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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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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
Quotskuyva, Dextra – Bowl with Mesas and Sky Design (1980’s)

This is a creative and contemporary style bowl by Dextra Quotskuyva.  She is certainly one of the great innovators among Hopi-Tewa potters.  Her work began with more classic imagery and then has evolved over the years to more unique and stylized designs. This piece is from the mid 1980’s, which can be seen not just in the clay colors, but also in her signature.  The bowl is one of a series she made in which she explored a variety of surface textures and techniques. This bowl is incised and has a linear mesa design carved near the rim.  Each of the rectangles are a different clay slip and are much in the style of the way Charles Loloma used angular stones in his jewelry to represent the Hopi skyline.  Below the mesas are the fields, ground, and the turquoise inset for the water.  The top of the bowl opposite the painting is etched away and textured to represent the sky.  It is an interesting and striking piece of her pottery.  Note not only the use of so many colored clays, but also the delicately painted designs on the end of the painted pattern!  Exceptional.  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“.

$ 2,200.00
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
Ami, Loren – Large Polychrome Jar with Feather Pattern

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 a shape inspired by the ancient Sikyatki pottery, with a wide shoulder an a slight neck. The inside of the neck is polished with a red clay slip. The body of the piece is fully painted with a stylized feather pattern.  There are red, tan and brown clay slips used on the jar!  The red clay slip has some mica in the clay which creates an additional sparkle.  The jar is traditionally  fired which creates the blushes on the surface. It is signed on the bottom.

$ 1,500.00
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
Namingha, Les – Jar with Corn Design & Rain Patterns

This jar by Les Namingha continues his series of Zuni inspired vessels. This jar has a checkerboard pattern around the neck.  This is a corn pattern, with the asymmetrical neck.  The black lines around the side are rain patterns. The white and red bands are further textured giving the jar a unique feel.  It is a simple pattern yet works well with the shape and the coloration.   Les is a descendant of Nampeyo and learned to make pottery from his aunt Dextra Quotskuyva.  It is signed on the bottom.

 

$ 1,900.00
Naha, Helen “Feather Woman” – Awatovi Star Design Bowl

It is not often the we see such a detailed smaller bowl by Helen Naha with such a classic design.  Helena Naha,  also known as “Feather Woman”, created distinctive pottery using the white clay slip throughout her career.  The designs were all painted using bee-weed (black) and natural clay slips.  She learned to make pottery from her mother-in-law, Paqua Naha yet had her own style in form, imagery and composition.  Helen is known for her revival of the pre-historic Awatovi pottery.   Awatovi is one of the ruins near Hopi where a white slipped style of pottery was made.  It is a fascinating place as it was where Coronado made contact with the Hopi in 1540.  During the excavations in the 1930’s the whiteware pottery was rediscovered.  It was the imagery from his work which inspired much of Helen’s early pottery, as opposed the more classic Sikyatki inspired pottery of Nampeyo.  This bowl has the “Awatovi Star” pattern painted on the top and the bottom.  Around the shoulder is her “eternity band” design.  The bowl has been traditionally fired and there is some variation to the color with the fired cloud, which certainly adds to the beauty of the piece.  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom with her hallmark feather.

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

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

$ 175.00
Sahneyha, Madeline – Open Bowl with Mountain Design (1990’s)

Madeline Sayneyha is a cousin of potter Mark Tahbo.  In the 1990’s she began making elegant pottery.  Each piece was coil built, painted with native clay slips and traditionally fired.  She was quickly known for her thin painted lines and dynamic firing. This bowl is painted with a mountain and wind design around the shoulder of the piece.  The entire bowl is fully polished, even  on the inside!  The bowl is traditionally fired to create the fire clouds.  It is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

$ 110.00
Nampeyo, Fannie – Large Jar with Bird Migration Pattern

This jar by Fannie Nampeyo is a classic form.  It has a wide shoulder and a slightly turned out neck.  The design is a bird migration pattern which is fully painted.  The design flows around the surface of the entire jar. The bird wings can be seen in the area below the shoulder. The bowl has been traditionally fired and there are colorations to the clay surface.  It is in very good condition with  no  chips, cracks, restoration or repair. It is signed on the bottom, “Fannie Nampeyo” and a corn plant, signifying that she was Corn Clan.

$ 2,500.00
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“.

$ 5,800.00
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
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 and all the fine lines which flow across the surface of this thin walled jar.  The jar is painted with bee-weed (black) and a red clay slip.   It has been traditionally fired for the blushes on the surface.  The jar is signed on the bottom.

$ 200.00
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.

$ 4,000.00
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.

 

 

 

$ 2,500.00
Qoyawayma, Al – Harmony Jar with Flowers and Figure

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

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

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

$ 14,000.00
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 – 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 – 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
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
Lucas, Steve & Yvonne – Jar with Sunface Designs

This is an stunning large jar by Steve Lucas and his wife Yvonne.  Steve said that this is only the third or fourth collaborative piece they have ever made!  The jar was made by Yvonne and she also did the white clay slip.  Interestingly, this can take four to six coats of the white clay to create the right color and consistency to the surface.   The jar was painted by both Steve and Yvonne. The shape is beautiful with the tall shoulder and the elongated neck.  The top area is slipped with a red micaceous clay.  The design is very detailed in the imagery and a visually striking combination of both Laguna Pueblo and Hopi imagery.  The sunface is derived from the Hopi Sun (Tewa) katsina.  It is tightly painted on a white clay slip background.  It is the surrounding imagery beyond the sunface and also separating each section, which is reflective of Laguna pottery.  The precision of the painting and how it fits the form is perfect.  The jar is traditionally fired and has slight color variations from the firing.  It is signed on the bottom with Steve Lucas’s name and an ear of corn (Corn Clan) and a Mudhead Katsina along with Yvonne’s name.  It is not often that we get such a beautiful collaborative piece of their pottery!

$ 4,000.00
Naha, Helen “Feather Woman” – Large Jar with Awatovi Star Design

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

$ 3,000.00
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
Naha-Nampeyo, Cheryl – Small Bowl with Ants

 

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

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

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

$ 25.00
Namingha, Les – Sikyatki Sunrise Canteen

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

$ 3,800.00
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.

$ 200.00 $ 150.00
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
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
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
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!
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!
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.

$ 600.00
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
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
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
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
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
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
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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
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
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
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
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
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