This is a striking larger bowl by Gloria Garcia.  The bowl is fully polished and fired red.  It is etched in a band around the shoulder of the piece.  There are Corn and Deer Dancers.  Separating each of the dancers are corn plants, but also sun faces. The sun faces represent the various phases of the sun. They are wonderfully intricate in design and varied in each grouping!  Gloria’s combination of polishing and etched designs is always striking.  This piece is signed on the bottom with her Tewa name “GoldenRod”.

This is an exceptional larger bowl by Gloria Garcia.  The bowl is fully polished and fired black.  It is etched in a band around the shoulder of the piece.  There are buffalo, antelope, deer and ram dancers encircling the piece.  Amazingly, there are 10 figures on this bowl!  They are intricately etched with designs on the clothes.  There is an additional red clay slip which was added to the piece after the firing.   Gloria’s combination of polishing and etched designs is always striking.  This piece is signed on the bottom with her Tewa name “GoldenRod”.f the bowl.   Gloria’s combination of polishing and etched designs is always striking.  This piece is signed on the bottom with her Tewa name “GoldenRod”.

Shirley Tafoya was the youngest daughter of Margaret Tafoya and known for her miniature pottery.  This bowl is from the 1990’s.  It is very deeply carved with a water serpent encircling the piece.   The entire surface is fully polished and the top rim of the bowl is matte.  Shirley etched the eye and the mouth of the avanyu.  The water serpent is a classic Santa Clara design telling the story of how the avanyu saved the village from a flood.  The bowl is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Shirley Cactus Blossom Tafoya”. A classic of Tafoya Family pottery!

Frances Naranjo is a daughter of noted potter Madeline Naranjo.  This piece is deeply carved with a water serpent as the design.  It is highly polished on the handle and the spouts.  It is fired a dark black in coloration.  It is signed on the bottom in the clay, “Frances Naranjo”.

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 has two of her classic designs on the top:  A lizard and a corn plant.  The lizard is painted with a series of triangular geometrics.  Opposite the lizard is a corn plant.  Corn has a strong symbolism for prosperity and abundance.  The bottom half is fully painted with the black-on-white Awatovi Star.  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 1930s, the whiteware pottery was rediscovered.  It was the imagery from his work which inspired much of Helen Naha’s (Sylvia’s mother) early pottery, as opposed to the more classic Sikyatki inspired pottery of Nampeyo of Hano.  The bottom of the seedpot is signed with a feather and an “S”.  The piece is in excellent condition with no chips, cracks, restoration or repair.

Jennifer Moquino is known for her clay vessels along with her amazing animal figures!  This jar is fully polished green.  The designs of the salmon and fish are etched out of the top surface of the clay.  Additional designs are then etched into the body of the fish and highlighted with clay slips.  The neck of the jar has water and cloud designs.   All the various colors are derived from natural clay slips.  Jennifer continues to be one of the leading innovative potters working today!  This is an earlier piece of her pottery and it is in excellent condition with no chips, cracks, restoration or repair.

This an unusual collaborative piece by Grace Medicine Flower and her father, Camilio Tafoya.  It is from the early 1970’s and it was fired “black-and-red”.  It is a distinctive firing technique where the piece is covered before the manure is put on to turn it black.  The bowl was made by Camilio and polished by Grace. She would then etch the designs into the clay before it was fired.  This piece has Koshari clowns dancers on either side.   They are in the center of the red “two-tone” medallion. The sides of the lip on the spouts are also two-tone red.  It is signed on the bottom in the clay, “Grace Medicne Flower and Camilio Tafoya”.   The wedding vase is in good condition with no chips,cracks, restoration or repair and a few light surface scratches.

This is a very modernist wedding vase by Linda Cain.  Linda is a daughter of Mary Cain and the mother of Tammy Garcia and Autumn Borts.  This piece has a very wide shoulder and very tiny spouts.  The body of the jar is carved in relief and then fully polished.  The carved designs are cloud patterns which spiral around the piece on both sides!  The result is a subtle appearance with small shadows cast by the rounded designs.  The spouts are very small and connected by a handle.  The jar is fired a deeper red coloration.  It is signed on the bottom in the clay.

While Blue Corn is one of the innovative San Ildefonso potters of the late 1900s.  She is often best known for her polychrome pottery but began her career making black pottery.  This jar is from the 1980s.  The shape is one for which she was well known, with the low shoulder and sloping sides.  It is very highly polished and painted with a feather pattern.  The design encircles the entire bowl.  It is fired a deep black.  It is signed in the clay, “Blue Corn”.   The bowl is in excellent condition with no chips, cracks, restoration or repair.

Carol Velarde is known for her deeply carved pottery. This is one of her figurative bears.  The bear is made from clay and carved with a heartline. The heartline is symbolic of the heart being the spiritual center of the bear.  Note how deeply she carves into the clay and after it is carved and polished she then uses clay to outline the design.  Visually, this makes the imagery more dramatic.  The bear is signed on the bottom in the clay.

