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Hopi-Tewa Pottery

The Hopi Reservation is located in northeastern Arizona. Surrounded by the Navajo Reservation, Hopi consists of three Mesas, and each Mesa has several villages. The Hopi-Tewa speaking people are primarily located on First Mesa in the villages of Hano and Polacca. They are descendants of the Tewa-speaking Pueblo people of New Mexico who came to Hopi around the time of the Pueblo Revolt in 1680. It is the Hopi-Tewa group who are best known for their 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 free hand 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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Adams, Sadie – Large Tile with Bird

This is a larger tile by Sadie Adams. The tile has a very classic style Hopi bird as the design.  The body of the bird is made up of traditional Hopi patterns such as rain, clouds and lightning designs. The bird is standing on a stylized bird patterns as well!  It is signed on the back with her flower hallmark.  It is  in excellent condition with no chips, cracks, restoration or repair.  It is certainly and beautiful example of her pottery and painting skill.

$ 750.00
Sale!
Ami, Dorothy – Large Jar Hopi Birds

Dorothy Ami is a cousin of noted potter Mark Tahbo. This is one of her larger jars.  It is intricately painted with a series of Hopi birds encircling the piece.  The top and bottom have triangular geometric patterns. The birds are painted with red, burdundy and while clay slips. The black is bee-weed (a plant).  The large size and the dynamic designs flow beautifully on the surface of this piece!  It has been traditionally fired so there are blushes on the surface. It is signed on the bottom in the clay.

$ 1,400.00 $ 1,100.00
Sale!
Ami, Loren – Bowl with Old Style Moths

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 bowl is stone polished and painted with four butterflies or moths as the design.  This is a fascinating use of a very old design.  The body of the each moth is in the center and the wings are polished red. It is the head of each moth which is the mouth of the bowl!  Loren has perfectly used the form of the bowl to become part of his design.  The bowl is traditionally fired which creates the blushes on the surface.  Loren is certainly one of the traditionalist Hopi-Tewa potters to watch, as each new piece reveals his strength as both a potter and an artist!

$ 350.00 $ 175.00
Sale!
Ami, Loren – Eagle Tail Seedpot

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 seedpot shaped bowl has a small opening. It is painted with the classic eagle tail design. The eagle tails sweep down over the side of the bowl. It has been traditionally fired which creates the blushes on the surface. It is signed on the bottom.

$ 350.00 $ 200.00
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.

$ 525.00
Sale!
Ami, Loren – Jar with Fox Design

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. The neck of the jar is slipped with a micaceous red clay. The design on the jar are a series of foxes, which are a classic design from Nampeyo of Hano.  Note the use of the additional red and white clay slips on the body of the figures.  The jar has been traditionally fired which creates the blushes on the surface. It is signed on the bottom.

$ 550.00 $ 375.00
Sale!
Ami, Loren – Jar with Spider Design

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. The neck of the jar is slipped with a micaceous red clay. The design on the jar is very traditional series spiders on two sides.  This is a design which was often used by Nampeyo of Hano.  The two larger spiders are represented by both male and female.  The opposite two sides have more stylized spider motifs.  This jar is also symbolic as Loren is also spider clan.   Note as well that he also used an additional darker brown slip.  The is a small area where the jar has fired a darker almost black in the center of the spider.  The jar has been priced accordingly.  It has been traditionally fired to create the blushes on the surface. It is signed on the bottom.

$ 700.00 $ 475.00
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 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
Sale!
Begaye, Nathan – Tile with Polychrome Lizard

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 tile is from 2000 and was made for a “Hopi Tile” show that we had here the gallery.  The lizard is painted on a polished white clay surface and the colors are all natural clay slips.  The black is bee-weed and note the tightly painted fineline designs. Nathan used a piece from a broken vessel to create this “shard” which he wanted to look like an ancient piece that had just been found.  There is a little bit of wear on the black and some minor spalling, which adds to the feel of the piece being “old”.  Note on the back the rust colored area below the signature, that was where he put some caliche clay he found here in AZ and he wanted to see what color it would fire.

