Loading the content... Loading depends on your connection speed!

Scottsdale 480.481.0187 | Santa Fe 480.440.3912
kgs@kinggalleries.com
Shopping Cart - $ 0.00

No products in the cart.

navajo potteryDiné - Navajo Pottery

Each piece of our Navajo Pottery (Diné) is hand coil built, stone polished and traditionally fired outdoors. The color variations on the surface of the pieces are a result of the firing process showing fire and smoke coloration.  This process adds a specific personality, dimension, and beauty to each work.  For many of the pieces of pottery, the surface is covered with pine pitch, a pine sap derivative, at the end of the firing to give a deep color and sheen.  This pitch pottery treatment was a traditional method for sealing the pottery to hold water or keep the pottery from deterioration. Many traditional Navajo potters continue this process today using a variety of material in the completion of the bowl.   We see very defined shapes, reflecting the historical style of traditional bowls, but we also see asymmetry in the aspect of design shape giving a fluid nature to the fire patterns.

Showing all 47 results

grid
list
Cling, Alice –  Jar with Fire Clouds

This jar by Alice Cling has a classic jar shape.  The piece has a high shoulder and a short neck.  It is fully polished red and then traditionally fired to create the variations in color. The jar ranges from black to a deep red.  It was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pine pitch was used to make the pottery waterproof.  The jar is signed on the bottom in the clay, “Alice Cling”.  Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”  She remains one of the great names in the revival of Navajo pottery in the 1980s.

$ 250.00
Williams, Lorraine – Square Long Neck Jar with Rug Pattern

This is a classic jar by Lorraine Williams.  It is a long neck and a low shoulder.  The neck of the jar is square.  The surface of the piece is incised with rug designs which encompass the entire piece in vertical bands. The background area is textured which further highlights the designs.  It is a striking and complicated pattern.  The jar has been traditionally fired to create the surface coloration.   After the piece is fired it is covered in pine pitch, which is typical of all traditional Navajo pottery harkening back to when it was utilitarian.  Lorraine has won numerous awards for her pottery and been featured in books such as “A Legacy of Generations”.

$ 275.00
Cling, Alice –  Long Neck Jar

This jar by Alice Cling is an elegant shape.  It has a low shoulder and an elongated neck.  The jar is fully polished red and then traditionally fired to create the variations in color. The jar ranges from black to a deep red.  It was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pine pitch was used to make the pottery waterproof.  The jar is signed on the bottom in the clay, “Alice Cling”.  Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”  She remains one of the great names in the revival of Navajo pottery in the 1980’s.

$ 400.00
Sahmie, Ida – “Mother Earth and Father Sky” Tile

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

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

$ 220.00
Cling, Alice –  Large Jar with Square Neck

This jar by Alice Cling is a dramatic shape with the round sides and a short, square neck.  The jar is fully polished red and then traditionally fired to create the variations in color. The jar ranges from black to a deep red.  It was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pine pitch was used to make the pottery waterproof.  The jar is signed on the bottom in the clay, “Alice Cling”.  Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”  She remains one of the great names in the revival of Navajo pottery in the 1980’s

$ 575.00
Cling, Alice –  Jar with Rounded Rim

This jar by Alice Cling has a tall shape and a rounded rim.  The jar is fully polished red and then traditionally fired to create the variations in color. The jar ranges from black to a deep red.  It was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pine pitch was used to make the pottery waterproof.  The jar is signed on the bottom in the clay, “Alice Cling”.  Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”  She remains one of the great names in the revival of Navajo pottery in the 1980s.

$ 250.00
Sahmie, Ida – “Night Chant” Bowl

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

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

$ 400.00
Manymules, Samuel  – Large Jar with Rounded Swirl Melon Ribs

This jar by Samuel Manymules has a round, full shape with a short neck.  The neck of the jar has a classic water jar appearance.  The melon ribs swirl down from the neck to the base.  Each rib is pushed out in the clay and there is a deep groove separating them.  Note how they start narrow, then widen at the shoulder and then narrow again at the base.  As well, for being pushed out in the clay (as opposed to carved), they are very even in width!  The jar is traditionally fired and the coloration is vivid!  The variation of color from black to red to brown give the piece a sense of motion on the surface.  The browner areas are where it was fired to a higher temperature.  After the firing, the jar is covered with pine pitch in the traditional way expected of Navajo pottery.  The jar is signed on the bottom in the clay.  It is extraordinary vessels like this which keep Samuel among the top Navajo potters working today.

$ 2,650.00
Begay, Jr., Harrison – Small Jar with Heartline Bears

This jar by Harrison Begay, Jr.is from 2001.  He has won numerous awards over the years for his deep carved pottery.  The jar is very deeply carved for the size and has three highly polished bears as the design.  Each bear is carved with a heartline and they are each separated by a lightning design in matte.  It is 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.

$ 350.00
Begay, Daniel – Jar with Turtle and Star Designs

This tall jar by Daniel Begay combines both polished and carved designs.  The jar has four sections of design.  One has a turtle with a water and feather pattern. The design is deeply cut into the clay and it is matte.  The opposite side has a feather pattern on the top, then a star and cloud design with a water design near the base.  Again, the carved section is matte.  Separating the two sections are two large panels which are fully polished.  The contrast of the polished and matte sections works well on this jar to highlight the two different techniques.  The matte is always difficult as it has to be sanded smooth or else there will be shadows created by any uneven surface.  The jar is fired a deep black in coloration.   Note how Daniel’s designs also combine both thin and thicker lines to enhance the imagery.  The style of carving has a beveled appearance to the angle of the cuts into the clay.  The jar is signed on the bottom in the clay.

