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.

This is a very traditionally inspired tile by Ida Sahmie.  It is “Mother Earth”, 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 and other imagery painted on the polished red surface.  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.”

“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 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 is a very traditionally inspired tile by Ida Sahmie.  It is “Male Yei”, which is a design often seen in sandpaintings and rugs.  “Yei” (pronounced “yay”) is the Navajo name for the benevolent supernatural beings who bring their healing power to medicinal ceremonies still performed today.   Here, Ida has painted it on a stone polished tile using natural clay slips and bee-weed (a plant) for the black. The Male Yei figure has detailed clothing even jewelry.  The step design surrounding the figure is a cloud pattern.  The face is etched and then painted with a white clay.  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.

This is a very traditionally inspired tile by Ida Sahmie.  It is “Female Yei”, which is a design often seen in sandpaintings and rugs.  “Yei” (pronounced “yay”) is the Navajo name for the benevolent supernatural beings who bring their healing power to medicinal ceremonies still performed today.   Here, Ida has painted it on a stone polished tile using natural clay slips and bee-weed (a plant) for the black. The female Yei figure has detailed clothing even jewelry.  The step design surrounding the figure is a cloud pattern.  The face is etched and then painted with a white clay.  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.

This is a very traditionally inspired tile by Ida Sahmie.  It is “The Four Sacred Plants”, 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.  The four sacred plants are corn, beans, squash and tobacco.  There are both painted and matte areas along with incised designs.   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 the Four Sacred Plants and the Dine people is as follows:

“Four Sacred Plants are assigned to the cardinal points, and amongst the Navajos Maize is the plant of the North, Beans of the east. This means that both are male and as both are grown for edible seeds, recognition of the physiological function of the male was probably involved in the selection. This is entirely possible since the convention could have been established only very late, after settlement in America. Squash, for the Navajos, is the plant of the South, which is fitting since its fruit is called “eight-sided” and the eight-sided earth (an alternative to the square earth, taking account of the diagonal directions) is female. Also the stalk is angled in sections, a feature deliberately exaggerated when the plant is depicted in sand paintings, and crooked things are female. Tobacco, which the Navajos put on the west, is female because it is used to make smoke which is blown out with the breath, and that is female. Below the Plants are white roots, the significance being that these plants still have their roots in the lower world.”

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 is an early piece of his pottery from 1980.  It is a seedpot painted with a fine-line and triangular design on the top.  The sides have Acoma style birds swirling around the piece.  It is tightly painted for the size.  The seedpot is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

Carolyn is well known for her beautifully painted pottery using Mimbres style figures.  This seedpot has a Mimbres style quail and the head is in relief from the surface of the piece.  It is surrounded by very tightly painted fineline and geometric patterns. All the different colors are from natural clay slips.

Jennifer Tafoya Moquino is known for her clay vessels and exceptional realistic animals. This figure is a velociraptor made from clay. The front is mica and the back is fully polished.  There are heartlines and geometric designs which extend down the body of the piece.  Note that on the back (in the black) is a long prayer feather.  Check out the eyes as well, as she did an amazing job with the realism around them!  All the colors are all from natural clay slips.  Jennifer continues to be one of the leading innovative potters working today!

Jennifer Moquino is known for her clay vessels and also her amazing animal figures. This bear is fired black.  It is fully polished on its back.  There is a feather pattern along with five butterflies etched into the clay.  In the center is a bear paw track.  The bear paws are even etched on the front feet!  All the various colors are derived from natural clay slips.  Jennifer continues to be one of the leading innovative potters working today!

This large jar by Jennifer Moquino is fully designed with butterflies and birds.  The jar has three large medallions, each etched with a different bird.  There is a Cedar Waxwing, American Kestral and Red-Breasted Nuthatch.  The butterflies are Texan Ceregentor, Desert Green and Phoebus Parnassian.  They are all very intricately etched and slipped with additional clay slips for the coloration. The jar is also lidded with a Painted Lady butterfly on top.  Separating all the medallions are small flowers.  Check out the detail on the various birds, and even on the tree behind the Nuthatch!  The jar itself 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.  It received a blue ribbon at Santa Fe Indian Market in 2008.  The ribbon is signed by judges Christine McHorse and Clarence Cruz.  It is this creative evolution in her work which keeps  Jennifer as one of the leading innovative potters working today!