$ 600.00 $ 325.00
Duwyenie, Preston – “Three Maiden” Double Shoulder Water Jar

Stunning!  This is an exquisite water jar by Preston Duwyenie.  The water jar is made from micaceous clay and slipped with a micaceos clay mixed with red Santa Clara clay.  The coloration is a striking red with the sparkle of the mica. The water jar has a double shoulder and a fluted or “Rain drop” rim. The undulating shape of the rim is always technically difficult to create. The jar has six inset piece of silver, each cast from cuttlefish bone. The silver pieces are inset into the jar after the firing and represent three maidens with tablitas on their heads. The area around the silver pieces are lightly etched with additional designs.  The angles created by the shape of the jar along with the color of the clay and the complement of the mica and silver give the jar its stunning appearance!  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.

$ 3,300.00
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
Duwyenie, Preston – Red Shifting Sand Plate with Coral

This piece by Preston Duwyenie is made from red Hopi clay found near Third Mesa at Hopi.  The plate is stone polished on the back and matte on the front. The front is etched with very tight lines to have the appearance of shifting sands.  There is a single inset piece of coral within the bands of the sand design.

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”.

The plate 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.

$ 225.00
Duwyenie, Preston – Shifting Sand Design Jar with 3 Silver Insets

Preston Duwyenie is know for his Hopi pottery which blends modern and traditional aspects of the art. This jar is made from a white clay which he finds near Second Mesa at Hopi.  The body of the piece is fully polished.  The top area above the shoulder has the shifting sand design is carved into the clay so that it have a very natural appearance.  What makes the sand area so fascinating is how he carves it so that it has very natural appearance.  Separating each of the three panels are rectangular sections, each with a single inset piece of silver, which Preston casts from cuttle-fish bone (a type of squid).  The casting creates a a similar style of ‘shifting sand’ design to complement the clay areas!  The thin walls of the bowl, the organic feel of the shifting sand and the strength of the silver insets are perfect on this piece.  The piece is signed on the bottom in the clay 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”.

$ 1,600.00
Duwyenie, Preston – Shifting Sand Seedpot with Silver Corn Plant Lid

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 corn plant shape.  The casting creates a 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”.

$ 725.00
Duwyenie, Preston – Shifting Sand Seedpot with Silver Quail Lid

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 at Hopi.  The clay fired a tan colorattion.  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 the shape of a quail.  The casting creates a 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”.

$ 800.00
Duwyenie, Preston – Shifting Sand Seedpot with Silver Road Runner Lid

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 the shape of a road runner.  The casting creates a 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
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
Duwyenie, Preston – White Shifting Sands Plate with Coral

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.  The back of the plate is polished and the front is carved to have the appearance of shifting sands.  There is a single inset piece of coral within the bands of the sand design.  The plate 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.

$ 300.00
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
Sale!
Huma, Rondina – Large Bowl 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.  What is interesting about Rondina’s pottery is that it is always polished on the inside as well as the outside!  This bowl is from the early 1990’s.  It has her classic shard patterns but they are larger than on her later work. Rondina has said that her goal is to not repeat the same design twice on a bowl!  The rim has a rain pattern with a red polished design.  The piece is traditionally fired outdoors to create the coloration in the clay.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.

$ 3,000.00 $ 2,000.00
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 in the are stone polished while the burgundy areas are matte. 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
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
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
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.

$ 1,300.00
Sale!
Lucas, Steve – Cosmos Sky Patterns Jar

This jar by Steve Lucas is a classic Hopi shape with the wide shoulder.  The top of the jar is painted with geometric shapes which are then filled in with red and white clay slips which are then stone polished.  The various designs are meant to represent the sky and the cosmos.  The area below the shoulder is polished red and there is a painted design near the base. This represents the earth with the top of the jar overhead.  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.

$ 1,200.00 $ 875.00
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.