$ 1,000.00
Begay, Daniel – Storage Jar with Avanyu and Stars

This is an exceptional carved storage jar by Daniel Begay. He has been creating some unique shapes with flat or square sides. This piece is very round in shape with a short neck.  It is fully carved around the side, which is a lot of carving space!  The jar has a water serpent in one section.  Note the complexity to the body  and the unique set up of the design.  As the jar is turned there are polished and matte sections of cloud and lightning motifs.  The side opposite the avanyu has deeply carved stars which are both polished and matte.  Note near the base the little carved dragonfly!  There are additional bands of carved clouds and an eternity design.  The top and lower section are fully polished.  It is a striking piece in form and design.  Throughout his work, Daniel creates a strong visual contrast between the polished and matte surfaces, which adds to the sophistication of the imagery. Note how Daniel’s designs also combine both thin and thicker lines to enhance the imagery.  The style of carving has a beveled appearance to the angle of the cuts into the clay.  The jar is signed on the bottom in the clay.

$ 1,800.00
Nez, Wallace – Sgraffito Seedpot with Butterflies and Deer (2006)

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

$ 900.00
Nez, Wallace – Sgraffito Jar with Butterflies and Butterfly Lid (2006)

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

$ 1,200.00
Begay, Jr., Harrison – Jar with Hummingbird, Flowers and Dragonfly

This is a larger and complex jar by Harrison Begay, Jr..  He has won numerous awards over the years for his deep carved pottery.  This jar is a water jar shape with a flat rim and tall sides.  The designs are deeply carved into the clay and combine both polished and matte surfaces.  There is a large hummingbird which is fully polished along with two flowers.  This jar combines both “realistic” and traditional design elements. As the jar is turned there is a water pattern and then two large old style dragonflies.  The dragonflies have the double wings and are surrounded by wind designs.  It is a complex but flowing group of designs.   The polished sections stand out more in contrast to the black matte areas.  The jar also has a flat rim, which is fully polished on the top and side.  The polished rim is a nice complement both to the shape and the intricate designs.  Note as well the style of carving, which has a beveled appearance to the angle of the cuts into the clay. This is a very distinctive style of carving for his pottery.  The jar is signed on the bottom in the clay, “Harrison”.

$ 2,200.00
Manymules, Samuel  – Water Jar with Wide Facets

This water jar by Samuel Manymules is striking shape for his pottery.  It is coil built and slipped with a red clay and then traditionally fired.  The shape is inspired by the classic water jar with the elongated neck and the slightly turned out rim.  On the shoulder, the jar just dips down a bit before the sharp edge which starts the swirls.  There are four large swirls which circle around the jar from the shoulder to the base.  They are basically flat and each is separated by a sharp ridge.  Each rib is pushed out from the inside to create the sharp “edge”.  This turns out to be a striking form as the neck and sides reflect the intense coloration form the traditional firing.   From dark black to brown and red, the colors spiral across the surface of this jar.  After the firing, the jar is covered with pine pitch in the traditional way expected of Navajo pottery.  The piece is signed on the bottom in the clay.  It is extraordinary vessels like this which keep Samuel among the top Navajo potters working today.

$ 2,100.00
Hubbell, Patrick Dean – “The Smell of Rain is Refreshing to the Soul” Oil & Earth Pigments

Patrick Dean Hubbell is a dynamic painter who incorporates earth pigments and oil to create his paintings.  This painting, entitled, “The Smell of Rain is Refreshing to the Soul”, combines oil and natural earth pigments on a wood panel.  The earth pigments are all gathered by Patrick from the Navajo reservation.  This painting has a horizon line of pigments across the bottom and it is painted on board.  It is framed in a gold frame. I added an additional photo of the piece in the gallery.  Patrick says of his earth pigment series:

“The earth pigment and the oil was a project I had in mind to gather pigments from across the Navajo nation.  I would be incorporating Navajo traditional sandpainting with my background of painting.  I was also interested in the tradtiional European paintings where they used earth pigments combined with oil paint.  I put all three ideas together and this allowed for further exploration of the pigment itself.  The pigments provided both texture and transperancy in the art.”

Patrick says of his work in his artist statement:

“My work is an investigation of identity. I am drawn to the subtle questioning of this examination. I find inspiration in everything and I use various themes rooted in the correlation and the conflict of both my Native American and Contemporary mindset. I am equally interested in the abstract qualities of expression as well as representational imagery. Using nature, stories, philosophies, and abstract representations, I am able to depict this existence of identity. My work includes the use of bold and vibrant colors, combined with the integration of various elements of design, and a multitude of line quality and expressive mark making that often mimics what nature provides. These elements allow me to create my own aesthetic value in which reflect a personal experience of memory, physical, mental, and spiritual instances from life. The expressive personality of my work allows the viewer a momentary visual experience.”