The painting on this jar by Dolores Curran is a bit breathtaking.  The entire piece is fully polished and then it is painted. In terms of painted designs, Dolores has to first polish the jar and then paint the designs.  The entire piece is painted between four and five times!  The first time is to outline the design, and then a second time to deepen the outline.  Then the designs are filled-in and then painted over again. Finally, the entire piece is painted over one more time for consistency in color!  Imagine painting a piece that many times and STILL getting such thin lines.  What is so remarkable are the feathers.  They are perfectly symmetrical and tightly painted. They are separated by cloud and water serpent designs. The bottom of the jar is fully designed with lightning, cloud and rain patterns.  Interestingly, leaving the top plain and simply highly polished brings the eye quickly to the intricacy of the painting.  The jar is signed on the bottom in the clay, “Dolores Curran”.  It is in excellent condition with no chips, cracks, restoration or repair.

Dolores Curran creates intricately incised and painted pottery.  This box is one of her pieces which is fully painted buff-on-red.  The bowl is round and the sides are painted with dragonflies, feathers, cloud and rain designs.  The design near the rim of the box is a water serpent, which encircles the piece.  The designs are incredibly intricate and detailed.  The top of the box is a lid with a feather pattern on the finial and below that is a water serpent. There are dragonflies and prayer feather bundles also painted on the top of the lid.  Dragonflies are often depicted as Prayer Messengers.  In terms of painted designs, Dolores has to first polish the box and lid, and then painted the designs.  They are painted over between four and five times!  The first time is to outline the design, the deepen the outline.  Then the designs are filled-in and then painted over again. Finally, the entire piece is painted over one more time for consistency in color!  The polishing on the piece is exceptional as note the reflection of the finial on the top of the lid in the surrounding polished surface!  WOW!  The piece is signed on the bottom in the clay, “Dolores Curran”.  It is in excellent condition with no chips, cracks, restoration or repair.

This is an intricately painted miniature bear by Dolores.  It is polished red and then painted buff-on-red.  Did you know that for her painted designs, Dolores paints over the designs between four and five times? First, she has to polish the piece and then the designs are painted onto the surface.  The first time is to outline the design, the over the same area to deepen the outline coloration.  Then the designs are filled-in and then painted over again. Finally, the entire piece is painted over one more time for consistency in color!  This small bear has a cloud and rain design on its back.   The piece is signed on the bottom in the clay, “Dolores Curran”.  It is in excellent condition with no chips, cracks, restoration or repair.

Wanda Aragon (b. 1948) is a daughter of noted potter Frances Torivio. She is also known by her name in Acoma, Dzinats’ituwits’a.  She is known for her traditional style Acoma pottery.  This is a larger piece of her pottery.  It is entitled, “Winter Hunt”.  It is coil built then slipped with white clay and then painted with bee-weed (black) and clay slips. The gray coloration is one of her signature colors.  The seedpot has four sections of design.  There is a  Mimbres style of hunger painted in the first medallion. The second has a mountain lion and an antelope.  The third is a bighorn sheep and a bear. The last is a deer and a rabbit.  The area separating the medallions is painted with a checkerboard snow design.  Check out the incredible detail in the fine-line painting along with the various colors!  It is an exceptional piece.  The seedpot is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

Jennifer Tafoya is known for her clay vessels and also her amazing animal figures.  This new jar is complex in shape and design.  The jar is fully polished and the top section is fully designed. There are three different scenes with birds.  The various birds are a bald eagle, Golden Eagle, and Osprey.   Each bird is very intricately designed with the Bald and Golden Eagles in flight and the Osprey catching a fish.  Check out the little details in the background with the aspen trees!  Each section is separated by a different geometric pattern.  The top of the bowl is recessed so the lid sits down into the piece.  The lid is fully polished and etched with a cloud design.  All the various colors are derived from natural clay slips.  It is signed on the bottom in the clay, “Jennifer Tafoya, 2019”.

Wanda Aragon (b. 1948) is a daughter of noted potter Frances Torivio. She is also known by her name in Acoma, Dzinats’ituwits’a.  She is known for her traditional style Acoma pottery.  This is one of her miniatures. The jar is a classic olla shape with a round body and a short neck. The jar is intricately painted with birds on two sides.  They are connected with a rainbow and plant design.  The jar is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

Shirley Tafoya was known for her exceptional miniatures.  Each piece was coil built, stone polished and traditionally fired.  This is one of her classic canteen pieces.  It is very deeply carved on one side with a water serpent.  The other side has an impressed bear paw.  The entire piece is fully polished and fired a deep black.  After the firing, Shirley added the leather straps and wood stopper.  Shirley was so wonderfully talented and her miniatures were always inspired by traditional Santa Clara Pueblo shapes and forms.  It is signed on the bottom in the clay, “Shirley Cactus Blossom Tafoya”.  It is in excellent condition with no chips, cracks, restoration or repair.

