white kaolin clay and it adds another bit of beauty to this piece.”

It is exciting to see how Mark reinterprets such a culturally and historically infused design.  The entire surface of the tile is fully polished before it is painted. The back of the tile is signed with a pipe for his “Tobacco Clan”.

$ 800.00
Tahbo, Mark  – “Feathers and Bat Wings” Jar

This jar by Mark Tahbo has a classic shape with the high shoulder and the slight neck.  The jar is coil built, stone polished and then painted with bee-weed (a plant) and there is an additional red clay slip used.  The coloration is from the traditional firing.  Mark says of this piece,

“This jar is design with a pattern I personally call the “feather tails”. The tail feathers come down the center of the design.  There are symbols of storms or rain in each of the center sections of the feathers.  Each of these areas are different with one section filled in, one left open and so on.  The one that is left open represents the clearing after the storm or rains.  I attached bat wings to the sides of the extended tail feathers.  These are to represent the Nampeyo style migration pattern.  Each of the bat wing pairs are different.  I like that when they are different on each side the jar itself looks unique as it is turned.  The color of this jar from the firing is simply awesome for Hopi!”

It is exciting to see how Mark reinterprets such a culturally and historically infused design.  The deep color of this jar is striking and shows off the complex painted designs!  The entire surface of the jar is fully polished before it is painted. The jar is signed with a pipe for his “Tobacco Clan”.

$ 800.00
Tahbo, Mark  – Plainware Jar

Mark Tahbo is known not just for his painted pottery, but especially for the blushes on his pottery.  This jar is fully polished and note how Mark polished it at an angle or swirl! It is just visible in the coloration. The jar is traditionally fired and there are color variations from white to dark orange.  Mark said about this piece,

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

It is signed on the bottom with a pipe for his “Tobacco Clan”.

$ 700.00
Tahbo, Mark  – “They Fly By Night” (2017)

This is a striking seedpot by Mark Tahbo.  He has titled this piece, “They Fly by Night”. The bowl has a bat painted on the top of the piece. The bat is painted with bee-weed (a plant) and there is an additional red clay slip used.  The bowl is traditionally fired.  Mark says of this piece,

“This bat design is usually not very common on Hopi-Tewa pottery, as it’s a nocturnal animal.  The Hopi in their beliefs fear such creature as owls and snakes.  For this piece, I was inspired by the ancient Mimbres pottery.  The bat is painted just center-right of the opening.  I added some additional clay color to the bat with the red clay slip.  The wings span slightly over the edge of the bowl.  This piece also depicts a star and the moon in two phases, one is a full moon and the other a half-moon.”

The various colorations to the clay are from the firing.  The bowl is signed on the bottom with a pipe for his “Tobacco Clan”.

$ 800.00
Namingha, Les – “4th World” Jar

This is an exceptional jar by Les Namingha.  The jar has an oval shape, which allows for variations of the painted designs.  For this piece Les has pulled from Zuni stories about the migration of the people to the 4th world.  Les says of this jar:

“4th World” alludes to the underworld from the creation story of the A:shiwi (Zuni people). Before the emergence of the A:shiwi into this, the daylight world, the people dwelt in a place of total darkness below the earth’s surface. The story tells of twin sons of Sun Father and Earth Mother who lead the people from the fourth world up until they reach the daylight world. They pass through three other levels, each with increasing levels of light.The numerous circles painted on the surface of the jar represent the A:shiwi. The lines and colors represent the activity of the twin brothers as they prepare the people for their journey toward daylight. The four patterned bands of color represent the four underworlds.”

Check out the overall complexity of the designs on this piece!  There is such dynamic layering and designs that it flows across the surface.  Note as well the katsina mask in one of the bands as part of the design. The jar has a very modern style with very ancient designs.  Les is a descendant of Nampeyo and learned to make pottery from his aunt Dextra Quotskuyva.  It is signed on the bottom.