$ 2,500.00
Hubbell, Patrick Dean – “I Know You Will Always Take Care of Us” Oil & Earth Pigments

Patrick Dean Hubbell is a dynamic painter who incorporates earth pigments and oil to create his paintings.  This painting, entitled, “I Know You Will Always Take Care of Us”, combines oil and natural earth pigments on a wood panel.  The earth pigments are all gathered by Patrick from the Navajo reservation.  This painting has a horizon line of pigments across the bottom and it is painted on board.  It is framed in a gold frame. I added an additional photo of the piece in the gallery.  Patrick says of his earth pigment series:

“The earth pigment and the oil was a project I had in mind to gather pigments from across the Navajo nation.  I would be incorporating Navajo traditional sandpainting with my background of painting.  I was also interested in the tradtiional European paintings where they used earth pigments combined with oil paint.  I put all three ideas together and this allowed for further exploration of the pigment itself.  The pigments provided both texture and transperancy in the art.”

Patrick says of his work in his artist statement:

“My work is an investigation of identity. I am drawn to the subtle questioning of this examination. I find inspiration in everything and I use various themes rooted in the correlation and the conflict of both my Native American and Contemporary mindset. I am equally interested in the abstract qualities of expression as well as representational imagery. Using nature, stories, philosophies, and abstract representations, I am able to depict this existence of identity. My work includes the use of bold and vibrant colors, combined with the integration of various elements of design, and a multitude of line quality and expressive mark making that often mimics what nature provides. These elements allow me to create my own aesthetic value in which reflect a personal experience of memory, physical, mental, and spiritual instances from life. The expressive personality of my work allows the viewer a momentary visual experience.”

$ 2,500.00
Hubbell, Patrick Dean – “Just on the Horizon” Oil & Earth Pigments

Patrick Dean Hubbell is a dynamic painter who incorporates earth pigments and oil to create his paintings.  This painting, entitled, “Just on the Horizon”, combines oil and natural earth pigments on canvas.  The earth pigments are all gathered by Patrick from the Navajo reservation.  This painting has a horizon line of pigments across the bottom and the upper part has a geometric, almost rug-like pattern.  I added an additional photo of the piece in the gallery along with a close-up of the texture.  Patrick says of his earth pigment series:

“The earth pigment and the oil was a project I had in mind to gather pigments from across the Navajo nation.  I would be incorporating Navajo traditional sandpainting with my background of painting.  I was also interested in the tradtiional European paintings where they used earth pigments combined with oil paint.  I put all three ideas together and this allowed for further exploration of the pigment itself.  The pigments provided both texture and transperancy in the art.”

Patrick says of his work in his artist statement:

“My work is an investigation of identity. I am drawn to the subtle questioning of this examination. I find inspiration in everything and I use various themes rooted in the correlation and the conflict of both my Native American and Contemporary mindset. I am equally interested in the abstract qualities of expression as well as representational imagery. Using nature, stories, philosophies, and abstract representations, I am able to depict this existence of identity. My work includes the use of bold and vibrant colors, combined with the integration of various elements of design, and a multitude of line quality and expressive mark making that often mimics what nature provides. These elements allow me to create my own aesthetic value in which reflect a personal experience of memory, physical, mental, and spiritual instances from life. The expressive personality of my work allows the viewer a momentary visual experience.”

$ 3,400.00
Hubbell, Patrick Dean – “I See Your Love in the Distant Horizon” Oil & Earth Pigments

Patrick Dean Hubbell is a dynamic painter who incorporates earth pigments and oil to create his paintings.  This painting, entitled, “I See Your Love in the Distant Horizon”, combines oil and natural earth pigments on a wood panel.  The earth pigments are all gathered by Patrick from the Navajo reservation.  This painting has a horizon line of pigments across the bottom and it is painted on board.  It is framed in a gold frame. I added an additional photo of the piece in the gallery.  Patrick says of his earth pigment series:

“The earth pigment and the oil was a project I had in mind to gather pigments from across the Navajo nation.  I would be incorporating Navajo traditional sandpainting with my background of painting.  I was also interested in the tradtiional European paintings where they used earth pigments combined with oil paint.  I put all three ideas together and this allowed for further exploration of the pigment itself.  The pigments provided both texture and transperancy in the art.”

Patrick says of his work in his artist statement:

“My work is an investigation of identity. I am drawn to the subtle questioning of this examination. I find inspiration in everything and I use various themes rooted in the correlation and the conflict of both my Native American and Contemporary mindset. I am equally interested in the abstract qualities of expression as well as representational imagery. Using nature, stories, philosophies, and abstract representations, I am able to depict this existence of identity. My work includes the use of bold and vibrant colors, combined with the integration of various elements of design, and a multitude of line quality and expressive mark making that often mimics what nature provides. These elements allow me to create my own aesthetic value in which reflect a personal experience of memory, physical, mental, and spiritual instances from life. The expressive personality of my work allows the viewer a momentary visual experience.”

$ 2,500.00
Hubbell, Patrick Dean – “Stars on the Horizon” Oil & Earth Pigments

Patrick Dean Hubbell is a dynamic painter who incorporates earth pigments and oil to create his paintings.  This painting, entitled, “Stars on the Horizon”, combines oil and natural earth pigments on canvas.  The earth pigments are all gathered by Patrick from the Navajo reservation.  This painting has a horizon line of pigments across the bottom and the upper part has stars a the design.  I added an additional photo of the piece in the gallery.  There are two additional close up photos just to show the actual texture of this piece, which is quite exceptional.   Patrick says of his earth pigment series:

“The earth pigment and the oil was a project I had in mind to gather pigments from across the Navajo nation.  I would be incorporating Navajo traditional sandpainting with my background of painting.  I was also interested in the tradtiional European paintings where they used earth pigments combined with oil paint.  I put all three ideas together and this allowed for further exploration of the pigment itself.  The pigments provided both texture and transperancy in the art.”