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!

Myra Little Snow Tafoya was known for her creative deep carved pottery. She is a daughter of Lucy Yearflower Tafoya, a granddaughter of Camilio Tafoya and the sister of Shawn, Kelli Little Katchina and Forrest Tafoya. She began making pottery in the early 1970’s and was featured in the “7 Families in Pueblo Pottery” book. While Myra no longer makes pottery, her early pieces are a wonderful part of the history of Camilio Tafoya’s family legacy.  This jar is a larger piece of her pottery.  It is carved around the shoulder with a cloud pattern.  Around the sides there is a feather pattern along with a sun and an avanyu.  The designs are tighly carved and highly polihsed.  The background is also fully etched to create a striking contrast with the highly polihsed designs.  The jar is signed on the bottom in the clay “Myra Little Snow”.  It is in excellent condition with no chips, cracks, restoration or repair.

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.

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 miniature seedpot is incredibly intricate for the size!  There are three butterflies on one section and the remainder is etched with feather and star patterns.  Take a look at the top and check out the variety of the designs.  It is all so intricately and delicately designed, it is quite extraordinary!  The piece is signed on the bottom “Wallace Nez”.

Jennifer Tafoya Moquino is known for her clay vessels and exceptional realistic animals. This jar is coil built and fully polished.  It is a wonderful shape which is square on the sides and flat on the top. Technically that is always difficult to achieve with native clay.  Jennifer often looks to designs beyond the Southwest for her imagery. This jar has four leafy sea dragons as the design. They are intricately etched and flow around the surface of the jar.  All the colors are all from natural clay slips.  Jennifer continues to be one of the leading innovative potters working today!

This large bowl is an exceptionally intricate piece by Sylvia Naha.  She was a daughter of Helen “Featherwoman” Naha and a sister of Rainy and Burell Naha.  She was known for her distinctive pieces painted with intricate designs on a white polished clay surface.  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 bowl is a wide shape and half of the piece has a lizard and corn design.  The other side is a series of pottery “shard” with designs from her various pottery designs.  There are about 15 different designs including a bat wing, Awatovi star, lizard and turtle.  What is really amazing, however, is the amount of fine-line painting!  There are so many sections with small, fine lines and hatchwork patterns.  Those are so time involved to paint, but very dramatic in appearance!  The black on the painting is from Bee-Weed (a plant) and the red and other colors are natural clay slips.  The jar is in excellent condition with no chips, cracks, restoration or repair.  The jar is signed on the bottom with a feather and an “S”.  It is certainly an extraordinary piece by his exceptional Hopi-Tewa potter!

This is extraordinary seedpot by Joseph Lonewolf is from 2000.  The piece is one from the period when he began to create exceptionally detailed and realistic animals on his pottery surfaces.  The seedpot is entitled, “Lone Wolf” and it has the full body of the wolf etched into the clay.  Joseph said of this piece,

“Positioned in such a manner, somewhat a side view, yet frontal, against a dark background, brightened only by the magenta tones of the setting sun, it is easy to recognize the wolf’s heavy frame and long limbs.  Since he stands in clumps of dry-colored grasses, we are unable to see his forefeet or his back feet. Meticulously designed, the wolf’s fur is moderately long, thick and varies in color shades of white, gray, brown and black.  The open winged butterfly is symbolic of beauty.  Sketched in a side view manner is a full body designed buck, a big game food source for the wolf.  It is depicted in the Mimbres form. In front of the buck is a multi-color toned design depicting with several feathers the symbol of strength, and a badger print, symbolic of strength and good fortune.”  Joseph Lonewolf

The detail on the head of the wolf is exceptional. It is not just the eyes, but fur and the various levels of carving into the clay.  It’s hard to capture in the photos but even the tongue of the wolf is perfectly designed.  On the back are two “yearly” medallions on this piece, which signify 2000 and are symbolic for his mother (Agapita, a daisy) and father (Camilio, a sunflower).  The two symbols are reflective of their names in Tewa.  An interesting note about his piece is that was included as the image on his business cards for the year.  The piece includes one of these business cards along with the typed card with the information on the piece.  It is one of the more complicated and ornate realistic animal seedpot we have had by Joseph.  The seedpot is signed on the bottom in the clay and it is in perfect condition with no chips, cracks, restoration or repair.  Needless to say, again, it is not just extraordinary but a great piece of history!