 

 

 

$ 4,800.00
Nampeyo, Iris – Large Jar 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 to the base of the jar.  The matte areas are in contrast to the remainder of the piece which is polished.  The opening is asymmetrical which is in keeping with the organic style of the form.  There is a simplicity and elegance in her pottery.  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.

$ 1,400.00
Ami, Loren – Canteen with Cloud and Plant Designs (1997)

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

$ 750.00
Nampeyo, Camille “Hisi”- Jar Migration Pattern

Camille “Hisi” Nampeyo 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 tall jar is painted with a migration pattern. This is a classic pattern which Hisi paints with numerous delicate lines.  Note the quantity of the thinly painted lines on this jar!  The black is painted with bee-weed (a plant) and the jar is traditionally fired.  It is signed on the bottom.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 1,500.00
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
Clashin, Debbie – Large Jar with Eagle Tail Design

This is one of the first pieces we have had 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 wide jar is inspired by the shapes of the ancient Sikyatki pottery, with a low, wide shoulder.  The jar is stone polished and painted with a red clay slip and bee-weed (for the black).  There are four eagle tails surrounding the jar.  Note the precision of her painting and the lines in the design.  The jar is traditionally fired outside to create the blushes in coloration.  The various blushes enhance the designs and shape of the jar.  It is signed on the bottom with her name and a pipe for his “Tobacco Clan”.

$ 2,400.00
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
Quotskuyva, Dextra – Bowl with Red Tail Hawk Design

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

$ 5,350.00
Quotskuyva, Dextra – Mini Bowl with Bat Wing Design (1976)

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

$ 1,100.00
Lucas, Steve – Katsina Masks & Lightning Tall Jar

This is an tall jar by Steve Lucas.  The top and bottom are fully polished red. The center section is painted with stylized katsina masks and lightning patterns. Steve said that this was one of the first times he had used this design, which combines a variety of Hopi-Tewa imagery.  The jar has been 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.

$ 1,800.00
Namingha, Les – “Zuni Animals Jar” Jar

This is a an awesome jar by Les Namingha.  It’s the shape, texture and design which all mesh perfectly to make for a fascinating piece.  Les says about this jar:

“This jar is from an ongoing Zuni jar series in which I make the pots look old through a process of simulating an aged or relic look.  However, new methods and materials are used to create the “relics”.

The design ideas came from an 1880’s Zuni polychrome clay drum that was painted with depictions of snakes, dragonflies, spotted bears and either bobcats or mountain lions.  These designs have now been placed on a jar with a much smaller opening which makes it dissimilar to the ceremonial purpose of the original model pot.”

Of course, in addition, this jar makes one think of the Zuni “ceremonial” vessels sold to the Indian Art Fund in the 1930’s which ended up being fakes.  But here, Les has more beautifully revised and revived old designs and created a new form for their expression.  As well, the painting of the snakes and especially the bobcats are perfect for Les’s style.  They look ancient and modern at the same time.  So yeah.  It’s awesome!  Les is a descendant of Nampeyo and learned to make pottery from his aunt Dextra Quotskuyva.  It is signed on the bottom.

$ 3,200.00
Namingha, Les – “Shulawitsi: Zuni Fire Katsina” Jar

This is a fascinating jar by Les Namingha.  The designs on the jar are inspired by Shulawitsi or the Zuni Fire Katsina. The Fire Katsina (see example in the last photo) is usually portrayed by a young boy who carries a fire stick, signifying his responsibility as caretaker of one of the important physical elements of the universe: fire. This jar has circular elements around the top half, which are lightly carved into the clay. The background is black while the circles are all different colors. The bottom of the jar is the opposite, with a white coloration and painted circles.  The colored circles are representative of the fire and the design painted on the katsina mask.  The shape of the jar has a wide shoulder and a light neck.  The jar has a very modern style with very ancient designs.  Les is a descendant of Nampeyo and learned to make pottery from his aunt Dextra Quotskuyva.  It is signed on the bottom.

