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 bowl by Camilio Tafoya is from 1972.  It is fully polished and the design around the shoulder is a stylized feather pattern.  The piece was then fired black-and-red.  This distinctive coloration is one that was only used by Camilio and his children Joseph Lonewolf and Grace Medicine Flower.  It was achieved during the firing, although nobody has been able to replicate the process.  Note the coloration and technique is different from the black-and-sienna colorations on pottery by artists such as Tony Da.  The contrast of the black and red is very striking on this piece.  It is signed on the bottom “Camilio Sunflower Tafoya”. It is in excellent condition with no chips, cracks, restoration or repair.

This is a small jar 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 jar has a mountain design on the sides and a patined rim.  The jar is signed on the bottom in the clay, ‘M. Sunn”.   It is in very good condition with no chips, cracks, restoration or repair.

This is a complex bear effigy bowl by Margaret & Luther Gutierrez.  Margaret would make the pottery.  Her brother Luther would paint the designs using natural clay slips.  This bowl has two bears as the handles.  On the neck of the jar there is an avanyu painted on each side.  The shape and the designs are all very classic for Santa Clara pottery.  This jar won a First Prize at the 1968 Gallup Inter-Tribal Ceremonials.  The jar is signed on the bottom, “Margaret / Luther”.  It is in very good condition with no chips, cracks, restoration or repair.

This is a classic polychrome bowl by Margaret & Luther Gutierrez.  Margaret would make the pottery and Luther, her brother,  would paint them.  This bowl is a classic round shape.  It is fully painted with a water serpent (avanyu), which encircles the piece.  Note the complexity of the design as the bowl is turned.  Luther not only used a variety of clay slips but also painted precision and intricacy.  The bowl is signed on the bottom, “Margaret / Luther”.  It was originally purchased in 1973 and it is in excellent condition 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.

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 a swirling feather pattern which extends up from the base to the neck.  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 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.

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 bowl by Gloria Garcia is fully polished and fired black. The design is a series of five Mimbres style quail and four rabbits.  They are each etched into the clay.  There is an additional red clay slip used to highlight the designs.  The bowl is very highly 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 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 is a very traditionally inspired bowl by Ida Sahmie.  It is “Father Sky” on one side and “Mother Earth” on the other.  They are designs which are often seen in sandpaintings.  Here, Ida has painted them on a stone polished bowl 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.  Mother Earth is in the center with the four sacred plants and other imagery painted on the polished red surface.  The face is etched and the figure is surrounded by a rainbow pattern.  The designs are all etched and painted onto the clay surface.  The bowl was traditionally fired and it is signed on the bottom, “Ida Sahmie” and it is in excellent condition with no chips, cracks, restoration or repair.  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 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 the largest jar by Jennifer Moquino we have had in a while.  It is fully polished and has a wide shoulder and a small neck.  Check out the shape of the jar as the shoulder is very sharp which gives the jar a striking appearance.  The piece is fully polished and it is thin walled. The design on the top consists of Black Moor Goldfish and Cherry Blossoms.  There are elegant water swirls and surrounding the fish.  Check out their coloration with the red and the contrast with the white and blue waves and the pink blossoms.  As the jar is turned over, the sharp shoulder descends into a sloping base which has additional cherry blossoms. The highly polished surface enhances the delicately etched designs.  Each fish has a distinct appearance of motion and movement!  Not only did she use clay slips, but also mica clays, which give the whole piece a bit of “sparkle”.  This jar has a perfect balance to the intricate designs.  It is signed on the bottom.  It is this creative evolution in her work which keeps  Jennifer as one of the leading innovative potters working today!

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!

Rebecca Lucario is known for her delicate and intricately painted pottery.  She uses traditional Acoma clay and paints with bee-weed (a plant) and clay slips.  Ever since one of her plates appeared on the cover the “Changing Hands” exhibition catalog, her work has become iconic with fine-line style painting.  This larger plate has a fineline center design.  This emanates out into the “petals” of the flower which are a series of diamond shaped patterns.  They are either filled in black, painted with fine-lines or painted with and outlined “x” design.  The design starts small but gets larger as it nears the rim. The rim of the jar is painted with a red clay slip.  The intricate design of the plate is certainly visually dynamic! It is signed on the back, “R. Lucario, Acoma, 2018”.

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.

Greg Lonewolf is the son of Joseph Lonewolf and is known for his intricately incised miniatures.  This is a set of five miniatures, each very intricately etched and designed.  There is a dragonfly, which is the largest.  The Turtle seedpot has a turtle on top and feathers on the side.  The Fish seedpot has three Mimbres style fish encircling the piece.  The duck seedpot has a Mimbres duck on the front and a realistic duck on the back.  The smallest is the Mimbres Frog seedpot with a realistic frog on the back. Each piece is fully polished and highlighted with additional clay slips.  The contrasts of size and intricate realism is exceptional.  Each piece is signed and the dragonfly seedpot says “set of 5” and each has a number in the set (1-5).  They are each in excellent condition with no chips, cracks, restoration or repair.  While Greg no longer makes pottery, his work remains exceptional.  If there is interest in breaking up the set, I will consider it but thought it was a unique opportunity for the whole group to remain intact.