$ 600.00
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
Naha, Helen “Feather Woman – Jar with Bat Wing Design

Helen Naha 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. This jar has a wonderful shape with a low shoulder and slightly turned out rim.  The design is the classic bat wing 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 on both pieces the wonderful bold lines of Helen’s painting!  It is in very good condition with no chips, cracks, restoration or repair.  There is one small ding on the rim which can be seen in one of the photos.

$ 2,200.00
Naha, Rainy – “End of Autumn” Bowl

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 bowl she has entitled the design as “End of Autumn”.  It has two panels with the classic Sikyatki inspired moth/butterfly.  Separating them are two panels with a variety of Hopi-Tewa designs.   Rainy said that the name came from the coloration of the bowl and also the designs from her solstice pots.  Here the end of autumn means the leaves have changed and the butterflies and moths have gone.  All the designs are tightly painted and each has a variety of designs derived from classic Hopi pottery. 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”.

$ 1,200.00
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
Naha, Sylvia – Lizard, Corn & Shard Design Seedpot

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”.

$ 350.00
Namingha, Les – “21st Century Polychrome” Jar

This is a striking wide shoulder jar by Les Namingha.  It is entitled, “21st Century Polychrome”.  The jar is made from native clay and one of the visual attributes is the color of the clay on the inside of the jar. The designs on the surface are very geometric patterns with a modernist style to the lines.  They patterns also seem to reference traditional Hopi patterns, like the “man in the maze”, which are also very linear in structure. The polychrome aspect is the use of various colors of paint on the surface.  A traditional polychrome jar would have more than three clay colors.  Here the jar has a variety of colors on the surface.  Note as well the bit of mica in the black lines, which are reflective in the light.  The jar is signed and titled on the bottom.

$ 3,800.00
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
Namingha, Les – “by Design” Jar

This is a smaller but intricate jar by Les Namingha.  The jar has a round body and an elongated neck. The piece is entitled, “by Design”.  Les says that the names is a continuation of, “I painted it by design”.  The design, however, is very complex on this piece. Around the neck it is painted with a cloud pattern which has a “op-art” appearance as it changes from smaller to larger as it approaches the shoulder.  Around the shoulder are a series of linear and geometric pattern which connect together.  It is really the base which is the most dynamic with the intersecting lines. The lines and various colors create the distinctive appearance of the squares looking both like a basket and also with the optical illusion of the squares floating between the larger lines.  Les Namingha 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.  The jar is signed on the bottom.

$ 2,000.00
Namingha, Les – “Kiva Wall Painting” Jar

This is an exceptional and important large vessel 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.  This jar is inspired by the classic Kiva wall paintings from Awatovi and other kiva ruins.  Here, one of the classic figures is the “mosquito man” and he is depicted with stalks of corn. Les has painted variations on each of them.  The designs below are pollen patterns. It is exciting to see how Les reinterprets such pivotal historic designs on his pottery.  The jar is signed on the bottom.

$ 4,000.00
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.

$ 5,800.00
Namingha, Les – Spiraling Hopi Birds Jar

This is delicately painted jar by Les Namingha which is both ancient and modern.  The jar is one of his classic shape with the round body and slight neck and tiny opening.  The body of the jar is painted with a spiraling series of Hopi birds.  They bodies of the birds are painted with various traditional Hopi designs and in various colorations. Both birds are different and distinctive in style.  Below the birds is a classic interlocking line design and near the base a snow pattern.  The overall coloration is striking on this piece.  It is signed on the bottom.

$ 2,600.00
Namingha, Les – Zuni Jar with Birds & Rainbirds

Les Namingha 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.  This jar is inspired by the classic Zuni pottery shapes and designs.  The olla shape with the high shoulder and sloping mouth has the perfect Zuni form.  What is hard to see from the photos is the edge at the top of the shoulder that dips down before the rise to the neck and the very tiny turned out neck!  Amazing!  The designs are birds and rainbirds (which are the fineline style swirls) extend around the jar in the panels.  Note as well the small feather patterns which are also found around the surface of the entire piece!  There are two vertical bands which have fineline geometric and rain patterns.  What works so well on this piece is the checkerboard pattern on the base and the rim. That little turn out of the rim is hard to see but connects the jar to the past but still contemporary.  Overall, a wonderful combination of Zuni designs made modern!  It is always exciting to see how Les continues to revive Zuni pottery with his forms and designs!