This is a very traditionally inspired tile by Ida Sahmie.  It is “Mother Earth and Father Sky”, which is a design often seen in sandpaintings.  Here, Ida has painted it on a stone polished tile using natural clay slips and bee-weed (a plant) for the black.  Mother Earth is in the center with the four sacred plants on the left of the figure.  On the right is Father Sky with the stars and sun.  The face is etched, as are the sides of the tile in the center area.  The tile was traditionally fired and it is signed on the back, “Ida Sahmie”.  She is a daughter-in-law of Priscilla Nampeyo and Ida continues to make beautifully formed pottery with wonderfully complex designs.  She has won numerous awards for her pottery at events such as Santa Fe Indian Market.  She is the only Navajo potter creating this unique style of ethnographic pottery.   The story of Father Sky and Mother Earth, and the Dine people is as follows:

“The Navajo people, the Diné, passed through three different worlds before emerging into this world, The Fourth World, or Glittering World. The Diné believe there are two classes of beings: the Earth People and the Holy People. The Holy People are believed to have the power to aid or harm the Earth People. Since Earth People of the Diné are an integral part of the universe, they must do everything they can to maintain harmony or balance on Mother Earth.  It is believed that centuries ago the Holy People taught the Diné how to live the right way and to conduct their many acts of everyday life. They were taught to live in harmony with Mother Earth, Father Sky and the many other elements such as man, animals, plants, and insects.”

Jennifer Tafoya is known for her clay vessels and also her amazing animal figures!  This is a piece of her pottery from around 2004-5.  It has a central medallion with a large Peacock Bass and there are eight additional bass around the edge of the plate.  They are each incised into the clay.  The rim has geometric water designs. All the various colors are derived from natural clay slips.  It is signed on the back in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

Dextra Quostkuyva Nampeyo is certainly one of the most influential Hopi-Tewa potters of the last 50 years. Not only has she taught numerous potters (Steve Lucas, Yvonne Lucas, Les Namingha, Loren Ami, Hisi Nampeyo, to name just a few), but her creative designs and forms changed have dramatically influenced the pottery itself.  This large jar is from the late 1980s.  The piece is part of a series she created where she did not polish the surface of her pottery but instead left it matte.  Dextra was always experimental in her approach to pottery and would often push the boundaries of what was “acceptable” in Hopi-Tewa wares.  This large jar is a classic Sikyatki form with a wide shoulder and a short neck.  The top of the jar is very intricately painted with an eagle tail design.  The thin lines and complex pattern are highlighted by polished red areas.  The large red sections accentuate both design and form.  The black is bee-weed and the red is a clay slip.  The jar was traditionally fired and there are a few blushes on the surface.  It is signed on the bottom in bee-weed, “Dextra” along with a corn plant to represent the Corn Clan.  It is in excellent condition with no chips, cracks, restoration or repair.  Dextra was the subject of a retrospective of her pottery at the Wheelwright Museum in Santa Fe, along with a companion book entitled, “Painted Perfection“.

Diane Lewis is known for her tightly painted miniature pottery.  This is one of her very intricately painted seedpots.  The top is painted with intricate Mimbres inspired Flute Players.  Around the edge of the piece are star and mountain designs. All the colors are from natural clay slips.  It is an exciting modern interpretation of classic Acoma imagery.  It is signed on the bottom, “D. Lewis”.

Sharon Lewis has developed her own very distinctive style of painted design.  Her pieces are beautifully formed, thin-walled and then tightly painted.  This jar is a more classic Acoma form with the high shoulder and short neck.  It is fully painted with fine-line star and plant designs.  There is a very intricate checkerboard pattern at the neck and base.  The black is from bee-weed. The jar is signed on the bottom, “Sharon Lewis”.

Sharon Lewis has developed her own very distinctive style of painted design.  Her pieces are beautifully formed, thin-walled and then tightly painted.  This jar is a more classic Acoma form with the high shoulder and short neck.  It is fully painted with fine-line rain designs and checkerboard snow patterns.  The black is from bee-weed. The jar is signed on the bottom, “Sharon Lewis”.

This is bowl by Ida Sahmie is from 2009.  The design is the  Night Chant Dance with eight male Yei-bi-chi dancers encircling the jar.  The background area is fully painted with bee-weed (a plant) to make it black.  In the background, there are the mesas, moon, and stars.  The fire is meant to be a focal point as the bowl is turned so that it appears more “3D”.   Ida also incises into the clay for the faces and the bodies, leather, and masks.  The detail here is quite exceptional!  She is a daughter-in-law of Priscilla Nampeyo and Ida continues to make beautifully formed pottery with wonderfully complex designs.  She has won numerous awards for her pottery at events such as Santa Fe Indian Market.  She is the only Navajo potter creating this unique style of ethnographic pottery.  It is signed on the bottom in the clay, “Ida Sahmie”.  It is in excellent condition with no chips, cracks, restoration or repair.

“Yei bichei (Yébîchai), or “maternal grandfather of the yei”, is another name of Talking God who often speaks on behalf of the other Holy People. (He, along with Growling God, Black God, and Water Sprinkler, were the first four Holy People encountered by the Navajo.) He is invoked (along with eight other male yei) in the “Night Chant” or “Nightway” sometimes simply called “Yei bichei,” a nine-night ceremony in which masked dancers personify the gods.”

Shirley Tafoya was known for her exceptional miniatures.  Each piece was coil built, stone polished and traditionally fired.  This is an unusual shape with a double spout on the canteen.  The one spout is taller than the other, which has a wood cork in it (which is removable).   Around the side of the canteen are the classic “gourd” indentions, which come from the gourd shards used to smooth out the pottery when it is being made.  The piece is highly polished.  There is a leather strap which is interested in the two holes on the side.  Note as well there is a tiny etched cloud design on the side.  Shirley was so wonderfully talented and her miniatures were always inspired by traditional Santa Clara Pueblo shapes and forms.  It is signed on the bottom in the clay, “Shirley Cactus Blossom Tafoya”.  It is in excellent condition with no chips, cracks, restoration or repair.

