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.

Jennifer Moquino is known for her clay vessels and realistic sgraffito designs.  This jar has a Western Tanager on one side and a Great Spangled Fritillary butterfly on the other.  There is wonderful detail on both sides!  Separating them are two sections of flowers.  The jar itself is highly polished and fired black.  All the various colors are derived from natural clay slips.  Jennifer continues to be one of the leading innovative potters working today!

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.

Jennifer Moquino is known for her clay vessels and also her amazing animal figures. This small turtle is slipped with a green clay.  The back is stone polished and etched with a bear paw in the center.  It is surrounded by an avanyu, water designs, a storm cloud and eagle feathers.  All the various colors are from natural clay slips.  There is remarkable detail for the size of the piece!  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 bobcat is made from clay and fully polished. The designs for the face and back are etched into the clay. The face is wonderfully realistic and even not the coloration on the back of the ears!  The body of the bobcat has a bobcat track in the central medallion.  On one side are a rain cloud and river.  The opposite side has a feather pattern and sparrows.  All the various colors are from natural clay slips.  There is remarkable detail for the size of the piece!  Jennifer continues to be one of the leading innovative potters working today!

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!

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 the 1970’s.  It is one of the most unique shapes we have seen in her early work.  The jar narrow base just up to create a round surface for the design.  That style of form certainly seems to have an influence of Zuni pottery forms.  The bowl is painted with the classic migration pattern which encircles the piece. The piece has very thin lines painted for the migration pattern and in a manner for which Dextra became famous in the 1970’s.  The red areas are interesting, as they have a more “painterly” appearance. This is striking as it seems to be more reminiscent of the early Hopi-Tewa pottery before the 1930’s when a new red clay slip was introduced.  The jar reads as a history of early Hopi-Tewa pottery from their influence of Zuni shapes and designs, then the introduction of Sikyatki patterns (migration design) and then the early style of red clay slip.  It’s not surprising that Dextra would be able to combine all these elements into a single jar and have the result be simply striking in appearance!    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 Quotskuyva (Nampeyo).  It is in very good condition with no chips, cracks, restoration or repair.

This is one of several different bronzes created by Camilio Tafoya.  The piece is entitled, “Turkey Girl” and it has amazing detail in each of the figures.  There is a Pueblo woman grinding corn and in front of her is another Pueblo woman and a male and female turkey. Take a close look at any of the figures and the detail is exceptional! There is a similar stylistic feel as with his pottery.  For the story of the Turkey Girl I have use the story written by Juan de la Cruz for one of his pieces of pottery.

“Turkey Girl’s tattered and worn raiment was taken and transformed into beautiful garments: a dazzling necklace and intricately woven mantle were draped upon her arms.  The turkeys that she tended to presented these gifts: for they knew her heart’s desire was to participate in the festivities being held in the neighboring village. In exchange for this and the kindness she always bore towards them, they were given freedom and traversed into the narrow mountain pass where they reside to this day”.  Juan de la Cruz

This bronze is an edition of 16 and this is number 4.  It was made in 1979 and signed on the top side.  It is in excellent condition.  One of the last photos is the piece with other pottery by Camilio Tafoya as well as a photo of him!

This seedpot by Camilio Tafoya is very intricately designed.  It would seem that it most likely was made, polished and the designs was begun by Camilio and then then the designs were finished by his son, Joseph Lonewolf.  While it is signed by Camilio, it would suggest that the piece was already polished.  The sgraffito on the top and in the etched away matte areas are also consistent with the work of Camilo. However, there are indicators that it was finished by Joseph, as he finished several of the pieces which Camilio had in process before he passed.  The bears are all much more intricately etched and designed than on any of the pieces made by Camilio from 1990-5.  There is a bear catching a fish in a stream, and then eating the fish. There is an additional bear family.  The bears are so detailed and they are much closer in style to those of Joseph.  As well, there is the number on the bottom, which is precision etched, and the last letters are JL, which may be Joseph’s initials as the end of the numbering system. The numbering system used by Camilio was typically much shorter and a bit more stylistic in design.  Overall, the piece is in excellent condition with no chips, cracks, restoration or repair.

This miniature terraced bowl by Camilio Tafoya is simply put, charming.  It is one of the only ones I have seen in this shape!  The form is the traditional ‘terrace bowl” with the step design on one side.  The designs are etched into the polished clay surface. There are two chipmunks, one on either side.  On the back side are strawberries which they are competing to get!  There is additional coloration in the designs with green and white clay slips.  The piece is signed, “Camilio Sunflower” on the bottom in the clay.   It is in excellent condition with no chips, cracks, restoration or repair.