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.

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 is a very small seedpot and yet it is very fully designed!  The seedpot has two Mimbres style flute players as the design.  They are surrounded by plant and rain designs. There is a butterfly on the opposite side.  The heart medallion is the yearly symbol for 1986.  There is an additional green clay slip used to highlight the designs.  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.

This is a small seedpot by Rosemary Lonewolf.  She learned to make pottery from her father, Joseph Lonewolf.  The piece was fully polished red and the designs were etched into the clay.  On the top is a butterfly and the sides have a swirling feather and flower design.  There are green, blue and white additional clay slips added for color.  All the various colors are different clay slips. which are added after the firing.  The seedpot is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Appleblossom”.  While Rosemary no longer makes many traditional style pieces of pottery, her miniatures remain a classic!

This is a classically shaped jar by Dorothy Torivio.  She was among the first to utilize and then refine the “op-art” style in her Acoma pottery. She took traditional Acoma patterns and then repeated them on a vessel, ranging the size from small to large and then small again, in accordance with the shape of the vessel.  The shape of the jar has a wide, sharp shoulder and a very tiny neck.  The design is a yucca leaf which extends from the neck to the shoulder and then to the base.  The open space of the white and the contrasting black give the jar a very modern appearance.  The jar is signed on the bottom, “Dorothy Torivio” 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 jar was made by Camilio and polished by Grace. She would then etch the designs into the clay before it was fired.  This piece has a lightly etched avanyu on two sides.  Separating them are two red medallions.  One has a Mudhead Clown figure and the other a Rain Dancer.  There is a striking coloration of the red against the black.  It is signed on the bottom in the clay, “Grace Medicne Flower and Camilio Tafoya”.   The jar is in excellent with no chips,cracks, restoration or repair.

This is a classic bowl by Mabel Sunn from the 1970’s. The piece is made using an paddle-and-anvil technique and twice fired.  The black designs are derived from a mixture of mesquite sap and cactus spines.  Today, there are very few Maricopa artists making pottery.  This bowl has 7 indentions on the sides.  There is a black sap painted sun separating the mountains or mesas. It is a wonderful combination of form and design.  The bowl is signed on the bottom in the clay, ‘M. Sunn”.   It is in very good condition with no chips, cracks, restoration or repair.

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 is is a large and classic bowl by Camilio “Sunflower” Tafoya.  He was the father of Grace Medicine Flower and Joseph Lonewolf and the brother of Margaret Tafoya.  While he is known for his miniatures this one of his larger carved bowls from the 1960’s.  The bowl is fully polished and carved with a feather pattern.  The spectacular part of this bowl is the coloration from the firing. It ranges from dark black to areas with brown and even a section that is almost silver in appearance. That coloration is very reminiscent of the firings by his mother, Sara Fina Tafoya.  The brown seems to make it’s own designs as it flows with the black and it certainly creates a much stronger and more fascinating bowl.  It is not often we see his larger carved vessels and rarely with such a great polish and surface.  The piece is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.  There are some light surface scratches.  It is signed on the bottom.

This seedpot by Joseph Lonewolf is from around 2000.  The piece is one of his few black fired pieces.  It is fully eteched with a potter working on painting a piece of pottery.  They are surrounded by several other pieces of finished pottery.  Above the figure are butterflies.  Each butterfly is detailed and has various clay-colored slips.  There is a small butterfly etched into the black along with the yearly symbol.  It is a more complex design, both in the figure and as well as the colors.  It is signed on the bottom.  It is in excellent 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.

Joseph Lonewolf began making pottery in 1970-1.  This is a very early piece of his pottery.  It is a more classic shape with a wide shoulder which slopes upward.  The bottom half of the piece is fully polished. The top is etched with a water serpent (avanyu) with a feather pattern, which is the style used by him and his family.  The matte background area is deeply etched swirls up from the shoulder and over the rim.  It must have been exciting in 1971 to see work that was so new and unique at the time!  This piece is in perfect condition with no chips, cracks, restoration or repair.  It 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”.

Sharon Lewis has developed her own very distinctive style of design.  Her pieces are beautifully formed, thin-walled and then tightly painted.  This jar is a more classic Acoma form with the high shoulder.  It is fully painted with two variations of star patterns.  One is fine-line diamond shape and the other a checkerboard pattern.  The lines are delicate and encompass the entire surface.   The black is from bee-weed. The jar is signed on the bottom, “Sharon Lewis”.

