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Laguna PotteryLaguna Pottery

Laguna Pottery of Laguna Pueblo, English Pronunciation: "Lah-goon-ah " Traditional Name: Ka'waika. It is the largest Keresan speaking Pueblo, with around eight thousand members. They prize thinking above all human attributes, consequently they value intellectual activity and education. A scholarship program is conducted by the Pueblo, thus insuring advanced study for many of the young people, making them among the best educated of all Pueblos. Laguna Pueblo comprises six major villages, Laguna, Paguate, Encinal, Mesita, Seama, Paraje, scattered over many acres with the political center at Laguna. In the 1970's, the traditional craft of pottery making was re-established. Fine work in red, yellow and orange geometric designs, similar to Acoma work, was created by a number of artists. Painters and jewelry makers have begun to work again in the ancient crafts, but they are bringing a modern note in the innovative designs and techniques which set their work apart from many other Indian craftsmen. The feast of St. Joseph, celebrated on March 19th and on September 19th.

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Sarracino, Myron – Long Neck Jar with Tularosa Swirl Patterns

Myron Sarracino is one of the few Laguna potters working today.  He learned to make pottery from Gladys Paquin and creates pieces which are thin walled and tightly painted. The imagery on much of his pottery is derived from pre-historic pottery designs. The shape of this jar has a long neck and low shoulder. The design is inspired by the Tularosa black-on-white pottery made from 1150-1325 in the Chaco Canyon and southern Colorado areas. The neck has a lightning pattern painted with very fine lines.  The Tulrosa swirl comes up from the base. The black and white coloration remains inspired by the historic colors.  Note on the rim that there is a  painted “spirit line”, which is where the “spirit” of the painter is able to leave the piece.  It is seen on much older Acoma and Laguna pottery.  It is signed on the bottom.

$ 475.00
Sarracino, Myron –  “Lightning Over the Mesa” Jar

Myron Sarracino is one of the few Laguna potters working today.  He learned to make pottery from Gladys Paquin and creates pieces which are thin walled and tightly painted. The imagery on this jar is a classic lightning pattern over the mesas. The lightning pattern is painted around the top 3/4 of the ajr and the last section has a red for the earth and a painted mesa pattern.  The use of the red near the base in the design is visually striking.  Note on the rim that there is a  painted “spirit line”, which is where the “spirit” of the painter is able to leave the piece.  It is seen on much older Acoma and Laguna pottery.  It is signed on the bottom.

$ 325.00
Lucas, Yvonne – Large Jar with Plant and Laguna Designs

Yvonne Lucas learned to make pottery from her husband, Steve Lucas and his aunt, Dextra Qutoskuyva.  She is one of the few Laguna potters who uses all traditional materials and traditionally fires their pottery.  The jar is slipped with a white clay and then painted with a red clay slip and bee-weed (for the black). The design has a plant motif around the neck, and then a Laguna Pueblo style checkerboard pattern.  The visually striking part of the jar is the shoulder design, with the fan-shaped plants.  They are slipped with a polished red cay and encircle the jar.  The contrast of the red and black on the white works perfectly for this size.  The jar is traditionally fired outdoors, so there are blushes on the surface creating the slightly tan areas.  The jar is thin-walled and perfectly shaped.  Yvonne focuses on the black-on-red coloration, as that was a style seen at Laguna Pueblo around 1900.  This is Yvonne’s way of paying tribute to these pieces but also giving it her own modern style.  The jar is signed on the bottom in the clay.

$ 4,400.00
Allison, Marla – “Shawls and Pottery” Original Acrylic

Marla Allison is a member of Laguna Pueblo in New Mexico. Marla lives and makes art from her home studio where she finds comfort and inspiration by connecting with family, tradition, and being close to her community. Marla is a contemporary Native artist whose primary medium is painting.

Marla began her expression through art in her youth and gained formal education at the Institute of American Indian Arts (IAIA) in Santa Fe, NM where she obtained an Associates Degree in three-dimensional art. Since graduating from IAIA, Marla has exhibited artwork at the Heard Museum Indian Fair and Market, the Santa Fe Indian Market, and the Smithsonian Native Art Market in New York. Permanent collections with Marla’s work are found in, The Heard Museum Permanent Collection (Phoenix, AZ), The Museum of Indian Arts and Culture (Santa Fe, NM), The Red Cloud Indian School Collections (Pine Ridge, SD) and various private collections around the country and also Rome, Italy.

She was the 2010 recipient of the Eric and Barbara Dobkin Native Woman’s Fellowship at the School for Advanced Research (SAR) in Santa Fe, NM.