Joseph Lonewolf began making pottery in 1970-1.  His bear lidded vessels, which he only created for a few years, may be among his most iconic in style.  This wide jar is fully polished and etched with a feathered water serpent encircling the piece.  The body of the avanyu is very complex in design.  The matte area surrounding the avanyu is incised with swirling lines.  The lid has a bear with a fetish bundle of turquoise and coral.  The base of the bear is also fully etched with similar swirling lines to those on the bowl.  It is an exceptional piece in design and form.  It is signed on the bottom 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.  Definitely a classic of Joseph’s early pottery style!

Joseph Lonewolf began making pottery in 1970-1.  His bear lidded vessels, which he only created for a few years, may be among his most iconic in style.  This jar is fully polished and etched with a feathered water serpent encircling the piece. The matte area surrounding the avanyu is vertically incised with lines.  The lid has a bear with a fetish bundle of turquoise and coral.  The base of the bear is also fully etched vertically.  It is an exceptional piece in design and form.  It is signed on the bottom 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.  Definitely a classic of Joseph’s early pottery style!

Diane Lewis is known for her tightly painted miniature pottery.  This is one of her very intricately painted seedpots.  The top is painted with two Mimbres inspired lizards in the center of the piece.  They are surrounded by a spiraling series of three different Acoma designs.  All the various colors are from natural clay slips. The thin lines are very time consuming to paint!  The lizards are inspired by the Mimbres pottery of the 1100’s.  It is an exciting modern interpretation of classic Acoma imagery.  It is signed on the bottom, “Diane Lewis”.

Monica Romero is a daughter of noted potter Geri Naranjo, a sister of Kevin Naranjo and a niece of Dolores Curran.  She is known for her very detailed miniature pottery.  This bowl is highly polished fully designed.  There is a water serpent around the shoulder of the piece and cloud, rain and lightning designs above.  Below the shoulder are feather and other pueblo designs.  The rim of the bowl is two-toned sienna.  It is signed on the bottom.

Shirley Tafoya was the youngest daughter of Margaret Tafoya and known for her miniature pottery.  This jar is from the late 1990’s.  It is a classic Santa Clara water jar shape. The rim is fluted and the neck is carved with an old-style melon swirl design.  Shirley would often use historic pieces as inspiration for her pottery.  The jar is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Shirley Cactus Blossom Tafoya”. A classic of Tafoya Family pottery!

Wallace Nez is known for his intricately etched pottery.  He began to make pottery when he was 12 years old.  He won first place ribbons at the Santa Fe Indian Market in 1999, 2000, and 2001 and Best of Division at the Museum of Northern Arizona Market Show in 1999.  This wide seedpot has amazingly intricate designs etched into the clay. There is one larger medallion with an etched deer looking upward.  It is looking at the five medallions, each with a different butterfly.  Surrounding them are very intricate stylized designs.  Below the shoulder there are larger etched butterflies.  The base is etched with a basket weave design in the style of a Navajo Wedding Basket.  Note the exceptional symmetry of the basket “weave”.  It is all so intricately and delicately designed, it is quite extraordinary!  The piece is signed on the bottom “Wallace Nez” with the date of 2006.

Wallace Nez is known for his intricately etched pottery.  He began to make pottery when he was 12 years old.  He won first place ribbons at the Santa Fe Indian Market in 1999, 2000, and 2001 and Best of Division at the Museum of Northern Arizona Market Show in 1999.  This tall seedpot has amazingly intricate designs etched into the clay. There are four medallions, each with a different butterfly.  Surrounding them are very intricate stylized designs.  Near the base there are larger etched butterflies.  The lid is tiny and fits perfectly.  It is etched with two butterflies.  It is all so intricately and delicately designed, it is quite extraordinary!  The piece is signed on the bottom “Wallace Nez” with the date of 2006.

Rebecca Lucario is known for her delicate and intricately painted pottery.  This plate is very intricately painted.  In the center is a medallion with a parrot.  This is a design often seen on Acoma pottery.  Spiraling out from this center medallion are wing designs along with rectangular designs of polished red and fine-line patterns. Typical of her work, the lines are very thin and tightly painted.  Note how the designs get larger as they extend to the rim.  The plate is signed on the back, “R. Lucario”.

Joseph Lonewolf began making pottery in 1970-1.  This is a classic piece of his pottery in the black and red style. The firing is one where he created a “red and black” coloration at the end of the firing process before the manure was added to turn the piece black.  The bowl is polished, incised and etched before it is fired.  The design on this piece is a series of nine birds.  The top half of the bowl is red and the bottom half is black.  The area behind the birds is more deeply incised with a swirling linear design.   The precision of the designs and the shine of the polished surface create a perfect balance.  This piece is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.

This bowl by Gloria Garcia is fully polished and fired black. The designs are etched into the clay.  There are two scenes, each with realistic bears as the design.  Separating them are two bands with etched bear paws. There is an additional red clay slip added to the rain design around the rim of the bowl.  Gloria’s combination of polishing and etched designs is always striking.  This piece is signed on the bottom with her Tewa name “GoldenRod”.