This is a striking lidded jar by Nancy Youngblood.  The jar is deeply carved with a water serpent around the body of the piece.  Note the delicate swirls and sharp edges carved into the clay to create the body of the avanyu.  Around the neck of the jar are 32 deeply carved feathers.  Each feather and the avanyu are all stone polished to create a stunning shine!  There is a sense of movement in the design as the feathers seems to swirl around the piece. The lid is a loop which is fully polished!  It is reminiscent of some of Nancy’s early work when she would create miniatures with very thin handles!  The lid fits perfectly into the neck of the jar.  The entire piece is traditionally fired to a dark black and it is signed on the bottom in the clay.

This is one of the larger pieces we have had by Linda Cain.  Linda is a daughter of Mary Cain and the mother of Tammy Garcia and Autumn Borts.  This jar is carved on one side with a jar of a similar shape which has a carved design in the center!  The center carved pattern has a cloud, bird and lightning design.  It is a carved jar on a carved jar.  The sides are deeply carved and sanded smooth. The back of the jar is fully polished red.  It is a striking and interesting piece of her potter.  It is signed on the bottom in the clay, “Linda Cain”.

Shirley Tafoya was the youngest daughter of Margaret Tafoya and known for her miniature pottery.  This bowl is from 1980.  It is very deeply carved with a water serpent encircling the piece.  The entire surface is fully polished.  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!

Shirley Tafoya was the youngest daughter of Margaret Tafoya. They each created distinctive styles of carved pottery.  This is one of the only pieces Margaret made with her daughter, Shirley.  Shirley told me when I was writing “Born of Fire” that Margaret had made the bowl and she asked Shirley to carve a kiva step design into the clay.  Shirley then polished the bowl.  The bowl is highly polished and traditionally fired.  The kiva steps were a significant choice:

“The kiva step pattern is a classic design see on much of Margaret Tafoya’s pottery. That particular design has three steps, representing the kiva where religious ceremonies take place on the Pueblo. From the kitchen window of Margaret’s house, their clan kiva could also be seen while they worked.  Again, the tradition of form and design, of passing on knowledge to the next generation, were all a daily presence in Margaret’s pottery and life”.  Born of Fire, p. 100

This bowl is from the 1980’s and it is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Shirley Cactus Blossom Tafoya, Margaret Tafoya”.  It is an amazing piece of history, culture and Pueblo tradition!  The last photos are one from the book, Born of Fire along with a photo of Margaret and Shirley Tafoya.

Madeline Naranjo creates beautifully carved and polished pottery.  Each piece is coil built, stone polished and traditionally fired.  This jar has a round body and an elongated neck.  There are four bears carved into the clay.  They alternate between matte and polished.  Above them is a carved cloud design.  The contrast of the matte and polished surfaces works perfectly, especially with the polished neck.  Note as well 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.

Madeline Naranjo creates beautifully carved and polished pottery.  Each piece is coil built, stone polished and traditionally fired.  This larger bowl has four turtles carved into the clay.  They are each deeply carved and matte, while surrounded by a stone polished surface.  The contrast of the matte and polished surfaces works perfectly, especially with the polished neck.  Note as well 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.

Geri Naranjo is known for her intricately etched miniature pottery. This jar is round with just a slight neck. The piece is fully polished and nearly fully incised with four bands of design.  Around the top band is an avanyu and below a band of feathers.  Below the feathers are two bands of cloud, rain and feather patterns. The jar is signed on the bottom, “Geri Naranjo” It is in excellent condition with no chips, cracks, restoration or repair.   It is a striking piece and amazing in the complexity of the design work!

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 polished red and etched with a central medallion.  The design is a chipmunk with lines deeply etched towards the edge of the circle.  The edge of the medallion has a green slipped mountain design.  Joseph was one of the first potters to begin using clays that were not red and this is a very early example of his green clay slip.  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.