Patrick says of his work in his artist statement:

“My work is an investigation of identity. I am drawn to the subtle questioning of this examination. I find inspiration in everything and I use various themes rooted in the correlation and the conflict of both my Native American and Contemporary mindset. I am equally interested in the abstract qualities of expression as well as representational imagery. Using nature, stories, philosophies, and abstract representations, I am able to depict this existence of identity. My work includes the use of bold and vibrant colors, combined with the integration of various elements of design, and a multitude of line quality and expressive mark making that often mimics what nature provides. These elements allow me to create my own aesthetic value in which reflect a personal experience of memory, physical, mental, and spiritual instances from life. The expressive personality of my work allows the viewer a momentary visual experience.”

$ 8,000.00
Hubbell, Patrick Dean – “That Which Takes up Space” Acrylic on Canvas

Patrick Dean Hubbell is a dynamic painter who often incorporates earth pigments and oil to create his paintings.  This painting, entitled, “That Which Takes Up Space”, which is acrylic on canvas.  I added an additional photo of the piece in the gallery.  Patrick says of his earth pigment series:

“The work has representation of stars.  It references the stars and different elements of nature.  This piece has a design element which is placed into an atmospheric space.  Later they would focus more on the abstract line taking up the canvas.  They are primarily black and white because of my own aesthetic.”

Patrick says of his work in his artist statement:

“My work is an investigation of identity. I am drawn to the subtle questioning of this examination. I find inspiration in everything and I use various themes rooted in the correlation and the conflict of both my Native American and Contemporary mindset. I am equally interested in the abstract qualities of expression as well as representational imagery. Using nature, stories, philosophies, and abstract representations, I am able to depict this existence of identity. My work includes the use of bold and vibrant colors, combined with the integration of various elements of design, and a multitude of line quality and expressive mark making that often mimics what nature provides. These elements allow me to create my own aesthetic value in which reflect a personal experience of memory, physical, mental, and spiritual instances from life. The expressive personality of my work allows the viewer a momentary visual experience.”

$ 4,800.00
Hubbell, Patrick Dean – “Almost a Portrait No. 50” Oil on Canvas

Patrick Dean Hubbell is a dynamic painter who often incorporates earth pigments and oil to create his paintings.  This painting, entitled, “Almost a Portrait No. 50”, and it is oil on canvas.  Patrick says of his “Almost a Portrait” series:

The series, “Almost a Portrait”, reminiscent of using historic black and white photos of Native Americans.  In my thinking it was to create the “next great American Indian portrait”, but not quite, since not a full portrait.  It abstracts the figure so you focus on the color and jewelry, not just the person.  It allows the abstract personality to come out. “

Patrick says of his work in his artist statement:

“My work is an investigation of identity. I am drawn to the subtle questioning of this examination. I find inspiration in everything and I use various themes rooted in the correlation and the conflict of both my Native American and Contemporary mindset. I am equally interested in the abstract qualities of expression as well as representational imagery. Using nature, stories, philosophies, and abstract representations, I am able to depict this existence of identity. My work includes the use of bold and vibrant colors, combined with the integration of various elements of design, and a multitude of line quality and expressive mark making that often mimics what nature provides. These elements allow me to create my own aesthetic value in which reflect a personal experience of memory, physical, mental, and spiritual instances from life. The expressive personality of my work allows the viewer a momentary visual experience.”

$ 3,200.00
Hubbell, Patrick Dean – “Almost a Portrait No. 51” Oil on Panel

Patrick Dean Hubbell is a dynamic painter who often incorporates earth pigments and oil to create his paintings.  This painting, entitled, “Almost a Portrait No. 51”, and it is oil on panel.  It is framed in a gold frame.  Patrick says of his “Almost a Portrait” series:

The series, “Almost a Portrait”, reminiscent of using historic black and white photos of Native Americans.  In my thinking it was to create the “next great American Indian portrait”, but not quite, since not a full portrait.  It abstracts the figure so you focus on the color and jewelry, not just the person.  It allows the abstract personality to come out. “

Patrick says of his work in his artist statement:

“My work is an investigation of identity. I am drawn to the subtle questioning of this examination. I find inspiration in everything and I use various themes rooted in the correlation and the conflict of both my Native American and Contemporary mindset. I am equally interested in the abstract qualities of expression as well as representational imagery. Using nature, stories, philosophies, and abstract representations, I am able to depict this existence of identity. My work includes the use of bold and vibrant colors, combined with the integration of various elements of design, and a multitude of line quality and expressive mark making that often mimics what nature provides. These elements allow me to create my own aesthetic value in which reflect a personal experience of memory, physical, mental, and spiritual instances from life. The expressive personality of my work allows the viewer a momentary visual experience.”

$ 1,800.00
Hubbell, Patrick Dean – “Almost a Portrait No. 55” Oil on Canvas

Patrick Dean Hubbell is a dynamic painter who often incorporates earth pigments and oil to create his paintings.  This painting, entitled, “Almost a Portrait No. 55”, and it is oil on canvas.    Here the focus is on the Navajo blanket and age of the elder in the painting.  Patrick says of his “Almost a Portrait” series:

The series, “Almost a Portrait”, reminiscent of using historic black and white photos of Native Americans.  In my thinking it was to create the “next great American Indian portrait”, but not quite, since not a full portrait.  It abstracts the figure so you focus on the color and jewelry, not just the person.  It allows the abstract personality to come out. “

Patrick says of his work in his artist statement:

“My work is an investigation of identity. I am drawn to the subtle questioning of this examination. I find inspiration in everything and I use various themes rooted in the correlation and the conflict of both my Native American and Contemporary mindset. I am equally interested in the abstract qualities of expression as well as representational imagery. Using nature, stories, philosophies, and abstract representations, I am able to depict this existence of identity. My work includes the use of bold and vibrant colors, combined with the integration of various elements of design, and a multitude of line quality and expressive mark making that often mimics what nature provides. These elements allow me to create my own aesthetic value in which reflect a personal experience of memory, physical, mental, and spiritual instances from life. The expressive personality of my work allows the viewer a momentary visual experience.”