This seedpot by Joseph Lonewolf is from 1989.  The piece is coil built and stone polished. The design is etched into the clay.  There is a single standing fawn on one side surrounded by a blue clay slip.  Surrounding the fawn are 20 small butterflies also highlighted in blue. On the back is a doe and her fawn lightly etched into the clay. They are surrounded by more very tiny etched butterflies! Near the base is the 1989 yearly symbol, an ankh, an ancient Egyptian symbol of life.  Each year Joseph would create a new “yearly symbol” and use it to “date” his pieces for that year.  Beginning in the early 1970’s, Joseph Lonewolf revolutionized the world of Santa Clara pottery by incorporating his sgraffito (lightly etching the surface of the clay) and incised (more deeply cut into the clay) designs.  The piece is signed on the bottom.  It is in excellent condition with no chips, cracks, restoration or repair.

Teresita Naranjo was a daughter of Christina Naranjo and know for her deeply carved pottery.  This jar is fully carved with a feather pattern around the neck and water serpent around the body of the piece.  It is very much like some of her larger pieces with complex designs.  Note how deeply it is carved and the intricate flow of design on the body of the avanyu.  It is traditionally fired black and signed on the bottom in the clay, “Teresita Naranjo”.  It is in excellent condition with no chips, cracks, restoration or repair.

This seedpot by Joseph Lonewolf is from 1982 and it is highly polished and fired red.  The design has six different Mimbres insects as the design.  There are a bee, butterfly, beetle, mosquito and two others.  Each is etched into the clay and then their bodies consist of additional designs.  All the various colors are derived from natural clay slips.  There are three different green clays, blue and white.  Near the base is the yearly symbol for 1982, which is a “+”.   The piece is very highly polished and intricately designed.  It is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.  Joseph Lonewolf said of his use of Mimbres imagery in his pottery:

“I regard the Mimbres as my ancestors. Though I refine their designs, each design must have meaning for me. In my dreams I see how to use the design, how to make the pot happen. Then when I work the clay, everything flows. Some people wonder why I keep changing styles, colors, forms. But I can’t just sit there and make pots. Like any artist, I must try different things, different techniques. I must meet the challenge with my hands. The patterns and the methods I see in my mind during my dreams.” —Joseph Lonewolf, 1974, Spoken Through Clay

“I regard the Mimbres as my ancestors. Though I refine their designs, each design must have meaning for me. In my dreams I see how to use the design, how to make the pot happen. Then when I work the clay, everything flows. Some people wonder why I keep changing styles, colors, forms. But I can’t just sit there and make pots. Like any artist, I must try different things, different techniques. I must meet the challenge with my hands. The patterns and the methods I see in my mind during my dreams.” —Joseph Lonewolf, 1974, Spoken Through Clay

This seedpot by Joseph Lonewolf is from 1987 and it is highly polished and fired black.  The design has two Mimbres inspired figures who are hunting a rabbit.  One is holding a “rabbit stick” and the other has just thrown his.  The opposite side has a Mimbres rabbit etched into the clay.  All the various colors are derived from natural clay slips.  Near the base is an incised butterfly.  The 1987 symbol, the Propeller of Life, is also etched into the design.  The piece is very highly polished and intricately designed.  It is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.  Joseph Lonewolf said of his use of Mimbres imagery in his pottery:

“I regard the Mimbres as my ancestors. Though I refine their designs, each design must have meaning for me. In my dreams I see how to use the design, how to make the pot happen. Then when I work the clay, everything flows. Some people wonder why I keep changing styles, colors, forms. But I can’t just sit there and make pots. Like any artist, I must try different things, different techniques. I must meet the challenge with my hands. The patterns and the methods I see in my mind during my dreams.” —Joseph Lonewolf, 1974, Spoken Through Clay

Debra Duwyenie is well known for her wonderful miniatures and incised designs. Each piece is stone polished and then it is etched before it is fired! This seedpot has eight turtles as the design.  Each of the turtles has a different design on the back.  Note the one with the wavy lines, that one is meant to represent Preston Duwyenie, her husband, who is known for his “shifting sand” pottery.  There are additional dragonflies and a water serpent at the base of the design.  Note that the lighter red matte areas are where Debra has only etched away the polished surface but not down as far as the tan color of the clay. Debra also pays close attention to the little details like the tan background area and how evenly she etches the vertical lines. The seedpot is traditionally fired.  It is signed on the bottom in the clay with Preston’s hallmark and “Debra”.

This is an original etching by Rosemary Lonewolf.  The figure is a Corn Spirit holding an ear of corn and surrounded by a corn stalk and pollen.  It is 4/60 and titled, “Corn Spirit’s Fertile Form”.   It is signed, “Rosemary Apple Blossom Lonewolf”.   It is in excellent condition.

This is an original etching by Camilio Tafoya.  It uses similar designs to those in his pottery.  Here it depicts a charming combination of frogs and mice playing in the sun.  There are additional colors added to the etching.  This piece is 23/60 and it was printed by El Cerro Graphics, who printed all of Camilio and Jospeh’s etchings.  It is dated 1981 and signed, “Camilio Sunflower Tafoya”.   It is in excellent condition.