This is a classic long neck shaped jar by Dorothy Torivio.  She was among the first to utilize and then refine the “op-art” style in her Acoma pottery. She took classic Acoma patterns and then repeated them on a vessel, ranging the size from small to large and then small again, in accordance with the shape of the vessel.  The shape of the jar is one which Dorothy created to emphasize her painted designs.  The long neck has a butterfly pattern which is repeated in smaller and then larger sizes.  The precision and tight painting on the neck is exceptional!  The jar is signed on the bottom, “Dorothy Torivio” and it is in excellent condition with no chips, cracks, restoration or repair.

This seedpot by Camilio Tafoya is very intricately designed. The entire piece is coil built and then stone polished.  The designs are etched into the clay and then the additional clay colors are added.  There are two coyote on one side.  Note the detail, which is a bit unusual for Camilio’s pottery!  Then as the piece is turned there are rabbits and a fawn.  It is a charming piece!  The top has a butterfly etched into the clay.  It is a complex piece and lots of additional colors are added.  It is signed on the bottom in the clay.   It is in very good 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 is an earlier bowl from the 1970’s.  It is very thin walled and a classic bowl shape. The piece is painted with the classic migration pattern.  Dextra said of this design:

“This is the one design that was really stressed for us to use, the migration pattern. Nothing but lines, representing the migration of all the people to all the places, including down below and up above. It has seven points at the top and bottom. All the x’s represent life from the bottom and top, telling you the universe is one. The thin lines, I just wanted to paint them real fast and real close to try and include everyone.”  Dextra Quotskuyva Nampeyo, Spoken Through Clay

The bowl has deep red clay near the rim and the remainder is painted with bee-weed (black).  The lines are very thin and close, as would be expected from her pottery!  This bowl is signed on the bottom, “Dextra Quotskuyva (Nampeyo)”.  It is in excellent condition with no chips, cracks, restoration or repair. Simple, elegant and a classic!

This seedpot by Camilio Tafoya reflects the interesting connection of the wild turkey and Pueblo culture. There are turkey clans and most importantly, the turkey feathers are used in numerous Pueblo dances.  They are a critical part of the cultural and spiritual activities in most pueblos.  Interestingly, they have been important for quite a while in Pueblo life.

“The ancient Pueblo people shifted from making blankets of rabbit fur to using turkey feathers. One blanket could require 12,000 feathers, which could be taken as the birds molted.  The blankets helped ward off the high-altitude chill of Mesa Verde, but the turkeys also “must have had some symbolic importance,” said Lipe. “That continues all the way through to the present. Turkey feathers are still ritually quite important among Pueblo people.”   Eric Sorensen

You might also check out the “Turkey Girl” story as presented by Juan de la Cruz on the Camilio Tafoya bronze listing.  This seedpot has a male and female turkey on either side of the seedpot. They are etched into the clay and highlighted with colored clays.  The top of the seedpot has a cloud pattern and a rain pattern. The piece is signed on the bottom in the clay, “Camilio”.  It is in excellent condition with no chips, cracks, restoration or repair.

This is a larger seedpot by Rosemary Lonewolf.  She learned to make pottery from her father, Joseph Lonewolf.  This piece is interesting in that Rosemary spent time in China during the early 1990’s and created a variety of pieces in a similar theme to this seedpot.  She would juxtapose various realistic animals and images against Mimbres designs.  Here, the top has two very detailed Koi.  The side has a variety of Mimbres inspired fish.  It is a creative idea and one which works well and is even more interesting relative to the time period!  All the various colors are different clay slips. which are added after the firing.  The seedpot is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Appleblossom”.  While Rosemary no longer makes many traditional style pieces of pottery, her miniatures remain a classic!

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.

This jar by Grace Medicine Flower is fully carved and polished.  It is an early piece of her pottery before she began doing the sgraffito work in the late 1960’s.  The jar has 20 carved feathers encircling the piece.  They are deeply carved and it is fully polished.  It is signed on the bottom in the clay, “Grace Medicine Flower”.  It is in very good condition with no chips, cracks, restoration or repair.

Agapita Tafoya was the wife of noted potter Camilio Tafoya and the mother of Grace Medicine Flower and Joseph Lonewolf. Agapita created most of her pottery from the 1930’s to the early 1950’s. This jar is from the 1950’s and it is deeply carved and stone polished. The design is a cloud pattern extending down from the neck and a prayer feather pattern extending up from the base.  The piece is fully polished and fired red.  The recessed area has a cream colored slip which was used for contrast with the red clay slip.  The jar is in good condition with no chips, cracks, restoration or repair. It is signed on the bottom in the clay, “Agapita Tafoya”.