 

 

 

$ 2,000.00
Qoyawayma, Al – Harmony Jar with Flowers and Figure

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

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

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

$ 14,000.00
Qoyawayma, Al – “Uxmal: Governor’s Palace” Bowl

This is a spectacular piece from Al Qoyawayma.  It is one of his architectural pieces with a design which combines both Ancetral Pueblo and Mayan architectural styles. The form of the building is inspired by the Mayan Uxmal Governor’s Palace building with the wide elongated front. The square doors and the straight portico are part of this style.  Al says of this piece, ”

“Uxmal is a site in the Yucatan and was home to about 25,000. The original site was build by the Maya’s and later taken over by Uto-Aztecan speaking Toltecs, as were other locations such as Chichen Itza.  This site has numerous large buildings, pyramids (the largest is the “Pyramid of the Magician”) and the “Nunnery”, along with a large ball court.  The building I am emulating is the “Governor’s Palace” built with very finely cut stone…better than Chaco. It is rectangular….and about 300-400 feet long, 100-150 feet wide and 30-40 feet high. There are two large inset trapezoidal (corbel) arches on the long axis on each side of the building, along with 9 smaller doorways. The trapezoids are filled in with cut stone to form “tee-doors”. A geometric analemma (spiral) patterns (annual path of the sun) are inset in stone next to the doors (but not in my piece), and very impressive. A very long wide paved roadway (sacbe…”white roadway”) intersects the steps of the southeast face of the building, sort of like a royal entrance. This sacbe interconnects Uxmal with Kabah site which also has corbelled arches.  

I was inspired by the visiting the site.  The Pyramid of the Magician has Hopi migration symbols at the top.  Of course, the “Tee door” is emulated throughout the southwest. The Governor’s Palace has a very formal, stately, impressive architecture. Given our Hopi stories of interconnection with the south (Uto-Aztecan speaking Toltec, Mixtec, Zapotec, Aztec, with Hopi being a Northern dialect) and the stories of “red cities to the south with running water, etc, make this structure of natural interest to me. These implications and my visit there created the inspiration for this piece.”

Technically, the architectural scene is created in repousse, as it is pushed out from the clay to create the structures.  They are then refined and incised to create the intricate stone work and various levels.  It is both beautiful and complex as he carried the walls off to the side of the bowl.  Note the color variations on the buildings, which are created using various clay slips.  Al’s architectural pieces are among his most iconic works!

$ 10,500.00
Qoyawayma, Al – Cliff Dwelling and Bird Figure Serenity Jar

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 an abstract Hopi style bird on one side.  It has various layers of carving which give added depth to the design. 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 “key hole” opening.   All the various colors are derived from native clays.   It is a classic piece with a striking balance of designs and form.

$ 3,900.00
Qoyawayma, Al – Double Lobe Jar with Various Doorways & Lid

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 polished.  It is the center section which is fascinating with four different styles of pueblo doorways!  Each of these are each carved into the clay and note the detail on the walls.  The color variations is created using various clay slips.  Al’s architectural pieces are among his most iconic works!

$ 7,500.00
Qoyawayma, Al – Lidded Jar with Mosquito Man Design

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

$ 4,500.00
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 carved areas areas are also polished, which is striking with the this carving of some of the sections!  The ends are carved and 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.

$ 9,500.00
Namingha, Les – Jar with Carved Hopi Birds

This is a striking carved jar by Les Namingha.  The shape of the jar is round with a slight indention before the neck. The neck is fully painted with orange bird wings and a linear maze design. The shoulder of the jar is carved with stylized Hopi birds with raised corn patterns and pointilism painting inside each bird.  The base is carved with a complex maze pattern, similar to on the rim.  The jar has a very modern style with very ancient designs.  Les is a descendant of Nampeyo and learned to make pottery from his aunt Dextra Quotskuyva.  It is signed on the bottom.