$ 3,200.00
Cling, Alice –  Jar with Incised Rain Designs

This jar by Alice Cling is a very classic Navajo shape with the high shoulder and the elongated neck.  The jar has a raised “braid” encircling the piece near the neck.   What is interesting about the raised design is not simply that it is an incised linear rain design.  The pattern around the jar has a great texture and there is one small “gap” in the design, which is the “spirit line”.  The jar is traditionally fired and it was fired very hot as it is a brownish coloration.  The fire clouds still circle around on the surface of the jar.  It was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pine pitch was used to make the pottery waterproof.  The jar is signed on the bottom in the clay, “Alice Cling”.  Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”  She remains one of the great names in the revival of Navajo pottery in the 1980’s

$ 110.00
Sahmie, Ida – “Yei-bi-Chi” Double Sided Tile

This is an unusual tile by Ida Sahmie.  The tile is fully polished and painted with natural clay slips and bee-weed (a plant) for the black.    The front side has the Yei-bi-Chi figure, often also called the “Talking God”, who is the first in a series of eight during the Night Chant.  The opposite side has the last figure.  The figures are etched into the clay and then slipped with clay to create the colorations.  Ida 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 side in the clay, “Ida Sahmie”.

$ 250.00
Sahmie, Ida – “Father Sky” Tile

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

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

$ 220.00
Sahmie, Ida – “Mother Earth” Tile

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

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

$ 220.00
Crank, Susie – Tall Jar with Long Neck

Susie Crank is a daughter of Rose Williams and a sister of Alice Cling.  Each piece is coil built, stone polished and amazingly, she says he may burnish a piece over and over as many as 15 times to get a high shine!  This water jar has a high shoulder and an elongated neck.  The jar is then traditionally fired to create the fire-clouds on the surface.  The colorations on this jar range from black to a deep red.  The jar was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery waterproof.  Today, the pine pitch seals the vessel and gives it the shine.  This jar has a stunning shine and a great feel to the surface!  It is signed on the bottom in the clay, “Susie Crank”.

$ 350.00
Manymules, Samuel   Large Wide Swirl Jar

This is a very wide jar by Samuel Manymules.  It is coil built and slipped with red clay and then traditionally fired.  The jar has a stone polished neck and the ribs extend from the shoulder swirling down to the base.  Each rib is pushed out by hand and they come to a sharp point.  There are 10 ribs which extend across the surface of the jar.  However, it is not the size or the ribs which make this jar so remarkable, but the coloration.  Did you know Samuel fires his pottery on its side?!?!  This helps create more dynamic colorations. This jar goes from a deep reddish-purple to dark black and brown.  Interestingly, the brown areas are the more intensely fired sections of his pottery.  After the piece is fired, the jar is covered with pine pitch in the traditional way expected of Navajo pottery.  The piece is signed on the bottom.   It is extraordinary vessels like this which keep Samuel among the top Navajo potters working today.

$ 2,800.00
Cling, Alice –  Small Water Jar

This jar by Alice Cling has a round shoulder and an elongated neck.  The jar is highly polished and then traditionally fired to create the coloration.  Note how the fireclouds swirl around the jar creating areas of dark black to deep red.  The jar was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery waterproof.  The jar is signed on the bottom in the clay, “Alice Cling”.  Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”

$ 115.00
Manymules, Samuel  – Low Shoulder Jar with Sharp Ribs

This is a classic water jar by Samuel Manymules.  It is coil built and slipped with a red clay and then traditionally fired.  The jar neck which is fully polished.  The lower section has melon ribs which are pushed out into the clay.  The ribs are wide and sharp, narrowing down from the shoulder to the base.  There is an indented ridge where the neck ends and the melon ribs begin.  The entire jar is fully polished and traditionally fired to create the coloration.  It is how Samuel places the jar in the firing and the smoke which determine how the colors will range from black to red.  The color changes as the jar is turned.  After the firing the jar is the covered with pine pitch in the traditional way expected of Navajo pottery.  It is extraordinary vessels like this which keep Samuel among the top Navajo potters working today.

$ 950.00
Crank, Susie – Water Jar with Fire Clouds

Susie Crank is a daughter of Rose Williams and a sister of Alice Cling.  Each piece is coil built, stone polished and amazingly, she says he may burnish a piece over and over as many as 15 times to get a high shine!  This water jar is an elegant shape with a sharp shoulder and short neck.  The jar is stone polished and even the inside of the neck is polished to the shoulder!  The jar is then traditionally fired to create the fire-clouds on the surface.  The colorations on this jar range from black to a deep red.  The jar was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery waterproof.  Today, the pine pitch seals the vessel and gives it the shine.  This jar has a stunning shine and a great feel to the surface!  It is signed on the bottom in the clay, “Susie Crank”.