Jennie Laate was among the most important revival potters at Zuni in the 1970’s.  This is a very traditional style Zuni Kiva bowl. The bowl is shaped with terraced “kiva” steps or cloud shapes.  In the center is a frog with a head in relief. Surrounding the frog are tadpoles.  On the outside are dragonflies with the wings painted with either red or black lines.  The purpose of the kiva bowls was often ceremonial and the inclusion of frogs, tadpoles, and dragonflies are representative of prayers.  The kiva bowl is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom.

Beginning in the early 1970’s, Joseph Lonewolf revolutionized the world of Santa Clara pottery by incorporating his sgraffito (lightly etching the surface of the clay) and incised (more deeply cut into the clay) designs.  This seedpot is from 1976 and it is fully designed. On the top is a Mimbres inspired rabbit.  The surrounding designs are water, grass and plant imagery.  The piece is highly polished and fired red.  It is signed on the bottom in the clay with the date.   It is in condition with no chips, cracks, restoration or repair.

This is a very traditionally inspired tile by Ida Sahmie.  It is “Father Sky”, which is a design often seen in sandpaintings.  Here, Ida has painted it on a stone polished tile using natural clay slips and bee-weed (a plant) for the black.  Father Sky is in the center with the cosmos painted on the body.  Surrounding the figure is a rainbow design.  Note how areas are etched into the clay, as well as painted!  The tile was traditionally fired and it is signed on the back, “Ida Sahmie”.  She is a daughter-in-law of Priscilla Nampeyo and Ida continues to make beautifully formed pottery with wonderfully complex designs.  She has won numerous awards for her pottery at events such as Santa Fe Indian Market.  She is the only Navajo potter creating this unique style of ethnographic pottery.   The story of Father Sky and Mother Earth, and the Dine people is as follows:

“The Navajo people, the Diné, passed through three different worlds before emerging into this world, The Fourth World, or Glittering World. The Diné believe there are two classes of beings: the Earth People and the Holy People. The Holy People are believed to have the power to aid or harm the Earth People. Since Earth People of the Diné are an integral part of the universe, they must do everything they can to maintain harmony or balance on Mother Earth.  It is believed that centuries ago the Holy People taught the Diné how to live the right way and to conduct their many acts of everyday life. They were taught to live in harmony with Mother Earth, Father Sky and the many other elements such as man, animals, plants, and insects.”

This seedpot by Gloria Garcia is fully polished and fired black. The top is fully designed with a butterfly and a flower.  The wings of the butterfly are etched to create the design.  The remainder of the piece is fully polished.  Gloria’s combination of polishing and etched designs is always striking.  This piece is signed on the bottom with her Tewa name “GoldenRod”.

This miniature jar by Geri Naranjo is a striking shape.  It has a round shoulder and a short neck.  Geri is known for her miniature pottery and intricately etched designs.  Here the entire piece is fully polished and around the shoulder is an avanyu and below are cloud, rain and lightning designs.  The designs are all etched into the clay with precision.  The remainder of the jar is very highly polished.  It is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

This is a classic kiva bowl miniature jar by Linda Cain.  Linda is a daughter of Mary Cain and the mother of Tammy Garcia and Autumn Borts.  This miniature bowl is carved with the kiva steps on the rim of the piece.  It is a form often seen at Santa Clara Pueblo. The outside of the bowl is polished while the inside is matte.  It is fired a deep black and signed on the bottom in the clay, “Linda Cain”.

Teresita Naranjo was a daughter of Christina Naranjo and know for her deeply carved pottery.  This bowl is one of her few miniatures.  The bowl is very deeply carved with cloud and lightning designs. The designs spiral around the surface of the bowl.  It is traditionally fired black. The bowl is signed on the bottom in the clay, “Teresita Naranjo” and it is in very good condition with no chips, cracks, restoration or repair.

Jennifer Moquino is known for her clay vessels and exceptional realistic animals.  This is one of her smaller tiles.  It is fully polished and etched.  The piece has a Pueblo girl and butterflies.  The girl is designed in an “anime” style.  As figurative work on pottery is often discouraged at some of the Pueblos, this style of figure is less realistic and more imaginary.  The young girl here is surrounded by butterflies. Each one is a different style of butterfly.  The border on the side has a cloud and rain motif.  It is a contemporary and creative piece!  The tile is framed so that it can be mounted on a wall.  It is signed on the side.  Jennifer continues to be one of the leading innovative potters working today!

This is a taller miniature jar by Geri Naranjo.  She is known for her miniature pottery and intricately etched designs.  Here the entire piece is fully polished with no design.  It is in the shape of a high shoulder jar. The piece is very thinly constructed and highly polished.  It is signed on the bottom in the clay, “Geri Naranjo”.  It is in excellent condition with no chips, cracks, restoration or repair.

This is a complex smaller bowl by Art Cody Haungooah. The bowl is fully polished and fired black.  It is entitled, “The Ancient Ones”.  There is a single medallion which is etched humanized grasshopper along with a stylized grassopper figure.  This is one of those pieces where I wish I knew the story of “The Ancient Ones” as Art was masterful as a story teller.  The bowl has some deeper carving (the circular lines) along with Art’s classic straffito.  The piece is signed on the bottom in the clay, “Haungooah  “The Ancient Ones”.  It is in excellent condition with no chips, cracks, restoration or repair.