Annie Baca is a daughter of Cesencia Tafoya and known for her miniature pottery.  This bowl is very highly polished and painted with a red clay slip to create the avanyu (water serpent) design. Above the avanyu are clouds which are painted with a clay to make them appear gray!  The contrast of the highly polished surface and the matte painted areas creates a striking appearance.  The bowl is signed, “Annie” on the bottom in the clay.  Her work remains some of the classic Santa Clara style.

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.

Greg Lonewolf is the son of Joseph Lonewolf and is known for his intricately incised miniatures.  This seedpot is one of his larger pieces and it is fully designed and fired black.  The design consists of four realistic hummingbirds encircling the seedpot. At the top is a flower and a geometric star pattern.  All the various colors are additional clay slips. which are added after the black firing. The seedpot is entitled, “Hummingbirds”.  It is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

Glendora Fragua is known for her intricately incised pottery.  This piece is polished tan and etched around the neck and the shoulder.  The shoulder has both polished and matte areas which are then etched away to create the rainbow band. There are additional insets of turquoise.  The jar is signed on the bottom with a corn stalk, Glendora’s hallmark.  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 has a large hummingbird and flowers on the top.  On the side are a series of inter-twined vines and flowers.  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!

Mae Tapia was known for her intricately etched miniature pottery.  This is one of her amazing miniatures.  It is fully polished and there are two sienna medallions on the top. One has a lizard, the other an antelope.  Surrounding them are additional feather, cloud and rain designs.  The bowl is signed on the bottom in the clay.  It is in excellent condition with no chips, cracks, restoration or repair.

Wallace Nez is known for his intricately etched potter.  He began to make pottery when he was 12 years old.  He won first place ribbons at the Santa Fe Indian Market in 1999, 2000, and 2001 and Best of Division at the Museum of Northern Arizona Market Show in 1999.  This tall seedpot has two larger sections with etched ducks as the design.  Around the base are five hummingbirds.  The remainder of the piece is fully etched with designs!  It is all so intricately and delicately designed, it is quite extraordinary!  The piece is signed on the bottom “Wallace Nez” with the date of 2004.

Glendora Fragua is known for her intricately incised pottery.  This piece is polished tan and the surface is slipped with various colors of clay.  The black area are matte while the red and tan are polished.  In the center is a bear with an inset piece of coral.  It is intricately designed for the size!  The seedpot is signed on the bottom with a corn stalk, Glendora’s hallmark.  It is in excellent condition with no chips, cracks, restoration or repair.

Shirley Tafoya was the youngest daughter of Margaret Tafoya and known for her miniature pottery.  I couldn’t help but say that this was a “large” water jar, but for Shirley, it definitely was a large piece as much of her work was under 2″ tall!  This water jar is an elegant shape with a round body and a slight neck.  The entire piece is fully polished and fired a deep black.  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”.  Simple but a classic of Tafoya Family pottery!

This is a very detailed realistic seedpot by Joseph Lonewolf is from 2001.  The piece is one from the period when he began to create  exceptionally detailed and realistic animals on his pottery surfaces.  The seedpot is flat with the bald eagle head carved into the clay.  It is hard to see in the photos but the area round the eye and beak are recessed.  The feathers are then etched into the clay and highlighted with additional clay slips.  The use of the carved areas creates a more dramatic appearance to the surface of the piece and gives it a more realistic style.  On the side there is a single white feather and two macaw parrot feathers.  It would be interesting to know the significance of both feathers, but certainly there is the importance of both parrot and eagle feathers in Pueblo culture and ceremonies.  The side has an incised and polished feather design.  Lower on the seedpot are are the two “yearly” medallions on this piece, which signify 2001 and are symbolic for his mother (Agapita, a daisy) and father (Camilio, a sunflower).  The two symbols are reflective of their names in Tewa. There is also a small butterfly which Joseph would almost always include as a symbol for beauty.  The seedpot is signed on the bottom in the clay and it is in perfect condition with no chips, cracks, restoration or repair.  It is certainly a classic in this realistic period of Joseph’s pottery.

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.

This is a classic red and tan bowl by Nancy Youngblood.  The bowl is deeply carved with a water serpent (avanyu) encircling the piece. The avanyu tells the story of the village being saved during a flood. The shape of the avanyu is reminiscent of water coursing through a canyon or arroyo and note how the tongue and tail always intersect.  On this piece Nancy has deeply carved the avanyu into the clay.  The body of the avany is carved with swirls and sharp lighting edges.  It is fully polished red and the remainder of the piece is matte tan.  What you can’t see in the photos, but can feel in person is how perfectly Nancy has sanded the tan areas at the top and bottom of the bowl.  They are perfectly smooth and feel like soft leather.  As with all pottery, the tactile side of holding a piece is always important.  On this bowl it is critical as the smooth surfaces and the sharp edge of the carving, in addition to the coloration, are what make it so stunning! The bowl is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom in the clay, “Nancy Youngblood, 2003”.