Marla says of her painting:

“I am from Laguna Pueblo so I paint Laguna Pueblo. I paint and create for Laguna history to be great and remembered. I paint because I was passed down a gift from my grandfathers; I paint to continue what they started. I began with simple works of loose brush strokes, slight symbols of pottery design, and shapes taught to me in my youth. I researched the artists that I found powerful and connected what they did with what I do. From study and admiration, I found that I had something all my own.  Most of my influence is from pottery design of Laguna Pueblo and Hopi Pueblo. I have also found much influence by the cubism of Pablo Picasso and squares of Paul Klee. I don’t stick with one certain style but it is all my own, that’s what makes it mine. With the use of pottery design, I have painted landscapes that have design on them symbolizing where the clay that holds these designs comes from. I have painted mosaic paintings that are broken up squares and by taking these paintings apart with the image, the viewer is forced to visually put them back together as a way of putting themselves and their past into it in the process.  I paint so I remember where I came from. I paint so others can remember where I come from. I paint to be remembered.”

This painting by Marla is entitled, “Shawls and Pottery (Going to see Charles)“.  Ok, how you can you not LOVE the tile!  The painting utilizes what we love about her work:  a vibrant color scheme and Pueblo graphics.  It is a subtle but striking piece and a reflection of why she has become such an important name in contemporary Native painting!

$ 3,400.00
Kasero, Sr., Robert – Seedpot with Red & Black Op-Art Spiral Design

This is an intricately painted seedpot by Robert Kasero.  It is very thin walled and painted with an “op-art” style of spiral mountain design.  It starts small at the top then enlarges as the shoulder and small again at the base.  It is dynamic in the flow of the tightly painted designs.  Note how the base of the seedpot is also indented keeping in the style of historic Laguna pottery.  It is signed on the bottom. 

$ 650.00
Honyumptewa, Kimberly Riley – Picuris Micaceous Jar

Kimberly Riley Honyumptewa is from Laguna/Picuris Pueblo and married to Aaron Honyumptewa who is Hopi/Picuris. She learned to make pottery from her mother-in-law in the traditional Picuris style and using native clay from the area. Each piece is coil built and traditionally fired.  Kimberly has a strong sense of form as the jar has a sharp shoulder and a elongated neck. The piece is traditionally fired so there are beautiful blushes across the surface. Will be exciting to see how her work evolves in creating more Picuris pottery!

$ 125.00
Kasero, Sr., Robert – Seedpot with Op-Art Rain Design

This is an intricately painted seedpot by Robert Kasero.  It is very thin walled and painted with an “op-art” style of rain design.  It starts small at the top then enlarges as the shoulder and small again at the base.  It is dynamic in the flow of the tightly painted designs.  Note how the base of the seedpot is also indented keeping in the style of historic Laguna pottery.  It is signed on the bottom

$ 550.00
Honyumptewa, Kimberly Riley – Large Picuris Micaeceous Jar

Kimberly Riley Honyumptewa is from Laguna/Picuris Pueblo and married to Aaron Honyumptewa who is Hopi/Picuris. She learned to make pottery from her mother-in-law in the traditional Picuris style and using native clay from the area. Each piece is coil built and traditionally fired. This is one of her first larger jars and Kimberly says she was inspired by both the utilitarian nature of the clay but also the classic Picuris shapes.  This jar has a high shoulder and a slight neck. She said she polished the bottom as that is how they would be made to be used for cooking!  The jar is traditionally fired and has beautiful blushes on the copper colored clay.  Will be exciting to see how her work evolves in creating more Picuris pottery!

$ 300.00
Sarracino, Myron – Long Neck Jar with Lightning Design

Myron Sarracino is one of the few Laguna potters working today.  He learned to make pottery from Gladys Paquin and creates pieces which are thin walled and tightly painted. The imagery on much of his pottery is derived from pre-historic pottery designs. The shape of this jar has a long neck and low shoulder. The long neck is painted with a lightning design and there is a step cloud pattern at the rim. The design is a perfect match to the shape!  As well, it is one of the iconic designs for Acoma pottery and a revival by Lucy M. Lewis.  Note on the rim that there is a  painted “spirit line”, which is where the “spirit” of the painter is able to leave the piece.  It is seen on much older Acoma and Laguna pottery.  It is signed on the bottom.

$ 525.00
Sale!
Analla, Calvin – Large Water Jar with Plant Designs

Calvin Analla learned to  make pottery from his sister, Yvonne Lucas and her husband, Steve Lucas.  This large water jar is thin walled and made with the traditional red clay from Laguna Pueblo. The jar is painted with bee-weed, into which he has mixed some mica.  The mica makes reflections in the clay.  Calvin is known for his very delicately painted designs.  This jar has cloud designs above the shoulder and plant designs below.  The thin lines painted with the bee-weed show create a striking contrast with the red clay.  It is signed on the bottom.

$ 1,800.00 $ 1,400.00
Sale!
Paquin, Gladys – Large Jar with Triple Rainbow

Gladys Paquin is one of the revivalist potters of Laguna Pueblo.  Each piece is coil built, painted with bee-weed (black) and native clay slips and traditionally fired.  This large jar is one of her most classic designs.  The jar itself is thin walled and an exceptional form.  However, it is the polychrome rainbow pattern which is considered her most complicated and elegant design.  This jar has three interlocking rainbow pattern which encompass the surface of the piece. They are painted with two different clay slips and the brownish red color is polished.  This creates a visual contrast between the polished and matte surfaces.  The jar is signed on the bottom, “Gladys Sratyu’we Paquin”.  It is in very good condition with no chips, cracks, restoration or repair.