 

 

$ 4,000.00
Lucas, Steve – Jar with Four Foxes and Two Clays

This is an unique jar by Steve Lucas.  The jar has four foxes painted in the clay encircling the piece.  Each has a section of fully polished red as part of the design.  Below the shoulder is a geometric pattern which is a minimalist version of the coyote.  What is really interesting about this jar is the clay.  Steve mixed several different types of clay together on the rim. See the photo of the rim, and it is possible to see how the two clays look unpolished on the inside and polished on the outside!  The base of the jar is slipped with a brown clay and also fully polished.  It is a striking design and exceptional use of clay.  The jar was traditionally fired and has slight color variations from the firing.  It is signed on the bottom with his name and an ear of corn (Corn Clan) and a Mudhead Katsina.

$ 1,400.00
Lucas, Steve – Jar with Grasshopper and Plant Designs

This is a stunning jar by Steve Lucas.  The jar has grasshoppers painted on the top.  This is a very old design and one that Steve said he learned from Dextra Quotskuyva.  Each of the four grasshoppers is painted with red, green and brown clay slips. The colored clays are all stone polished.  Below the very sharp shoulder is a plant design. The bottom of the jar is fully polished with a red clay slip. The black areas are all painted with bee-weed, a plant.  The flow, design and coloration of this jar is exceptional and it is exciting to see such a classic design revived in such a modern style!  The jar was traditionally fired and has slight color variations from the firing.  It is signed on the bottom with his name and an ear of corn (Corn Clan) and a Mudhead Katsina.

$ 2,000.00
Sale!
Begaye, Nathan – Melon jar with Birds (1985)

Nathan Begaye was a unique innovator among Pueblo and Navajo potters.  His ethnic connection to both Hopi and Navajo let his work flow between the two distinctive styles and yet find their own unique space.  His work used traditional designs, forms and techniques, yet somehow appeared very modern.  This is an exceptional jar by Nathan Begaye  The shape has a low shoulder and a slightly turned out neck. The shoulder has melon ribs pushed out in the clay.  Below the shoulder is very detailed painted Hopi style birds.  Check out the very intricate checkerboard patterns.  I remember watching Nathan create those patterns and work with the various colors of clay, all of which are natural.  It was fascinating how he knew which ones he could polish and which ones to leave matte. The jar is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

 

$ 1,500.00 $ 1,200.00
Sale!
King, Charles S., “Spoken Through Clay”

Spoken Through Clay

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

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

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August 18, Pasatiempo Review

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

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

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

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

 

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

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

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

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

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

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

352 pages, 320 color plates, 40 artist portraits

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

$ 125.00 $ 95.00
Naha-Nampeyo, Cheryl – Bowl with Ants and Rain Clouds

 

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 bowl is made from while clay and it is painted with bee-weed (black) and a red clay slip.  There are a series of ants encircling the bowl as part of the story of moving the ants.  Around the rim of the bowl are rain designs.  The area behind the ants has a mottled appearance from the use of the black bee-weed.  The bowl is signed on the bottom in the clay, “C. Naha Nampeyo”.

$ 75.00
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.

$ 3,600.00
Komalestewa, Alton – Brown 11 Rib Melon Jar

Alton Komalestewa learned to make pottery from his mother-in-law, Helen Shupla.  She was famous for her traditional melon bowls and over the years Alton has taken and refined this form with thinner walls and a highly polished surface.  This melon jar is fired brown, which is unusual for his pottery.  It is made with undulating ribs, which are pushed out from the inside.  It is technically difficult to stretch the clay and create even ribs.  This jar has 11 ribs and a very highly polished sturface.  It has been traditionally fired and it is signed on the bottom by Alton and he also uses a katsina face as part of the hallmark of his name.