Art Cody Haungooh: A “Reflected Light” in Pueblo Pottery

This is one of the few pieces signed by both Art Cody Haungooah and his wife, Martha.  Martha made the small jar and polished the surface.  Art Cody etched the design.  The central medallion is a howling coyote.  In front of the coyote is a quarter moon.  On the opposite side of the moon is a stylized bird.  There is just a slight lip to the jar.  The piece is signed on the bottom in the clay, “Art & Martha Haungooah  1976”.  It is in excellent condition with no chips, cracks, restoration or repair.

Art Cody Haungooh: A “Reflected Light” in Pueblo Pottery

Rebecca Lucario is known for her delicate and intricately painted pottery.  This seedpot is painted with a lizard on top.  The lizard is surrounded by intricately painted geometric Acoma designs.  It is delicate in design and traditional in form.  The seedpot is signed on the bottom, “R. Lucario”.  It is in very good condition with no chips, cracks, restoration or repair.

This is a classic straight ribbed melon bowl by Nancy Youngblood.  The bowl is coil built and each rib is deeply carved into the clay.  The depth of the carving and the symmetry of each rib is exceptional. This is certainly one of the enduring aspects of her incredible artistry.  Each rib is then polished with a stone to achieve the shine.  Although it is a small piece, consider that each rib has two sides and how much surface area there is for this piece!  The ribs are also very deeply carved into the clay and almost come to a point at the edge! Check out the image looking down on the bowl to see the depth and symmetry of this piece.  Nancy says she can only polish three ribs in one sitting as they are so time-consuming.  It is in excellent condition with no chips, cracks, restoration or repair.  It is signed, “Nancy Youngblood Cutler” and it is from 1987.  Simply an iconic piece of her pottery!

Madeline Naranjo creates beautifully carved and polished pottery.  Each piece is coil built, stone polished and traditionally fired.  The jar here is a classic shape with a wide shoulder and short neck. Around the neck are carved clouds which are matte.  Below the shoulder is a carved avanyu (water serpent), which encircles the piece.  The shoulder and the area below the avanyu are both polished.  Note how her matte sections are sanded and perfectly smooth so that there are no indentations or areas where the matte might make a shadow.  Her designs are always innovative and beautifully executed.  The jar is signed on the bottom.

Madeline Naranjo creates beautifully carved and polished pottery.  Each piece is coil built, stone polished and traditionally fired.  This is a taller seed jar. There are four parrots deeply carved into the clay.  The bodies of each bird are matte, while the tail feathers and beak are polished.  In the center of each is a carved birdwing.  The area separating the birds is also polished.  Note how her matte areas are sanded and perfectly smooth so that there are no indentations or areas where the matte might make a shadow.  Her designs are always innovative and beautifully executed.  The jar is signed on the bottom.

This is a very unusual lidded bowl by Art Cody Haungooah.  There are polished medallions on each side and the clay around them is carved away leaving the medallions raised. The medallion on one side has a moth and the other an ant.  They are each inset with two pieces of turquoise.  The surrounding matte area has been sanded down and works as a perfect contrast to the polished areas.  The lid is also fully polished.  It is a strong complement to the polished medallions.  The bowl is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

Art Cody Haungooh: A “Reflected Light” in Pueblo Pottery

This is seedpot by Rosemary Lonewolf is from the late 1990’s.  It is fully polished and there is an etched wolf on the top along with stars and a full moon.  On the sides are basket designs.  The contrast of the matte and polished areas accentuates her imagery.  The piece is signed on the bottom “Apple Blossom”, which is her name in Tewa.  It is in excellent condition with no chips, cracks, restoration or repair.

This seedpot by Camilio Tafoya is from 1995. It is the last series of pieces he made.  It was fully polished and etched with five chipmunks.  They are gathering nuts.  It is whimsical in style and there is a playfulness to the designs.  The various colors are derived from natural clay slips.  It is signed on the bottom “Camilio Sunflower Tafoya”. It is in excellent condition with no chips, cracks, restoration or repair.

Art Cody Haungooah began making pottery in  1972.  He brought his Kiowa heritage and culture to the pottery of Santa Clara Pueblo.  This clay turtle is from 1974.  It is fully polished and the back is etched with a Hemis Mana katsina.  Note the more deeply incised and rounded lines around the katsina figure.  It is signed on the bottom on the neck, “Haungooah 2-74”. It is in very good condition with no chips, cracks, restoration or repair.

Art Cody Haungooh: A “Reflected Light” in Pueblo Pottery

This seedpot by Gloria Garcia is fully polished and fired black. The top is fully designed with a prancing fawn in the older “two-dimensional” style of Santa Clara paintings.  The fawn is surrounded by flowers.  Gloria’s combination of polishing and etched designs is always striking.  This piece is signed on the bottom with her Tewa name “GoldenRod”.

This is a taller miniature jar by Geri Naranjo.  She is known for her miniature pottery and intricately etched designs.  Here the entire piece is fully polished and around the shoulder are very tiny etched feathers.  No, I was not able to count them all!  But check out how close they are to each other!  Below the feathers is a water serpent (avanyu), which encircles the piece.  The body of the avanyu has cloud and rain designs.  The remainder of the jar is very highly polished.  It is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

Annie Baca is a daughter of Cesencia Tafoya and known for her miniature pottery.  This bowl is very highly polished and tightly painted.  Her works are typically three inches or smaller, which is classified as a miniature.  The design on this bowl is a water serpent (avanyu), which encircles the piece.  There are cloud designs above the avanyu.  It is signed on the bottom in the clay, “Annie”.  The glassy shine and tight painting create a beautiful and traditional Santa Clara bowl!