$ 3,200.00
Namingha, Les – Zuni Rainbird Tile

Les Namingha has created fascinating tiles over the years. This tile is from 2012 and it is one of his Zuni style pieces. The tile has a rainbird pattern as the design. Les has taken one small section of design from a traditional Zuni jar and added some of the other smaller feather and lightning patterns.  The tile has intricately painted designs across the surface.  It is signed on the back and it is in excellent condition with no chips, cracks, restoration or repair.

$ 525.00
Sale!
Namoki, Lawrence – Masau Katsina & Bird Seedpot

Lawrence Namoki has been known for a variety of styles in his pottery. While he began with deep carved pottery today he is creating delicately painted vessels.  This piece is entitled, “Ngmoki” which is the Hopi spelling of his name, which means “medicine”.  The seedpot is designed as a healing or medicine bowl. There is an inset piece of turquoise on the top with bird, bear paw, feather and katsina designs painted on the sides. The seedpot is a narrow and tall shape, which makes it distinctive in form.  Note the very delicate and intricate painting on the two katsina figures, both of which are Masau.  These painted designs are striking on the black polished surface.

$ 400.00 $ 250.00
Sale!
Nampeyo, Adelle L. – Bowl with Migration Pattern

Adelle Nampeyo is known for her stylistic use of traditional Hopi designs.  This bowl has a migration pattern or bird wing design above the shoulder.  The design is painted with intricate lines.  Adelle has used native clays and bee-weed (the black) for the coloration.  It has been 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.

$ 175.00 $ 100.00
Sale!
Nampeyo, Camille “Hisi”- Jar with Eagle Tail Design

Camille “Hisi” Quotskuyva learned to make pottery from her mother, Dextra Quotskuyva, a sister of noted painter Dan Namingha and a descendant of Nampeyo of Hano, Annie Healing and Rachel Nampeyo.  She is known for her use of traditional imagery and the delicate painting of her designs.  This wide shoulder jar has a fully painted design with a stylized eagle tail pattern.  The red areas are fully polished with a red clay slip.  Note the intricacy and precision of the design!  The jar is signed on the bottom and dated 1-1995.  Note the subtle variations in color from the firing.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 800.00 $ 600.00
Sale!
Nampeyo, Candice “Candy” – Bowl with Mountain and Cloud Designs

Candice learned to make pottery from her mother, Darlene Nampeyo.  Each piece is coil built, stone polished and painted with Hopi-Tewa designs using traditional techniques and outdoor fired.  This bowl has a mountain and cloud pattern encircling the piece.  The red clay slip has mica in it and the black is painted with bee-weed (a plant).  There are some color variations from the firing.  It is signed on the bottom.

$ 125.00 $ 75.00
Sale!
Nampeyo, Candice “Candy” – Turtle with Traditional Designs

Candice learned to make pottery from her mother, Darlene Nampeyo.  Each piece is coil built, stone polished and painted with Hopi-Tewa designs using traditional techniques and outdoor fired.  This is one of her turtles.  It is painted with a classic night scene of Hopi, with the mesas and the stars in the sky.  There are some color variations from the firing.  It is signed on the bottom.

$ 100.00 $ 65.00
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.

$ 75.00 $ 50.00
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.

$ 175.00
Nampeyo, Fannie – Wide Bowl with Migration Pattern

This bowl by Fannie Nampeyo is a wonderful shape with a wide shoulder and a very flat top.  It is this striking shape which works perfectly for the painted migration pattern which extends from the rim to the base.  Note how perfectly it is painted so that the center of the design hits right on the shoulder!  The piece was traditionally fired and there are some beautiful colorations in the clay.  The bowl was painted with native clay slips and traditionally fired.  It is in very good condition with  no  chips, cracks, restoration or repair.  It is signed on the bottom, “Fannie Nampeyo”.