This is a very intricately carved lidded jar by Nancy Youngblood.  The jar is deeply carved with a water serpent encircling the top of the piece.  The body of the avanyu has Nancy’s signature lightning and water swirls.  Below the avanyu are 16 carving lightning designs.  The carving is very deep on this piece, and the rim and base are both matte.  The matte is one of the highlights of Nancy’s pottery, as she sands it with such precision that there are virtually no irregularities.  The smooth matte surfaces beautifully complement the polished areas of the jar.  The lid is fully polished and fits perfectly into the bowl.  The entire piece is traditionally fired to a dark black, and it is signed on the bottom in the clay, “Nancy Youngblood, 2006).  It is in excellent condition with no chips, cracks, restoration or repair.  Definitely a classic of her carved pottery.

This is wide jar with an elongated neck is 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 smaller triangular designs which spiral outward to the shoulder and then back to the base.  When looking straight down on it the design is very tightly painted and striking.  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.

This is an exceptional jar by Priscialla Namingha Nampeyo.  She 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 jar is thin walled and painted with the classic migration pattern.  It is one of those pieces that captures the essence of her pottery skill with very thin lines and a design which matches the shape.  Priscilla was known for her traditional work and this jar is simply one of her best.  It was traditionally fired and so it has blushes across the surface.  It is signed on the bottom “Priscilla Namingha Nampeyo”.  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 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 is one of the few miniatures we have seen by Desideria Montoya Sanchez!  She was a sister of famed potter Maria Martinez. This jar  is fully polished and has a sharp shoulder. It is painted with a cloud, rain and lightning designs.  The jar is signed on the bottom in the clay, “Desideria”.  It is in very good condition with no chips, cracks, restoration or repair.

This is a very  intricate miniature seedpot by Ray Tafoya.  The design has three Mimbres rabbits etched into the clay.  They are surrounded by Ray’s signature geometric designs. There are cloud, grass and water designs.  All the various colors are derived from natural clay slips.  The seedpot is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay with his hallmark.

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 1998.  The piece is entitled, “Secreted Fawn”.  It includes a signed version of the card which Joseph made for each of his miniatures.  This piece was actually made for our show at the gallery with Joseph and Grace Medicine Flower in 1998.   Joseph wrote partially of this piece,

“Portrayed against a blue sky background is a single realistically designed Mule Deer fawn, most of which are born in June or July.  Nestled, side view, in an abundance of sheltered valley grasses, remote to other members of the heard, the fawn is partially encircled by eight yellow disked, red tipped daisy blossoms, which denote all that is sweet, or pleasant, in life.

Three small realistically designed cabbage white  butterflies, symbolic of beauty in life, are portrayed with the fawn.  two wings about the new born in a delicate, unhurried flight and one alight on the tip of the newborn’s right ear.”

On the back of the seedpot in the red is a Mule Deer buck, doe and fawn sketched into the clay.  They are inspired by the Mimbres pottery designs of the 11th century.  The interlocking rings medallion represents the attachment between friends and was the yearly symbol for 1997.  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.  There is also a photo of Joseph holding the piece! 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.

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.

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.

Val Kahe is a daughter of noted potter Gloria Kahe.  She is known for her intricately painted pottery.  This is one of her more complex designed seedpots. The top half has a series of pottery shards, which are inter-connected.  Most are painted with bee-weed (black) while some are polished a deep red and then painted with the black bee-weed.  Each of the red shards is a different bird or moth or flower or mosquito!  Check out the very fine lines used in her painting!  The seedpot has then been traditionally fired to create the fire clouds.  It is signed on the bottom.

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.

This is an amazingly complex tile by Ida Sahmie.  It is the Night Chant Dance with seven male Yei-bi-chi dancers in a row.  The background area is fully painted with bee-weed (a plant) to make it black.  In the background there are the mesas and a fire in the “center”.  This is her attempt to create a “3D” story on the tile!  Ida also incises into the clay for the faces and the bodies, leather, and masks.  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 traditionally fired and painted with natural clay slips and bee-weed (the black).

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.

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 one of his few larger figurative pieces.  It is woman with a shawl holding a clay bowl  He has painted a lot of detail in the shawl and the plate.  The figure is signed on the bottom in the clay.  It is in very good condition with no chips, cracks, restoration or repair.

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.

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.

his miniature jar by Camilio Tafoya is from  by Camilio is from 1975. It is etched with a feather pattern around the neck.  At the base the piece is polished and there is a single flower also etched into the surface of the clay.  It is signed on the bottom “Camilio Sunflower Tafoya”. It is in excellent condition with no chips, cracks, restoration or repair..

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!