$ 175.00
Manygoats, Elizabeth – Jar with Navajo Scene

Elizabeth Manygoats is a daughter of noted potter Betty Manygoats.  She is known for her folk-art style pottery with figures in relief or applique on the surface. Elizabeth says that she often emphasizes Navajo women and their daily lives in her work because “They’re the ones I look up to.”  This jar is very thin walled and has a flat shoulder and straight neck.  There is a lot going on around the jar and it is both clever and charming. There is a Navajo girl reading a book.  Behind her is a subtle mesa and she is surrounded by a chicken and sheep (in relief).  As the jar is turned, there is horse applique figure which is tied to a tree with a string.  There is then a row of corn, clouds, and a small wagon.  Finally, there is a classic Navajo hogan and sitting out front is a dog.  The various colors are added to highlight the imagery.  The jar is traditionally fired to create the variations in color to the clay surface.  After the firing the entire piece is covered in pine pitch in the manner of traditional Navajo pottery.  The piece is signed on the bottom in the clay, “EM.”  Elizabeth has won numerous awards for her pottery over the years.  It can also be found in museums throughout the southwest.

Why the horned lizard?  “In the Diné culture Horned Toad is addressed as “grandpa” (shicheii). It possesses spiritual power. When you see one, pick it up and rub it on your chest and say, “I will be in good health and harmony.” If you have corn pollen sprinkle it as an offering and then let the horned lizard loose where you found it. You will then have good health and harmony. It is believed that the horned toad is dressed with an armored shield, which is called arrowhead. The spiky horns on the body represent the arrowheads. This protects the horned toad from predators. It was placed on earth with songs and prayers so that in the future the Diné would utilize it. The Diné still know and use its sacred prayers and songs for protection.”  Traditional Dine Teachings on Wildlife (1998)

$ 200.00
McHorse, Christine -Lidded Bowl with Buffalo & Wolf (1993)

Christine McHorse is well known for her sculptural pottery.  Each piece is coil built and has very thin walls.  This lidded bowl is from 1993.  The bowl itself is very thin walled.  There is a triangular mountain design which is very lightly etched into the clay around the shoulder.  Note the very thin lines!  The lid has a wold and buffalo as a sculpture.  The area around the animals is also etched with very fine lines.  The piece was traditionally fired to create the coloration and then it was covered in pine pitch, which is typical of traditional Navajo pottery.   There is a simplicity to the form and yet a complexity to the animals and the designs.  The bowl received a Blue Ribbon (1st Place) at the 1993 Museum of Northern Arizona Navajo Show. The ribbon is signed by Jack Beasley.  The piece is in excellent condition with no chips, cracks, restoration or repair. Both the lid and the bowl are signed on the bottom in the clay.   Today Christine is creating more sculptural works with her pottery currently in the “Dark Light” exhibit which has traveled nationally.

$ 4,000.00
Williams, Lorraine – Square Neck Jar with Rug Pattern

This is a traditional jar by Lorraine Williams.  It is a long neck and a low shoulder.  The neck of the jar is square.  The surface of the piece is incised with rug designs which encompass the entire surface. The background area is textured which further highlights the designs.  It is a striking and complicated pattern.  The jar has been traditionally fired to create the surface coloration.   After the piece is fired it is covered in pine pitch, which is typical of all traditional Navajo pottery harkening back to when it was utilitarian.  Lorraine has won numerous awards for her pottery and been featured in books such as “A Legacy of Generations”.

$ 350.00
Manygoats, Betty –  Open Bowl with 18 Horned Lizards

Betty Manygoats is known for distinctive Dine (Navajo) pottery with it’s “folk art” feel to the designs.  Around 1978 she began using the horned lizard as a design on her pottery.  The scales on the lizards are created using a bobby pin!  This is one of her classic open bowls with the horned lizards on the inside.  There are 18 horned lizards, each one seeming to scale the sides of the vessel!  The piece has been traditionally fired and there are some beautiful color variations from the heat of the fire!  After the vase is fired, it is covered in pine pitch in the manner of traditional Navajo pottery.  The piece is signed on the bottom in the clay, “BM.”  Betty has won numerous awards for her pottery over the years.  It can also be found in museums throughout the southwest.

Why the horned lizard?  “In the Diné culture Horned Toad is addressed as “grandpa” (shicheii). It possesses spiritual power. When you see one, pick it up and rub it on your chest and say, “I will be in good health and harmony.” If you have corn pollen sprinkle it as an offering and then let the horned lizard loose where you found it. You will then have good health and harmony. It is believed that the horned toad is dressed with an armored shield, which is called arrowhead. The spiky horns on the body represent the arrowheads. This protects the horned toad from predators. It was placed on earth with songs and prayers so that in the future the Diné would utilize it. The Diné still know and use its sacred prayers and songs for protection.”  Traditional Dine Teachings on Wildlife (1998)

$ 125.00
Cling, Alice –  Small Jar with Square Opening

This jar by Alice Cling has a high, round shoulder and square neck. The sides of the neck have been squared off so that it is flat on the sides.  The jar is then traditionally fired to create the coloration.  Note how the fireclouds swirl around the jar creating areas of dark black to deep red.  The jar was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery waterproof.  The jar is signed on the bottom in the clay, “Alice Cling”.  Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”

$ 115.00
Manymules, Samuel  – Jar with Rounded Swirl Melon Ribs

This  jar by Samuel Manymules has a tall shape with a slight neck.  The melon ribs swirl down from the neck to the base.  The ribs are pushed out in the clay and there is a deep groove separating each rib.  The jar is traditionally fired and the coloration is striking!   The symmetry of each rib adds to the overall appearance of the jar.  The variation from black to red to brown give the piece a sense of motion on the surface.  The browner areas are where it was fired to a higher temperature.  After the firing the jar is the covered with pine pitch in the traditional way expected of Navajo pottery.  It is extraordinary vessels like this which keep Samuel among the top Navajo potters working today.