$ 1,100.00
Nampeyo, Iris – Mini Jar with Corn Design

This is a classic miniature by Iris Nampeyo.  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 is stone polished and the corn on the front is in 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.  It is signed on the bottom.

$ 125.00
Nampeyo, Iris – Red Clay Jar with Corn Design

Iris Nampeyo is best known for her highly polished pottery with corn designs.  Iris is Corn Clan and so that is the inspiration for the design.  This bowl is made from the red clay, which is one of the other traditional clays used in at Hopi.  The jar has an organic shape with an asymmetrical mouth.  There is a single ear of corn in appliqué on one side.  The corn husk area is matte and encircles the much of the piece.  It is etched on the bottom in the clay, “Iris Nampeyo”.

$ 800.00
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
Nampeyo, Leah  – Large Jar with Migration Pattern (1960’s)

Leah Nampeyo was a daughter of noted potter Fannie Nampeyo.  This is an excepitonal larger piece of her pottery with a wide shoulder and a slightly turned out neck.  The design is a migration pattern which is painted around the body of the piece.  Note the tight lines and the complexity of the pattern.  The jar was traditionally fired so there are blushes and fireclouds around the surface which add to the overall appearance of the jar.  It is signed on the bottom, “Leah Nampeyo”.   The jar is in very good condition with no chips, cracks, restoration or repair.

$ 1,100.00
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, Charles – Red Jar with Parrots (1989)

Charles Navasie is a grandson of noted potter Joy “Frogwoman” Navasie and the son of Loretta Navasie. This jar is an early piece of his pottery from 1989.  It is very classic shape seen in the pottery of Joy Navasie, with the high, rounded shoulder. The jar is painted in four panels with alternating parrot and bird tail designs. The jar is the classic red clay from Hopi and then painted with bee-weed for the black.  It is signed on the bottom “Chas Navasie”.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 200.00
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
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
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
Navasie, Joy “Frogwoman” – Double Shoulder Water Jar

This is a striking 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 an unusual one for Joy with a double shoulder.  There is a band of design painted around the neck with plant and rain designs.  Around the body of the jar there are four sections of designs with stylized bird motifs.  The designs are complex and yet have a variety of imagery in each section.  The jar is in very good condition with no chips, cracks, restoration or repair.  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.  The jar was originally purchased from our gallery in the late 1990’s and there is a picture of Joy holding it in the gallery.

$ 2,500.00
Navasie, Joy “Frogwoman” – Large Open Bowl with Bird Designs

This large open bowl by Joy “Frogwoman” Navasie is from the late 1960’s.  The coloration of the red clay slip for her designs is typical of her work from this period and in later pieces it would be a darker red.  The bowl is painted around the outside with cloud, rain and bird designs.  The inside of the bowl is also painted with a classic bird pattern.  The bowl has some slight spalling on one area of the side.  Otherwise, it is in very good condition with no chips, cracks, restoration or repair.  Large open bowls are always difficult to paint on the interior and this is one of the few we have seen by Joy.  The bowl is signed on the bottom with her frog hallmark.  Joy 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. 

$ 3,000.00
Polacca Nampeyo, Vernida  – Jar with Migration Pattern

This jar by Vernida Polacca is an elegant shape with a round body and a slightly turned out neck. Vernida is a granddaughter of Fannie Nampeyo.  This jar is delicately painted with a migration pattern as the design.  Note the precision of Verndia’s painting.  It fits perfectly on the thin walled jar.