This is a stunning and complex polychrome jar from Dolores Curran.  She continues to create intricately incised and painted pottery.  She was inspired to create these red polychrome incised and painted by her husband, Alvin Curran.  He was known for his incised San Juan style pottery in the 1990’s.  This jar has incised butterfly and flower designs around the neck.   As the design gets closer to the shoulder, there are incised clouds and rain designs.  What is incised mean? Incised is just a bit deeper carving than the sgraffito or etched designs, but not as deep as carved designs.  There is a tightness and precision required of incised designs and it a skill with which Dolores excels.  Around the shoulder is a carved avanyu and below that are stylized bowls with prayer feathers.  Near the base are cloud and rain designs painted on the polished red surface.  Note even the little red-on-red dragonflies!  The design on the lid is a plant pattern and there are painted dragonfly and cloud designs on the lid.  When the lid is turned over there is an incised turtle underneath!  The entire jar combines polished, matte and micaceous surfaces.  All the colorations are from natural clay slips.  It is an extraordinary amount of time to create pieces this intricate both in design and in the various clay additions.   The jar is signed on the bottom in the clay.  Simply perfect!

Madeline Naranjo creates beautifully carved and polished pottery.  Each piece is coil built, stone polished and traditionally fired.  This jar is a more classic form with a high shoulder and slight neck.  Around the shoulder of the piece there are two parrots. Each is deeply carved into the clay.  Madeline has portrayed them in flight!  The bodies are matte while the beaks and tail feathers are polished.  Note as well 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.

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 1984.  It has two grizzly bear cubs, each etched into the clay in great detail.  Each of the cubs is entranced with the butterflies.  What is so exceptional on this piece is not just the bears and the interaction with the butterflies, but the filigree style etching work surrounding them.  The plants and the feather patterns flow around the piece in a delicate stylistic manner.  It’s always difficult with his work to imagine that Joseph etched the designs into the clay!  There is an additional white clay slip used along with a red clay slip.   The back of the piece has a medallion with a rainbow, which is the yearly symbol for 1984.  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.

This is a tightly carved miniature jar by Linda Cain.  Linda is a daughter of Mary Cain and the mother of Tammy Garcia and Autumn Borts.  This miniature jar is deeply carved with eight feathers.  The area behind the feathers is slipped with a micaceous clay. The feathers and the jar are all stone polished.  It is fired a deep black and signed on the bottom in the clay.

The is among the most refined incised pieces we have seen by Camilio Tafoya. The seedpot is incised on one side with a fish and the other a bird. They are separated by a leaf pattern.  The entire piece is very highly polished and the additional colored clay slips create a striking visual complement to the shine.  The seedpot is from 1982 and it is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

Priscilla Namingha Nampeyo was a great-granddaughter of Nampeyo of Hano and granddaughter of Annie Healing,  She was also a sister of  Dextra Quotskuyva Nampeyo. Priscilla was the matriarch of a family of renown potters, including Rachel, Bonnie, Nyla and Jean Sahmie.  Priscilla began making pottery when she was only seven years old, under the guidance of Nampeyo of Hano. This large bowl is a classic of her style.  It is thin walled and painted with the classic “eagle tail” pattern, which was made famous by Nampeyo.  The top section is slipped with red clay while the design itself is painted with bee-weed (a plant) for the black. Each of the four eagle tails extends down over the shoulder and are surrounded by the bird wings.  The bowl was traditionally fired, so there are striking blushes on the surface.  Priscilla was known for her traditional designs along with the tightly painted designs.  The bowl is signed on the bottom “Priscilla Namingha Nampeyo”.  It is in excellent condition with no chips, cracks, restoration or repair.  It is nice to see such a large and classic designed piece of her work in the gallery!

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 is an early piece of his pottery from 1981.  It is painted with a classic Laguna Pueblo design with the checkerboard and fine-line patterns.  There are additional rain clouds around the rim and the base.  The jar is signed on the bottom in the clay.  It is in very good 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 is an earlier jar from 1984.  It is painted with a very fine-line bird wing pattern. The design is repeated four times around the shoulder of the piece.  The rim of the jar is also very tightly painted. It is painted with natural clay slips and bee-weed (black) and traditionally fired to create the blushes or fire-clouds on the surface.   The jar is signed on the bottom in the clay, “Dextra” along with a corn plant to represent the Corn Clan.  It is in very good condition with no chips, cracks, restoration or repair.  There is a little superficial slip crack on the base, which can be seen in the photo of the signature.  This jar is also published in the book, “Painted Perfection” on page 75.  Dextra was the subject of a retrospective of her pottery at the Museum of Indian Art and Culture, along with a companion book entitled, “Painted Perfection“.