$ 900.00
Tahbo, Mark  – Jar with Bird Tails & Red Rim (2017)

This is a classic style Hopi-Tewa jar by Mark Tahbo.  The jar has a wide, round body and a slight neck.  The neck and the base are both fully polished a deep red. The sides of the jar have the traditional eagle tail pattern which was seen on the historic Sikyatki pottery.  The bird tails are painted with two different colors of red clay slip.  Mark has left open areas on the jar to reveal more the coloration of the clay from the firing.  Note the intricately painted patterns and how Mark flows them across the shoulder and reinforces the shape of the piece!  The red on the jar is a the classic red clay slip, which is  a beautiful contrast to the blushes of the clay.  The black is bee-weed (a plant).  The jar is traditionally fired to create the various colorations from the heat of the fire. It is signed on the bottom with a pipe for his “Tobacco Clan”.

$ 800.00
Tahbo, Mark  – “Coming of Spring” Jar (2017)

This is a striking jar by Mark Tahbo.  He has titled this piece, “The Coming of Spring”. The jar has two sections with birds painted onto the surface of the piece.  Each of the birds is different and each is painted with different colors of clay for the heads, bodies and tails.  Separating each of the birds is a large round, bird tail pattern. There is a white prayer feather at the top of the circles.  The red, mauve and white are all natural clay slips.  The black is bee-weed (a plant).  The jar is traditionally fired to create the various colorations from the heat of the fire. It is signed on the bottom with a pipe for his “Tobacco Clan”.

$ 800.00
Duwyenie, Preston – Traditional Ladle with Silver Inset

This is a traditional ladle or spoon by Preston Duwyenie.  It is made from a red clay found near Hopi.  The entire piece is fully polished. There is an inset piece of silver on the handle. The silver is meant to represent the shifting sands found in the areas around Hopi.  The silver is cast against cuttle-fish bone (a type of squid).  The silver is inset after the firing and there is a design etched on both ends.  The ladle is signed on the back in the clay with Preston’s hallmark which is a woman carrying a child.  Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.

$ 275.00
Namingha, Les – “Urban” Jar

This is an exceptional and important large vessel by Les Namingha.  The title of the piece is “Urban” and Les says it is inspired by the work of Basqiat, Haring, Lewitt, Jersey Joe and Nampeyo.  One one side the word, “Urban” is tagged in a grafitti style.  The opposite side has a Hopi bird pattern in graffiti form.  The overall imagery has such an extraordinary blend and balance of influences, it makes it very exciting.  Note as well the one katsina mask as part of the designs!  The bottom has a wonderful Harring inspired linear design which is also feels very much like Zuni linear patterns.  Les remains 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.   The jar is signed on the bottom.

$ 4,800.00
Sale!
Nampeyo, Darlene James – Bowl with Thunderstorm Design

Darlene Nampeyo James learned to make pottery from her aunts, Dextra Quotskuyva and Priscilla Nampeyo.  Her pottery is more traditional in style and she continues to use Hopi clay for her pottery and paint with bee-weed for the black.  This bowl is thin walled and very tightly painted.  The design depicts a thunderstorm at night.  There are stars painted on the rim of the bowl and with terraced clouds and lightning.  The mountains are painted below.  The bowl has been traditionally fired to create the variations in color on the surface.  It is signed on the bottom.

$ 225.00 $ 125.00
Qoyawayma, Al – Slipper Jar with Jaguar and Bird Men

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

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

$ 5,800.00
Duwyenie, Preston – White Shoulder Jar with Silver Inset

This piece by Preston Duwyenie is made from white Hopi clay found near Third Mesa at Hopi.  The clay is stone polished and when fired has an eggshell white appearance.  There is a single piece if inset silver on the top of the shoulder.  The silver is meant to represent the shifting sands around Hopi.  It 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 bowl is rounded on the bottom and there is an acrylic base which comes with the piece to hold it steady.  The bowl is signed on the bottom in the clay with Preston’s hallmark which is a woman carrying a child.  Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.e.