The “interlocking” or “tumbling” parrots is a design originated by Rainy Naha. This piece has a taller shape, so that the top and bottom parrots are easily seen. The bowl is fully polished with a white clay slip and then there are five sections of interlocking birds.  Each bird is painted with various Hopi-Tewa designs and then additional clay slips.  Rainy uses bee-weed (black) and natural clay slips for her colors. Each piece is traditionally fired.  The bowl is signed on the bottom with the feather hallmark and “Rainy”.

This miniature by Ida Sahmie has incredible detail, as one might expect from a great minature in pottery!   It is the Night Chant Dance with eight male Yei-bi-chi dancers encircling the jar.  The background area is fully painted with bee-weed (a plant) to make it black.  In the background, there are the mesas and a fire in the “center”.  This is her attempt to create a “3D” story on the vessel!  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”.

This jar by Grace Medicine Flower is fully polished and incised.  The jar has high sides and a short neck. There is a large leaping deer on one side. On the opposite side are two fawns and flowers.  Grace has incorporated additional Pueblo cloud, rain and feather designs.  The jar is from the 1990’s 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”.

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.

This is a very modernist jar by Linda Cain.  Linda is a daughter of Mary Cain and the mother of Tammy Garcia and Autumn Borts.  This jar has a square mouth which is stone polished.  From the neck to below the shoulder it is matte and slipped with a mica clay slip.  There is a single carved bear paw as the design, and it is also fully polished. As the jar is turned over, the are below the shoulder is stone polished.  There are interesting variations in texture and reflection. The square mouth and the angular style of the bear paw are striking on this piece. It is signed on the bottom in the clay.

This seedpot was made, polished and incised by Debra Duwyenie.  The design has four hummingbirds, two butterflies and one rabbit.  They are surrounded by flowers and the top has a cloud design.  All the design work is etched into the seedpot before it is fired!  Few potters take the risk to etch their pieces before they are fired.  However, note the background gray area of her design and the vertical lines etched into the clay.  After the piece was fired, Debra “two-toned” it so that it is black and sienna.  The colors vary across the surface of the piece. It is signed on the bottom in the clay, “Debra”.

Diana Tahbo was known for her tightly painted pottery and especially her beautiful miniatures.  This tall jar is vertically polished and then painted.  The design has bird tails in two sections and bird wings in two others.  The jar was traditionally fired, which created the blushes on the surface.  The interesting thing about when she vertically polished her pottery (as well as when Mark did the same thing) is that the lines of the polishing are visible after the firing.  It adds one more layer of depth to the piece.  The jar is signed on the bottom in the clay.  It is in excellent 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 seedpot is complex in its designs. There is one lizard coming out of the top in relief. There is a second lizard coming out below the shoulder, also in relief.  On the top Sharon has painted a variety of Acoma style geometric rain and plant designs.  They are separated by sections with ladybug, ant and caterpillar figures.  All the various colors are from clay slips.  The seedpot is signed on the bottom.

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 gunmetal! 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.

Grace Chino was a daughter of noted potter Marie Z. Chino and a sister of noted potters Carrie Chino Charlie and Rose Chino. Over the years she won numerous awards for her pottery at Santa Fe Indian Market and her work was featured in the “7 Families in Pueblo Pottery” and in museums around the country.  This seedpot reveals her very delicately painted fine-line designs.  Here the lines create a series of interlocking stars which spread across the surface of the piece.  The seedpot is in excellent condition with no chips, cracks, restoration or repair.  It is signed on the bottom, “Grace Chino”.

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!

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.

Debra Duwyenie is well known for her wonderful miniatures and incised designs. Each piece is stone polished and then it is etched before it is fired! This seedpot has seven turtles encircling the piece.  Each of them has a different design etched onto its back.  The turtles are surrounded by stars and in the center is a flower pattern.  Each of the larger turtles has a different design etched into its shell.  The one with the wavy lines is the “shifting sand” design and it is meant to represent her husband, Preston Duwyenie.  After the piece is fired black it is “two-toned” sienna in areas. Debra also pays close attention to the little details like the gray background area and how evenly she etches the vertical lines.  The seedpot is signed, “Debra” on the bottom in the clay.