Grace Tahbo is a relative of Mark Tahbo’s who is known for her miniature pottery.  This miniature canteen is painted with a cloud and lightning design  The black is bee-weed (a plant) and the red and orange are two different clay slips.  Grace also made the little fiber handle for the canteen.  The little ladle goes with the canteen and it is also clay. Both are traditionally fired.  The canteen is signed, “G. Tahbo” and a pipe for Tobacco Clan.

Barbara & Joseph Cerno are known for their large coil built vessels.  This is one of their figurative pieces.  There are two snakes intertwined together.  The backs of each snake are painted with diamond designs.  It is interesting how they weave together to become one piece.  The snakes are from 2006 and it is signed on the bottom.  It is in very good condition with no chips, cracks, restoration or repair.   Barbara & Joseph remain among the most renown contemporary Acoma potters for their revival of historic patterns.

Jennie Laate was among the most important revival potters at Zuni in the 1970’s.  This miniature owl clay figure.  It is coil built and in the style of the classic Zuni owls.  She has painted the feathers onto the surface of the piece.  It signed on the bottom and it is in very good condition with no chips, cracks, restoration or repair.  The last photo is of the owl next to the large jar which is online relative to scale.

Susan “Snowflake” Romero’s pottery is highly polished and intricately etched with detailed imagery.  She learned to make pottery from her father, Joseph Lonewolf. This seedpot has a realistic style of butterfly on the top.  The butterfly is surrounded by flowers. There are various levels of etching on the piece, including some wonderful areas which are just tan.  The polishing has created a high shine.  The seepot is in perfect condition with no chips, cracks, restoration or repair and signed on the bottom.

This lidded jar by Grace Medicine Flower is from 1989 shows the transition of her work from sgraffito designs to a combination of carved and etched imagery. This jar has an elegant shape and the entire piece is fully polished. The bottom half is fully carved and polished with melon ribs.  Note the sharp edge of each rip and how the area between the ribs are also fully polished!  The area around the shoulder is fully polished and etched with hummingbirds.  The lid is unique with a single melon “rib” cutting across the surface.  It perfectly ties the entire piece together!   It is signed on the bottom, “Grace Medicine Flower”. The jar is in excellent condition with no chips,cracks restoration or repair. It is elegant and stunning!  Over her career she made very few black pieces and yet they are always stunning and creative!

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 is a fascinating bowl which has two openings.  On one side there is a flower painted on the clay with a tiny hummingbird.  The other side has a black painted star pattern.  The bowl is signed on the inside.  The bowl sits on a clay tile, which has been traditionally fired and is also signed in the clay.  The fine lines of the painting, along with the blush from the traditional firing make this an exceptional piece of her pottery. It is painted with red clay slips along with bee-weed (black).  It is in excellent condition with no chips, cracks, restoration or repair.  Dextra was the subject of a retrospective of her pottery at the Museum of Indian Art and Culture, along with a companion book entitled, “Painted Perfection“.

This is an exceptional miniature seedpot by Rosemary Lonewolf!  It is fully designed with three birds and a band of flowers around the shoulder.  Spiraling around the top of the seedpot is a feather design and there is a small flower on the very top! Rosemary has added additional white and blue colorations for the clay on this piece.  The various colors are all derived from natural clay slips.  The seedpot is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom.

This seedpot by Joseph Lonewolf is from 1997.  The piece is entitled, “Leaping Grasshoppers”.  It includes a signed version of the card which Joseph made for each of his miniatures.  There is also a photo of Joseph holding the piece! Joseph wrote partially of this piece,

“Portrayed side view are two geometrically designed and color-toned grasshoppers.  Representative of the Mimbres Period – 10th to 14th centuries. Both grasshoppers appear to be leaping.  Beneath the plant-eating insects is a higly polished red slipwork symbolic of Mother Earth.  Swirled and jagged to denote “Her” terrain, MOther Earth’s surface is only sparsely vegetated.”