$ 2,600.00 $ 2,000.00
Natseway, Thomas – Mini 3 Lobe Jar with Bear Handles

Thomas Natseway is one of the most renown miniaturists in Pueblo pottery.  Rarely does he make a piece which is over 1″ tall or wide!  This jar is inspired by the Acoma pottery canteens.  The jar has three round sections and there are tiny bear “handles” on the top!  Both sides are painted with very intricate geometric patterns. One side has cloud patterns and the other water.  It is signed on the bottom.

$ 150.00
Early, Max – Jar with Fine-Line Patterns

Max Early is one of the few traditional potters working today at Laguna Pueblo.  His work combines tradition forms with a blend of contemporary and traditional designs.  This jar is inspired by an older Laguna jar with fine-line patterns.  The center of the jar has  bold geometric forms which are painted with lines.  The lines are both red and black. They are separated by cloud and mountain patterns.  The neck of the jar has cloud and rain forms along with small corn designs.  The jar is a beautiful shape with a slightly elongated neck and a rounded base. The the rounded bottom harkens back to the traditional Laguna pottery when the water jars were meant to be carried on one’s head.  Note as well his use of the various clays to create a “three color” jar!   The jar is also traditionally fired, which adds to the overall difficulty of the piece.  It is certainly exciting to see a potter who is inspired by traditional shapes and designs and yet has the artistry to create his own distinctive variation!

$ 1,800.00
Early, Max – “Ears of Corn: Listen” Book of Poetry

Congratulations to Max Early for the publication of his first book of poetry.  Max is a well known potter but also quickly become as famous for his poetry!

We currently have signed copies in the gallery!

“In Ears of Com: Listen, Native American potter and poet Max Early gracefully details both the everyday and the extraordinary moments of family and community life, work and art, sadness and celebration at the Laguna Pueblo of New Mexico.With in the four seasons-Ty’ee-Tro, Kushra-Tyee,Heyya-Ts’ee, and Kooka—the beauty of Early’s writing beckons the reader to accompany him on the journey between ancient and modern times.Including an historical Preface by the author,an Introduction by Simon J. Ortiz, and photographs of Early’s family and award-winning art, this debut poetry book is profound in its welcome and its teachings.

 ‘Early’s poems take us into the cultural continuum of a contemporary Laguna Pueblo artist. Each poem is pottery of words, complete with designs to bring rain, to remember and praise the earth and sky path we humans travel. Early’s poems are earthy, real and compelling. I keep hearing them, like songs emerging from the creative earth.”

-Joy Harjo, “Crazy Brave”, Mvskoke poet and musician

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‘We are thankful for these poems that cup us through the seasons,past the drought f a spiritual slumber. Like a weathered olla recalling the hold of cold water,we are replenished and bathed anew.We should heed our want and need to the bounty of their beauty and submit ourselves to the lessons therein. Shhh…the poems are speaking:Listen!”

-Levi Romero, “A Poetry of Remembrance and In the Gathering of Silence”, New Mexico Centennial Poet

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‘Poetry and pottery are art forms simultaneously ancient and yet made for the moment. The words flow like coils of clay to surround the reader and build a vision of the mind and soul of the poet. Potter Max Early’s poetry in ‘Ears of Corn: Listen” reveals much about life in his native Laguna Pueblo. More importantly it gives a modern voice to an ancient culture making it relevant for both a new generation and also those outside the Pueblo. The poems tell his story of how, “Breaking gender taboos didn’t turn me to stone” and the delicate balance he finds between embracing modernity and reveling in the past. The use of native Laguna words adds grace to the poems, much like a perfectly painted vessel; they lyrically draw the eye, create balance and provide a connection to the viewer. Not only is Max’s collection of poems worth a read, but a second read as well. The first time they may just seem pretty, but the second time the novelty is gone and the substance remains. Much like Max’s pottery.’
Charles S. King, Author of “Born of Fire: The Pottery of Margaret Tafoya” and “The Life and Art of Tony Da”

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Max Early was born into a tradition of potters and clay. He creates traditional pottery in order to help save the art of pottery making in Laguna Pueblo.When hbegan to focus on writing, he continued his passion for celebrating his family, culture, language,and the enchanting New Mexico landscape.

Honors and awards for Early in pottery include a Fellowship from the Southwestern Association for Indian Arts;a Native American Community Scholar Appointment: Office of Fellowships and Grants,Smithsonian Institution, Washington, D.C.; the Museum Guild Indian Fair & Market judge’s Award in Sculpture; the Gallup Inter-Tribal Indian Ceremonial-First in Effigies/Special Elkus Memorial Award; and the Santa Fe Indian Market-First in Traditional Pottery/Wedding Vases.

$ 25.00
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