$ 1,500.00
Maho, Garrett – Mini Lidded Bowl

Garrett Maho is known for his traditional and innovative Hopi-Tewa pottery.  This miniature bowl has a very tightly painted cloud and lightning pattern painted around the shoulder 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 bowl also has a lid which sits on the top of the piece.

$ 125.00
Sale!
Tahbo, Dianna – Bowl with Bird Design (1996)

Diana Tahbo was known for her tightly painted pottery and especially her beautiful miniatures.  This is an unusual piece as it is made with the red Hopi clay.  The design is a classic eagle with the tail to one side and the head to the other (the pointed end).  It is a classic style of Sikyatki design revived by Nampeyo of Hano.  Here Dianna has used it on half the bowl. The entire piece is fully polished, including the inside!  The bowl is from 1996 and it is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom “Dianna Tahbo”.

$ 350.00 $ 250.00
White, Elizabeth  – Mudhead Katsina Clay Figure

Elizabeth White is 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 is one of her classic “wind chimes”  It is in the shape of a Mudhead Katsina and made with the red clay from Hopi.  There is a piece of leather that holds the clay tab on the under side of the figure.  It is signed in the clay on the inside of the rim.  Elizabeth made various katsinas figures as “wind chimes” as well as corn maiden figures.  This piece 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!

$ 625.00
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
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.

Huma, Rondina – Wedding Vase with Geometric Patterns

Rondina Huma has certainly been one of the most influential Hopi potters working today.  Since her “Best of Show” award at Santa Fe Indian Market in the early 1990’s, 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 few wedding vases and it is from around 2005.  It is a larger piece of her pottery and it is fully stone polished.  The designs are then painted onto the surface using red and burgundy clay slips.  The red areas are stone polished while the burgundy areas are matte and unpolihsed.  The designs are a series of “shard” patterns which are very tightly painted.  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.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 9,800.00
Tahbo, Mark  – Large Jar with Birds (2002)

This is a large and fully painted jar by Mark Tahbo.  The jar is the traditional clay but was high fired to a deep, almost orange coloration.  The birds around the neck were inspired by the diverse style of birds painted on the pottery of Nampeyo. What makes these birds unique is that they are painted with the mauve colored slip that he was using at the time!  It was a rare clay that several of the potters used and it fired out this amazing mauve coloration.  Below the shoulder the jar is painted with bird tail designs.  Note how black the bee-weed fired out on this jar!  Stunning!  The jar is in excellent condition with no chips, cracks, restoration or repair. It is signed on the bottom with his name an a pipe for his “Tobacco Clan”.

$ 2,200.00
Tahbo, Mark  – Hopi Birds Lidded Bowl (2003)

Mark Tahbo learned to make pottery from his great grandmother, Grace Chapella.  His pieces reflect the wonderful symmetry and thin walls of an excellent potter. The designs are painted using native clay slips and bee-weed (a plant) for the black. This is a classic bowl from 2003. On this piece Mark included a variety of styles of Hopi birds.  Each was painted with different clay slips and he wanted to create a sense of motion.  They fly around the bowl and in, under and around the lid.  This is one of the few pieces where Mark made a lid for his pottery.  Note the use of all the various clay colors from mauve to red to burgundy.  It is an exciting and complicated vessel bringing together a all these Hopi birds in a contemporary manner!  Mark has made it an important part of his career to create the blushes in the firing process.  The depth of the coloration gives his vessels such life!  It is in excellent condition with no chips, cracks, restoration or repair.

$ 1,800.00
Tahbo, Mark  – Plainware Jar with Fireclouds

Mark Tahbo learned to make pottery from his great grandmother, Grace Chapella.  His pieces reflect the wonderful symmetry and thin walls of an excellent potter.  This jar is highly polished and traditionally fired so that it ranges in color from white to a dark orange.  Mark was one of the pioneers of reviving the “blushes” on Hopi-Tewa pottery and this is a perfect example of how a plainware piece can appear so stunning! It is signed on the bottom with his name a a pipe representing that he is Tobacco Clan.