The butterfly etched on the back is symbolic of beauty and the the interlocking rings medallion represents the attachment between friends and was the yearly symbol for 1997.   This piece was actually purchased at our gallery show for Joseph Lonewolf and Grace Medicine Flower in 1998! 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 and includes the signed artist card.  It is in excellent condition with no chips, cracks, restoration or repair.

This is a charming miniature by Joseph Lonewolf  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 entitled, “Lone Chipmunk”.  Joseph wrote of this piece:

“Comprising the front side of this minature is a cheerful, alert, sun-loving little animal, a lone chipmunk.  Below the handsome hoarder, at the base, is the symbol of beauty, a tiny butterfly.  Encircling the chipmunk and comprising the back side are designs symbolic of sun rays and the natural habitat (of the chipmunk).

The surface is fully polished red and there are additional black, white, green and blue clay slips added to create the colorations.  The yearly symbol for 1986 is a “heart” which represents love and Lonewolf says, “in particular a deep devotion for the ancestors and Mother Earth”.  The seedpot is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

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 entitled, “Call to the Creatures”.  Joseph wrote of this piece:

“The time has come…the People must stock up on food and clothing once again.  Standing upon the design symbolic of his pathway, the flute player lifts his flute and calls the creatures on the back side of this creation.  Encircled by the musical story coming from his flute, the flute player, symbolic of leadership, tells the rabbit, antelope, ram, and fish to come forth and provide the people all they require”.

This seedpot is very intricately designed with a fourish of the flute player on the piece. There is an additional green clay slip used to highlight the piece. The yearly symbol for 1984 is near the base and it is a rainbow, symbolising a bright future.  The seedpot is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.  It includes the original card with the information on the piece.

This is a very early piece by Art Cody Haungooah.  It is a tall jar which is fully polished and carved around the shoulder. The carved design is a single feather, which he has etched into to the clay.  The remainder of the jar is plain.  It was only in 1972 that Art began to make pottery and this piece is signed with his earlies signature, “Haungooah”.  It is in good condition with no chips, cracks, restoration or repair.

To learn more about Art Cody Haungooah, click below:

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

This is a very early piece by Art Cody Haungooah.  It is an open bowl and it is fully polished. The design is etched into one side of the piece. There is a single Pueblo style bird with deep etching around the design.  The remainder of the bowl is plain.  It was only in 1972 that Art began to make pottery and this piece is signed with his earlies signature, “Haungooah”.  It is in very good condition with no chips, cracks, restoration or repair.

To learn more about Art Cody Haungooah, click below:

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

This is bowl by Art Cody Haungooah is from 1975.  The style of this bowl was some of the favorite work that Art made during his career.  Here, the top of the bowl is slipped with a brown clay, while the bottom half is red.  The bowl is etched around the center with a stylized feather pattern.  The area around the design is more deeply etched to reveal the tan clay. The bowl was made by Martha, while Art did the polishing and designs.  The bowl is indented on the bottom and also fully polished.  It is signed, “Art & Martha Haungooah, Santa Clara Pueblo, 1977”.  It is in good condition with no chips, cracks, restoration or repair.

To learn more about Art Cody Haungooah, click the link below:

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.

To learn more about Art Cody Haungooah, click the link below:

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

This is a classic polychrome jar by Margaret & Luther Gutierrez.  Margaret would make the pottery and Luther, her brother, Luther,  would paint them.  This jar is one of their classic shapes with a round body and slight neck.  Allt he various colors are derived from native clay slips.  There are four medallions on the jar.  Two have warriors or hunters and the other two have animals (a bear and a mountain lion). The bear and mountain lion both have heartlines as part of their designs.  Note the various clay colors used on this jar, including the green and orange.  The jar is signed on the bottom, “Margaret / Luther” and it is in very good condition with no chips, cracks, restoration or repair.

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 tile is flat with ten turtles.  Each of them has a different design on its back.  Usually, Debra etches one of the turtles to have a “shifting sand” design to represent her husband, Preston Duwyenie.  That one can be seen in the corner.  Surrounding the turtles are lots of dragonflies along with a lizard.  The edge of the tile has a water serpent encircling the piece  and a rain cloud in the corner.  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 back of the tile is also fully polished.  The piece is signed on the back by both artists.