Annie Baca is a daughter of Cesencia Tafoya and known for her miniature pottery.  This oval shaped bowl is very highly polished.  Typical of her work it is formed with a very sharp shoulder.  The designs are painted onto the polished surface.  Looking at the bowl, there are cloud, rain and lightning patterns.  The glassy shine and tight painting create a beautiful and traditional Santa Clara bowl!

Candelaria Suazo is a daughter of potters Joe and Santanita Suazo.  Her sisters include Martha Suazo (the wife of Art Cody Haungooah), Margie Naranjo, Mae Tapia and Shirley Duran.  She learned to make pottery from her mother and has been making pottery for over 20 years.  This miniature bowl is coil built and stone polished.  It is etched with a Yei figure and then two-toned to make it black and sienna in coloration.  Note the high polish and delicate etching on this piece.  It is signed on the bottom.

Beginning in the early 1970’s, Joseph Lonewolf revolutionized the world of Santa Clara pottery by incorporating his sgraffito (lightly etching the surface of the clay) and incised (more deeply cut into the clay) designs.  This bowl is very thin walled and has an indented bottom.  It is fully polished red and etched with a single medallion. There is a Mimbres style grasshopper or cricket as the design.  Not the depth and precision of the matte area behind the insect!  There are rectangular green polished areas surrounding it, which represent the grass.  The use of the green clay slip in 1973 was quite new and a extraordinary addition to native clay colorations at the time.   The remainder of the bowl is fully polished red.  The precision of the designs and the shine of the polished surface create a perfect balance.  This piece is in perfect condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.

Beginning in the early 1970’s, Joseph Lonewolf revolutionized the world of Santa Clara pottery by incorporating his sgraffito (lightly etching the surface of the clay) and incised (more deeply cut into the clay) designs.  This seedpot is from the 1990’s.  It has the yearly symbol of a heart with a cross in it on the back.  On the front is the classic Feathered Water Serpent which was used by Joseph Lonewolf and his family.  Note the intricate detail in the head and the feathers.  There is an additional butterfly etched into the back of the piece.   The precision of the designs and the shine of the polished surface create a perfect balance.  This piece is in perfect condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.

Helen Gutierrez (1935-1993) was a daughter of Isabel Atencio, a sister of Gilbert Atencio and the mother of Geraldine, Carol, and Rose Gutierrez. She was known for her traditional San Ildefonso pottery.  This bowl is highly polished red.  It is painted with a buff colored clay to create the feather pattern which encircles the piece.  The bowl was traditionally fired red.  The design and style are classic for San Ildefonso.  The bowl is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

This miniature seedpot by Camilio Tafoya is from 1975. It is etched with a feather pattern around the neck. The area below the design is fully polished red.  It is signed on the bottom “Camilio Sunflower Tafoya”. It is in excellent condition with no chips, cracks, restoration or repair.

This seedpot by Camilio Tafoya is from 1995. It is the last series of pieces he made.  It was fully polished and etched with an otter, trout, and skunk.  There is a simplicity and playfulness to the designs.  The various colors are derived from natural clay slips.  It is signed on the bottom “Camilio Sunflower Tafoya”. It is in excellent condition with no chips, cracks, restoration or repair.

Polly Rose Folwell is known for use of classic designs on her traditional inspired Santa Clara pottery. This jar has a wide shoulder and an elongated neck.  It is fully polished and fired brown. The rim is carved with a mountain design, which is then replicated in an incised mountain design around the neck.  There is a single bird etched into the clay.  Below the birds are the Folwell family “x’s”, which are often found on their pottery.  The jar is signed on the bottom in the clay.

Susan “Snowflake” Romero’s pottery is highly polished and intricately etched with detailed imagery.  Many of her skills are ones that she learned from her father, Joseph Lonewolf. This seedpot has two Mimbres inspired parrots on the top of the piece. They are etched so the surface is both matte and polished. On the side is a hummingbird etched in the Pueblo style. It is in perfect condition with no chips, cracks, restoration or repair and signed on the bottom.

This plate was made by Preston Duwyenie and polished and incised by Debra Duwyenie.  The design on the front is fully polished and full of imagery. The design is a flowering plant which extends up from the vase.  Each of the flowers are etched into the clay and the center of each is matte, which is just where the polished slip has been etched away.  For nearly each flower is a hummingbird, each of which are also etched into the clay and with matte bellies.  There are 19 hummingbirds on the plate!  There are also additional butterflies and note near the top is a sunface and extending from the sun are rain and cloud designs.  The back of the plate is fully polished and signed with Debra’s name and Preston’s hallmark.

This bowl by Gloria Garcia is fully polished and fired black. The design is a series of eight turtles encircling the piece.  Each one has additional designs etched into their shell.  Gloria’s combination of polishing and etched designs is always striking.  This piece is signed on the bottom with her Tewa name “GoldenRod”.