$ 700.00
Tahbo, Mark  – Bowl with Eagle Tail Design

Mark Tahbo learned to make pottery from his great grandmother, Grace Chapella.  His pieces reflect the wonderful symmetry and thin walls of an excellent potter. The designs are painted using native clay slips and bee-weed (a plant) for the black.  This wide shoulder bowl is from 2001.  It is tightly painted with four eagle tails as the design.  They are each connected and extend down the sides.  The tops of the eagle tail are a bird head which extends up towards the mouth.  Note the use of the mauve colored clay which Mark used on his pottery at this time.  Mark has made it an important part of his career to create the blushes in the firing process.  The depth of the coloration gives his vessels such life!  It is in excellent condition with no chips, cracks, restoration or repair.

$ 775.00
Namingha, Les – “Blossom” Reconstructed Jar

Les Namingha is one of those potters who continues to defy expectations in his innovative clay art.  This jar brings together his amazing talent to balance history and modernism.  This jar is called, “Blossom” and much like a flower, it is various pieces to make one whole. The physical jar is reconstructed, much in the style of the pottery made by Pueblo writer and advocate Rick Dillingham.  Each of the various sections is painted after being put back together.  The lines connecting the various pieces can barely be felt and takes a moment to grasp that reconstructed nature of the piece.  However, the name comes from the various traditional plant patterns seen on the jar.  Around the neck are checkerboard agave designs surrounded by almost modernist fineline patterns.  There is a checkerboard pattern around the shoulder of the piece and below larger flower designs. Beyond the designs it is the color which then unfolds like a history of Hopi pottery.  There is the classic ware on the top with the blush.  Below are sections which are brown-on white (like early Polacca Polychrome)  and white-on-red (like ancient Tonto Basin pottery).  There is a small black-on-red checkerboard area which reminds us of the other red clay which is not so often used in Hopi pottery today.  The more highly colored blue areas are certain a nod to the color strength of Les’s pottery and the symbolism of the colors in Hopi tradition.  Les also added something special to this piece with the cloth flowers, which again add another layer of symbolism to the “Blossom” name. In addition to all the content contained in this piece, there is also the texture!  The cloth and clay create an amazing textural feel which makes this a piece which demands to be held.

Les says of the use of cloth on the vessel, “Years back, I used cloth material on some pots. I liked the results and planned on doing some more collage works at some point. Recently , my mother being a seamstress , had a nice collection of scrap cloth which led me to decide to use some of those prints, that had interesting patterns, on some tiles and pots. Most of what my mom sews together are for ceremonial purposes; men and women’s shirts and dresses for dances.”

Les continues to be excite us with each new piece and it’s great to see how he has brought such thought to one vessel!  It is signed on the bottom.

m.

$ 4,200.00
Duwyenie, Preston – Red “Earth in Balance” Bowl

This piece by Preston Duwyenie is made from red Hopi clay. The shape is inspired by early Sikyatki pottery with wide, low shoulders.  The body of the piece is fully polished with a matte area near the top.  The polished area is meant to represent the earth, the raised area the waters and the higher matte areas the land and mountains.  It is “the earth in balance” as all three are connected.  The bowl is rounded on the bottom and there is an acrylic base which comes with the piece to hold it steady.  The bowl is signed on the bottom in the clay with Preston’s hallmark which is a woman carrying a child.  Preston is from Third Mesa at Hopi, and taught ceramics for years at Institute of American Indian Art (IAIA) in Santa Fe.