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 miniature red jar by Grace Medicine Flower is fully polished and incised.  The design is a central medallion with a Mimbres inspired flute player.  Around the shoulder are alternating turtles and frogs.  The jar is from 1998 and it is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Grace Medicine Flower”.

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.

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 classic stylized seedpot by Art Cody Haungooah.  It is fully polished and etched in his signature “asymmetrical’ manner, meaning there are two medallions but they are not on opposite side, and there is a section which is just plain.  In one of the medallions, there are four frogs and a central lily pad.  They are surrounded by a feather pattern.  The second medallion also has a circle of feathers and in the center is a stylized bird.  Separating the two is a design with three prayer feathers.  The piece is from 1981 when he signed his work with his name and a flute player.  The piece is in very good condition with no chips, cracks, restoration or repair.r 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 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 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 a charming jar by Art Cody Haungooah is from 1975.  The jar is fully polished and has design just around the neck of the piece.  The design is a fox out in the lightning and as the jar is turned there is a feather pattern.  The remainder of the jar is highly polished.  Interestingly, the jar is not signed on the bottom, but on the side!  It is signed, “Haungooah, 3-20-75”.  It is in very 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

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.

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.

This is a classic bowl by Santana and Adam Martinez.  The piece is very highly polished and perfectly painted with classic mountain and lightning design.  The bowl is traditionally fired with areas of gunmetal coloration to the surface.  It is signed on the bottom in the clay, “Santana + Adam”. It is in excellent condition with no chips, cracks, restoration or repair.  Definitely a classic piece!

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 more classic piece of her pottery.  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 has four swans painted around the shoulder.  Note how the deep red is polished on the neck and the rim of the jar.  The base of the jar is matte red and the inside of the mouth of the jar is an unusual tan coloration.  The swans are painted to extend up from the shoulder.  Note the photo of the jar from the top and how she has squared the rim but has the birds swirls around! It is this attention to the small details which makes her work so spectacular.  The jar is signed on the bottom in the clay, “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 Museum of Indian Art and Culture, along with a companion book entitled, “Painted Perfection“.

Glendora Fragua is known for her intricately incised pottery.  This piece is from 1985 and has a rabbit as the main design.  The piece is etched with intricate lines and traditional designs.  The additional colors are derived from matte clay slips.  The piece is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay with Glendora’s corn hallmark.

Gwen Tafoya (b. 1965) is a granddaughter of noted potter Severa Tafoya.  Each piece is coil built and stone polished.  This seedpot is fully polished red and etched with butterflies and flowers. Note the complex designs etched into the wings of each butterfly!  The flowers are also highly detailed around the base of the seedpot.   It is signed on the bottom in the clay.

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 and etched on one side with a fish. That area has been two-toned sienna.  The remainder of the bowl is designed with feather and lightning patterns. It is very highly polished and note the precision of the lines!  It is signed on the bottom.

This small bowl by Art Cody Haungooah is from 1974.  The bowl is fully polished and there is a section with the etched design.  Here is a lizard which is inspired by the Mimbres pottery.  The lizard has shell insets for its eyes as well as 6 in the body.  Art used the shell insets as a reflection of new trends in Pueblo pottery at the time, but also as these are little beads, they recall the Kiowa influence of beaded objects.  The bowl is signed on the bottom in the clay, “Haungooah”.  It is in excellent condition with no chips, cracks, restoration or repair.

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

This miniatures bowl by Art Cody Haungooah has been fired black and then two-toned on the neck.  The top part is etched with cloud and stylized bird designs. You can see the eye (the black dot) of one of the birds.  They are surrounded by rain and wind designs.  It 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 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.

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 there are three medallions.  Each medallion has an antelope as the design.  The antelope are etched into the clay before firing.  The border of each medallion is polished green.  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.

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.

This is one of the few pieces signed by both Art Cody Haungooah and his wife, Martha. The bowl is fully polished red and there is a central medallion which is etched into the clay.  There is a lizard, rabbit and quail as the design. There is a piece of coral inset in the quail.  Around the shoulder of the bowl is an etched cloud design.  The bowl is signed on the bottom in the clay, “Art & Martha Haungooah”.  It is in excellent condition with no chips, cracks, restoration or repair.

This is an intricate miniature by Wallace Youvella, the husband of Iris Nampeyo  It is fully polished red and the design is a wildlife scene with a deer and mountains.  The seedpot was made between 1976-9.  Wallace was one of the first three men at Hopi in the mid-1970’s to begin making pottery (the others were Mark Tahbo and Thomas Polacca).  Interestingly, Thomas and Wallace (who were brothers-in-law) both started with traditional Hopi-Tewa designs but met resistance from the women potters, so began making pieces which were either fully polished and etched, or carved.  This piece is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

This is an unusual miniature bowl by Art Cody Haungooah.  The back and sides are fully designed with a bear paw and cloud designs. The front has been deeply carved with a bear in relief.  He added additional for the body to give it more texture and dimension.   The bowl is in very good condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay.  It is from 1974.