$ 200.00
Qoyawayma, Al – “Cosmos” Polychrome Lidded Jar

This wide vessel by Al Qoyawayma is entitled, “Cosmos”.  Al writes:

The inspiration for this pottery design is from a unique kiva mural found at Pottery Mound near Albuquerque. These murals vividly reflect Hopi/Sikyatki designs.  The Pottery Mound reflects interaction with Central American cultures and cosmology.  The mural commemorates an ancient celestial event(s) often associated with Quetzalcoatl and meso-american cosmology. One of the most valuable ancient artifacts curated in the NMAI collections is a Mixtec shield which reflects the patterns in recent physics discovery, patterns even recorded in today’s Hubble photos.  A real event occurred several thousand years ago most like a super intense aurora, the likes of which we have not seen in recorded history.  What was recorded and memorialized in petroglyphs, murals, sculptural creations and cultural artifacts that agree with recent high energy laboratory experiments (at Los Alamos) that have defined a new page in modern physics. This phenomenon (or has been consistently recorded world wide in prehistory, notably at Stonehedge and on the Nazca Plain, which I call the “28-56 phenomenon”.

The modern discovery in physics is called a “Z-pinch” (a potential point of star creation) which is a visible high energy plasma event.  It is the generation of circular electrical and magnetic fields that among other things visibly exhibit a numerical reduction pattern of 128, 56, 28, 14, 7, 4 which are exhibited in antiquities such as Al Qöyawayma’s Mixtec shield and Cosmos vessel.  It is hypothesized  that creation of this condition has been generated by strong emissions from the sun interacting with the Earth’s magnetic field, far beyond that commonly observed as an aurora.

Conclusion: This art memorializes in cultural context what my ancient ancestors saw and accurately recorded. That recording agrees with recent scientific discovery in high energy physics. In time this discovery will change our understanding of the universe.

The top of the jar is fully carved and the designs extends into the lid.  The various colors are all derived from natural 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.

$ 17,000.00
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 – 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 – Polycrome Triangular Box

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.  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!

$ 11,700.00
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
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
Quotskuyva, Dextra – “Birds” Jar (1994)

This is a classic jar by Dextra Quotskuyva.  She is certainly one of the great innovators among Hopi-Tewa potters.  Her work began with more classic imagery and then has evolved over the years to more unique and stylized designs. This jar is from 1994 and has been published in the book, “Painted Perfection”.  The design is painted onto the surface with a yucca brush and bee-weed for the black.  The design is a series of birds which encircle the shoulder of the jar.  Their tails and wings are fully polished red.  The beaks extend up to the fully polished red rim.  The jar itself has been traditionally fired with blushes in the color of the clay.  The size, precision of the painting and the red polished surfaces all make this a distinctive piece by Dextra.  They create the strong visual cues that this is her work even before it is turned over to see her signature ! The jar is signed on the bottom in the clay, “Dextra” and an ear of corn, as she is Corn Clan.  It is in excellent 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“.

Quotskuyva, Dextra – Jar with Two Birds (1990’s)

This is a classic jar by Dextra Quotskuyva.  She is certainly one of the great innovators among Hopi-Tewa potters.  Her work began with more classic imagery and then has evolved over the years to more unique and stylized designs. This jar is from the late 1990’s, which can be seen in the use of the red polished areas as well as the etched signature.  The jar has two different birds on each side.  One bird is a hummingbird, the other is a water bird. The birds are painted with bee-weed (black) and then highlighted with a red clay slip which is highly polished.  There is also the white clay used on the bodies of the birds. Note the very delicately painted lines on this piece!  The jar has been traditionally fired to create the coloration to the clay, which ranges from light to dark.  The open areas without design are typical of much of Dextra’s pottery, as she gives the clay some room “to breathe” on her pieces.  The jar is signed on the bottom in the clay, “Dextra” and an ear of corn, as she is Corn Clan.  It is in excellent 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“.