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).

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“.

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.

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.

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!

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 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.

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.

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.

Sylvia Naha created pieces with the white clay polished surface painted with bee-weed (black) and native clay slips.  Throughout the 1980’s, Sylvia was considered among the most innovative of the Hopi potters.  Her pieces were classic in form and amazingly intricate in design.  This jar has two of her classic designs, the lizards and the corn plants. Each lizard is painted with a series of triangular geometrics.  They are painted at a slant on the jar.  Separating the lizards are two corn plants. Corn has strong symbolism for prosperity and abundance.  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”.

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 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 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

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

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

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

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.

This is one of the smaller pieces we have had by Santana and Adam Martinez.  Adam was the youngest son of Maria Martinez, and Santana painted Maria’s pottery in the 1940-50’s. The entire surface is fully polished.  The design is painted around the shoulder of the bowl.  It is a rain and lightning pattern.  The bowl was traditionally fired to a very dark black appearance.  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!

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!

This is one of the largest jars we have had by Grace Chino.  She was a daughter of noted potter Marie Z. Chino and a sister of noted potters Carrie Chino Charlie and Rose Chino. Over the years she won numerous awards for her pottery at Santa Fe Indian Market and her work was featured in the “7 Families in Pueblo Pottery” and in museums around the country.  This large jar is just black-on-white and it has the shape much like some of the ancient Chaco or Mesa Verde pottery.  This jar has a mountain design around the neck and the body of the piece has swirling patterns with flower and feather designs. The graphic pattern of the designs is further enhanced by the fineline interior designs in many of the sections. As the jar is turned there is a constant flow of imagery.  The jar was traditionally fired and so there is just a tinge of blush near the base.  It is in very good condition with no chips, cracks, restoration or repair.  It is signed and dated on the bottom.

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.

Dolores Curran creates 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 plate is exceptionally intricate in design.  The front has a water serpent etched around the rim.  The center is a complex square pattern which has four plants on each side.  Note both the precision of the incised designs but also how she used clay slips in the incised area to help accentuate the imagery!  The rim is fully polished red and the back is equally as complex with dragonflies, stylized birds, and flowers.  Again it is deeply incised, which is surprising for all the work that is also on the front!  There are both matte and micaceous clays used throughout. The mica adds a bit of “sparkle” to the designs.  The plate may be small but it is amazingly complex in design and color for its size!

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 is a larger jar by Jennifer Moquino.  It is fully polished and has a wide shoulder and a small neck. The jar is very intricately etched with four koi fish.  Each is painted with different clay slips to create the dynamic coloration. Check out the movement of the koi as well as the waves!  They all have a sense of motion and movement!  Not only did she use clay slips, but also mica clays, which give the whole piece a bit of “sparkle”.  The bottom has plum blossoms, along with those on the top.  As well, check out the polishing overall, which has a very high shine!  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!

Russell Sanchez is one of the few Pueblo potters who makes traditional style boxes.  Each piece is flat on the bottom (not started in the traditional puki). The sides are flat the box is square or rectangular in shape.  This box was fired to a gunmetal finish, which is somewhat metallic in coloration.  The lid has etched bear paws on the handle for the lid, along with a cloud design.  Two of the sides have etched deer in mica slipped medallions.  The opposite sides have rain cloud designs using very traditional San Ildefonso imagery.  Russell has used black hei-shi beads to surround the two medallions. On the lid and sides of the box he has inset hemitite.  It is the perfect material to use on a gunmetal box as it reflects much the same coloration as the gunmetal fired surface.  The style of this box is similar to the earlier ones made at San Ildefonso in the 1920’s.  Russell continues to derive inspiration from the Pueblo potters of the past, yet stylize it to make it his own.   The box and lid are both signed on the bottom.

Russell Sanchez: Contemporizing the Pueblo Pottery Past

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.

This is an intricately painted miniature bowl Dolores Curran.  Before she began making her carved pieces, she was well known for her delicately painted buff-on-red pottery.  The bowl is highly polished red and painted with a buff clay for the design.  Amazingly, she would paint each piece up to five times to get the color of the matte painted areas deep and consistent enough!  This piece has a feather pattern on two sections and a cloud and mountain design on the other two sections. For the size of the piece, it is amazing that it could even be painted!  Look at how perfect the lines are!  So why doesn’t Dolores make this style anymore? She ran out of the cream colored clay slip for the painting, and so only uses it as an accent on her new work!  As well, this is a larger sized piece of her painted pottery, as she mostly made miniatures due to the time consuming nature of the painting. The bowl is signed on the bottom.  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.