$ 900.00
Nampeyo, Leah  – Jar with Migration Pattern

This is a classic jar by Leah Nampeyo.  It has a wide shoulder and slightly turned out rim. The design is a migration pattern which is painted on the shoulder of the piece.  It extends down to the base.  It is a classic design which was revived by Nampeyo of Hano.  The jar is in very good condition with no chips, cracks, restoration or repair. There is some loss of the black in various areas.

$ 500.00
Ami, Loren – Hilili Katsina Jar

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

$ 600.00
Sale!
Nampeyo, Rachel – Pair of Small Bowls

Rachel Namingha Nampeyo was a gradndaughter of Nampeyo of Hano and a daughter of Annie Healing. She was the mother of noted potters Priscilla Nampeyo, Dextra Quotskuyva, Eleanor Lucas, Emerson Namingha and Ruth Namingha. She was known for her use of traditional designs on her pottery and continuing the pottery legacy of her grandmother.  The two small bowls have similar designs with rain and cloud patterns.  They are each traditionally fired with  blushes on the surface.  One is signed, “R. Nampeyo” and the other, “R.N”.   They are both in very good condition with no chips, cracks, restoration or repair.

$ 100.00 $ 75.00
Navasie, Grace – Miniature Wedding Vase

Grace Navasie is a daughter of noted potter Joy Navasie. This is one of her miniature wedding vases.  It has the similar elongated handle like the wedding vases made by her mother.  The vase has a bird wing feather pattern on both sides on the spouts, along with a rain pattern below. The piece is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay with the Frog Hallmark and a “G” for Grace.

$ 100.00
Sale!
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 work flow between the two distinctive styles and yet find their own unique space.  His work used traditional designs, forms and techniques, yet somehow appeared very modern.  This 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 excellent condition with no chips, cracks, restoration or repair.

$ 975.00 $ 800.00
Lucas, Steve – “Prayer for Rain” Jar

This jar by Steve Lucas is thin walled.  The wide shoulder slopes up to the slight neck. On the shoulder is an intricately painted design which is entitled, “Prayer For Rain”.  Note the flower at the bottom center of the design and the triangular rain clouds.  There are both red and tan colorations to the clay.  The jar has been traditionally fired to create the striking colors to the clay.  It is signed on the bottom with his name and an ear of corn (Corn Clan) and a Mudhead Katsina.

$ 1,600.00
Koopee, Jacob – Very Large Open Bowl with Migration Pattern & Cradledolls

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

$ 15,000.00
Sale!
Navasie, Eunice “Fawn” – Small Jar with Geometrics

Eunice “Fawn” Navasie was a daughter-in-law of Paqua Naha and a sister-in-law of Joy “Frogwoman” Navasie.  This is one of her smaller jars.  It is polished red on the rim and the remainder is a white clay slip.  It is painted with a cloud, rain and checkerboard geometric pattern.  Eunice was known for her larger versions of this jar, which can be found in Arizona Highways.  Finding a smaller one with such intricate painting is unusual!  The jar is signed, “Fawn” on the bottom,  It is in very good condition with no chips, cracks, restoration or repair.

$ 175.00 $ 150.00
Sale!
Nampeyo, Darlene – Miniature Pottery Set

Darlene learned to make pottery from her aunts, Dextra and Priscilla.  Her pottery is more traditional in style and she continues to use Hopi clay for her pottery and paint with bee-weed for the black.  This is a charming set she has made with two small bowls made with the Hopi red clay.  They are affixed to two clay “rock” slabs.  She said she had made the miniatures and thought they were more interesting as a group, as if they were sitting out on the rocks at Hopi.  It has been traditionally fired to create the variations in color on the surface.  It is signed on the back.

$ 100.00 $ 50.00
Navasie, Joy “Frogwoman” – Bowl with Bird Designs

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 bowl is a wonderful piece of her work from the late 1960’s. It is a unique design with two different designs in each of the four panels.  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.  Both pieces are signed on the bottom with her frog hallmark.  It is in very good condition with no chips, cracks, restoration or repair.

$ 1,200.00
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