$ 1,800.00
Manymules, Samuel  – Large Jar with Vertical Melon Ribs

This large jar by Samuel Manymules has a round shape which is accentuated by the vertical melon ribs.  The jar itself is coil built and slipped with a red clay and then traditionally fired.  The jar has a stone polished neck which comes to a sharp edge. Below the shoulder the melon ribs are pushed out in the clay and extend to the base of the jar.  The symmetry of each rib adds to the overall appearance of the jar.  It was traditionally fired outdoors and that has created the coloration on the surface.  The jar has areas which range from black to red and brown.  The browner areas are where it was fired to a higher temperature.  After the firing the jar is the covered with pine pitch in the traditional way expected of Navajo pottery.  It is extraordinary vessels like this which keep Samuel among the top Navajo potters working today.

$ 2,800.00
Spencer, Lorenzo – Bowl with Bird Designs & Square Opening

Lorenzo Spencer is one of the few Navajo males potters.  He learned to make pottery from his mother-in-law, Rose Williams.  This bowl is coil built and stone polished.  The design of a bird is etched into the clay. Notice the precision of the design and there is a wonderful texture to the stippled area around the birds.  The bowl itself has a square opening and it has been traditionally fired.  After the firing it was covered in pine pitch, in the manner of historic Navajo pottery.  The bowl is signed on the bottom in the clay, “LS”.

$ 150.00
Cling, Alice –  Jar with Elongated Neck

This taller jar by Alice Cling has an elongated shape with a longer neck.  The jar has been vertically polished so you can see the stone marks in the polished surface.  The jar is then traditionally fired to create the coloration.  Note how the fireclouds swirl around the jar creating areas of dark black to deep red.  The jar was covered in pine-pitch after the firing, a continuation of the traditional Navajo pottery when pitch was used to make the pottery waterproof.  The jar is signed on the bottom in the clay, “Alice Cling”.  Alice has won numerous awards for her pottery and been featured in books such as “Legacy of Generations.”

$ 175.00
Sale!
King, Charles S., “Spoken Through Clay”

Spoken Through Clay

A NEW  RELEASE SPECIAL:  $95.00, including shipping (US)! Check out the new review in the Denver Post!

 Just a few things which make this book unique!
*   The size!  The book is 11.75″ x 14.25″ and weights over 8 pounds!
*  The photography of the pottery is stunning, emphasizing the individual pieces.
*  Each caption is the artist discussing the individual piece on the page.
*  The artist “biographies” are from interviews with the artists and they discuss their art, culture, lives and history.
*  Organization: The book is not organized by pueblo or family, but entails new ways to think about the future of Native pottery.
*  Printing in Italy gives the book very high quality color and paper.
* The photos of the living artists were taken by Will Wilson using a tin-type process. He was a recipient of the 2107 New Mexico Governor’s Award for the Arts in photography!
*  The book features work by more than 30 contemporary potters and more than a dozen important historic potters.
*  There are essays by myself, Peter Held and Eric Dobkin.  They add to the overall understanding of the project a historic perspective.

_____________________________________________

August 18, Pasatiempo Review

“Charles S. King’s new book, Spoken Through Clay: Native Pottery in the Southwest, The Eric S. Dobkin Collection, is spectacularly heavy —which is a problem from a practical standpoint, because once you open it, you won’t want to put it down. With dreamy tintype artist portraits by Diné photographer Will Wilson, dazzlingly crisp images from Addison Doty, and intimate first-person essays written by dozens of artists, the book is a visually delicious, intellectually consuming foray into historic and contemporary Southwestern pottery. In short, prepare to swoon.

If you’re thinking of this as a coffee-table book, you’ll need to imagine a decently sized coffee table. The book is more than a foot tall and, when opened, two feet wide, but its outsize appearance belies the often delicate beauty of its contents: hundreds of individual pieces of pottery from Eric S. Dobkin’s exquisitely curated collection — arguably the largest and most important of its kind. Gallery owner, author, and Pueblo pottery expert King designed Spoken Through Clay to be approachable for those unfamiliar with Native American pottery. “In the age of social media, I wanted to make the book both visually striking and personal,” King said. The book opens with essays by King, Dobkin, and curator Peter Held, who calls clay “the most archival of materials … seductive, sensuous, responsive, geologic, and malleable.”