$ 3,600.00
Quotskuyva, Dextra – Large Jar with Kiva Opening & Star Pattern (1988-90)

This is a highly detailed larger jar by Dextra Quotskuyva.  She is certainly one of the great innovators among Hopi-Tewa potters.  Her work began with more classic imagery and then has evolved over the years to more unique and stylized designs. This piece is from the late 1980’s, which can be see in the color of the red clay, as well as her signature and use of the cut out kiva door. The jar is a beautiful shape with a high shoulder and slightly turned out neck. The design around the top of the piece is a star pattern painted with a red caly slip.  The red area is stone polished. The surrounding cloud and lightning designs are painted with bee-weed (black). The cut out section is what Dextra calls the “kiva openings”.  She used this style on several pieces from this time period. The carved out section is clean and painted on the inside rim.  Note as well the band of design above the lighting, with the break in the pattern, which is a stylistic deference to Nampeyo of Hano, who often used this style in her design.  The tight, creative painting, the unique shape and the highly stone polished surface, are all reflective of the high quality pieces created by Dextra.  The bottom of the jar is signed with bee-weed, “Detra” with an ear of corn representing the Corn Clan.   The jar is in perfect 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“.

$ 8,400.00
Quotskuyva, Dextra – Miniature Canteen with Hopi Bird

This is a highly detailed miniature canteen 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 around 1997 and it is one of her few miniatures.  The canteen has a bird painted on the front and note the precision of the painting!  The rim is polished red and the piece has been traditionally fired.  The canteen is signed, “Dextra” plus an ear of corn etched in the clay near the base.  It has a museum mount to hold it upright.  Dextra has been the subject of a retrospective of her pottery at the Museum of Indian Art and Culture called, “Painted Perfection“.

$ 1,800.00
Quotskuyva, Dextra & Lowel Chereposy – Jar with Bird & Bird Tail Design

Dextra Quotskuyva 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 bowl is a collaborative piece with her grandson Lowel Chereposy.  Lowel is a son of Hisi Quotskuyva Nampeyo.  The bowl was made by Lowel and painted by Dextra.  The design is a very tightly painted bird pattern.  Note how the bird head is to the left and the bird tail is to the right! It is signed on the bottom by both artists. It is in very good condition with no chips, cracks, restoration or repair.

$ 1,100.00
Setalla, Dee – Wide Bowl with Bird Patterns

Dee Setalla is a son of noted potter Pauline Setalla.  This is a wide shoulder bowl which is fully polished . The design is a series of birds and bird wing patterns which are painted around the shoulder.  Dee paints with a very bold flare to his designs. The piece has a nice coloration from the traditional firing.

$ 600.00
Silas, Venora – Large Jar with Geometric Designs

Venora Silas (b. 1967) is a daughter of potter Roberta Silas and a sister of Louann Silas, Antoinette Silas and Jofern Puffer. She began making pottery in 1977.  This large jar is painted with a complex series of designs encompassing the entire surface of the jar.  The top has rain patterns while below the shoulder are Hopi designs which are highlighted with red clay slip. The jar is signed on the bottom, “Venora Silas”.

$ 650.00
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
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
Tahbo, Mark  – “The Bird Who Fell Into The Pot” (2005)

This is a classic bowl by Mark Tahbo from 2005.  It is one that tells the story of how a bird was walking along and fell into the pot. It is the tail feathers and legs are all that can be seen.  The tail feathers are painted in a variety of styles and with a variety of colors.  The opposite side has a frog and dragonflies, who are all there to help get the bird out of the bowl! The lid is in the shape of a bird and one of the few lids he has made which is figurative in style.  The blushes on this bowl are striking and deep in coloration. The designs are painted using native clay slips and bee-weed (a plant) for the black. 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  – 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
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  – 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  – 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  – 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  – Small Jar with Bird Tail Designs (2017)

This is a smaller jar by Mark Tahbo.  The jar has a wide, round body and a slight neck. The designs painted on the sides are three different bird tails.  Each of them is different in color and style.  One of them is just black, the others combined more red.  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) and the red is a natural clay slip.  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”.

$ 400.00
Sale!
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 $ 400.00
Sale!
White, Elizabeth – Jar with Double Corn

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

$ 1,200.00 $ 900.00
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