“I wanted the end result of the book to be that the reader would connect with the artists in a personal way, beyond just the art, and understand the time it takes to become an artist, to achieve success,” King said. Sprawling yet intimate, Spoken Through Clay introduces its readers not just to the beauty of Southwestern pottery but also to the fascinating stories of the people who make it.Iris McLister, Pasatiempo

____________________________________

“It’s one of the things that makes us who we are. It’s what holds our family together. We are a family of potters. It’s our identity. People don’t realize how much work goes into it just processing the clay and making it. You have to do it with your heart.”—Linda Tafoya-Sanchez

 

FEATURED ARTISTS Grace Medicine Flower • Dextra Quotskuyva • Autumn Borts-Medlock • Jody Naranjo • Harrison Begay Jr. • Jordan Roller • Sara Fina Tafoya • Lonnie Vigil • Margaret Tafoya • Steve Lucas • LuAnn Tafoya • Loren Ami • Toni Roller • Popovi Da • Linda Tafoya-Sanchez • Mark Tahbo • James Ebelacker• Yvonne Lucas • Jeff Roller • Lisa Holt • Harlan Reano • Nampeyo • Jacquie Stevens • Nathan Youngblood • Jacob Koopee Jr. • Jennifer Moquino • Christopher Youngblood • Maria Martinez • Tony Da • Tammy Garcia • Virgil Ortiz • Joseph Lonewolf • Johnathan Naranjo • Nancy Youngblood • Les Namingha • Russell Sanchez • Christine McHorse • Richard Zane Smith • Rondina Huma • Susan Folwell • Dominique Toya • Jody Folwell

Spoken Through Clay features the pottery of iconic Native American artists from historic potters Nampeyo and Maria Martinez, to contemporary potters Tammy Garcia, Virgil Ortiz, and many others, are featured in a new book published by the Museum of New Mexico Press. Spoken Through Clay: Native Pottery of the Southwest showcases nearly three hundred pottery vessels from the acclaimed Eric S. Dobkin Collection, covering a wide range of mostly Pueblo artists from the Southwest.

“The physical scale of the vessels combined with the depth of the contemporary collection [is] breathtaking,” says author Charles S. King. The book is part of a “transitional process of looking to the clay, the vessel, and the potter’s voice and allowing the pieces to stand on the merit of their artistic integrity.”

The book includes portraits and voices of renowned potters speaking about their artistry and technique, families, culture, and traditions. Many of the artists are connected by Pueblos, generations, or family members. Dynamic color photography captures the depth and dimension of the pieces, while the artists provide an illuminating perspective through narrative captions. Artists, academics, collectors, family members, and gallerists add additional insight about the lives, historical context, and importance of these potters and their work.

SPOKEN THROUGH CLAY Native Pottery of the Southwest The Eric S. Dobkin Collection
By Charles S. King Essay by Peter Held

Artist portraits by Will Wilson
ISBN: 978-0-89013-624-9

352 pages, 320 color plates, 40 artist portraits

Publication Date: August 01, 2017
ABOUT THE AUTHOR Charles S. King is the author of Born of Fire: The Life and Pottery of Margaret Tafoya, The Life and Art of Tony Da, Virgil Ortiz: Revolt 1680/2180, and numerous articles on Pueblo pottery. He has served on boards of art associations, judged pottery at prestigious events, and lectures about the art form. His business King Galleries represents many of today’s leading Native potters and important historic works in clay. Charles lives in Scottsdale, Arizona.

$ 125.00 $ 95.00
McHorse, Joel — “Hindsight” Bowl with Lid

This bowl is made of micaceous clay and reduction fired.  The lid fits perfectly and it is surmounted by silver finial which Joel has made.  Amazingly, he is as much a jeweler as a potter and an architect!  This bowl is called, “Hindsight” and the shape of the silver piece captures the name perfectly!  The silver piece is made from the lost wax method in which he carves out the shape in wax and then casts it in silver.  It is attached using padded screws so that it will not damage the clay.  The shape and motion of the silver work creates a very organic appearance in combination with the simplicity and sparkle of the black fired micaceous clay.  Joel’s pottery can be found in museums such as the IAIA Museum, the Boston Museum of Fine Arts/Peabody Essex and the Heard Museum.  His work is unique and timely and definitely a potter to watch!

$ 3,200.00
McHorse, Joel — “Symphony” Mica Bowl w/ Silver Lid

This bowl is made of micaceous clay and reduction fired.  The lid fits perfectly and it is surmounted by silver finial which Joel has made.  Amazingly, he is as much a jeweler as a potter and an architect!  This bowl is called, “Symphony” and the finial for the lid is silver and made from the lost wax method.  The silver is attached to the lid using padded screws so that it will not damage the clay.  The shape and motion of the silver work creates a dynamic sense of motion especially in combination with the simplicity and sparkle of the black fired micaceous clay.  Joel’s pottery can be found in museums such as the IAIA Museum, the Boston Museum of Fine Arts/Peabody Essex and the Heard Museum.  His work is unique and timely and definitely a potter to watch!

$ 8,800.00
McHorse, Joel — “Deconstruction” Mica Bowl w/ Silver Lid

This bowl by Joel McHorse is made of micaceous clay and reduction fired.  The lid fits perfectly and it is surmounted by silver finial which Joel has made.  Amazingly, he is as much a jeweler as a potter and an architect!  This bowl is called, “Deconstruction” and the finial for the lid is silver and made from the lost wax method.  The silver is attached to the lid using padded screws so that it will not damage the clay.  The lid on this piece is oxidized sterling silver with a textured feel.  The shape brings to mind traditional handles on lidded clay pots.  Joel’s pottery can be found in museums such as the IAIA Museum, the Boston Museum of Fine Arts/Peabody Essex and the Heard Museum.  His work is unique and timely and definitely a potter to watch!

$ 3,800.00
McHorse, Joel — “Silver Flower” Lidded Jar

Joel learned to make pottery from his mother, Christine McHorse.  His early work was a combination of traditional Navajo shapes and incised designs along this his own distinctive silver work that he used an finials on the lids. This is a classic jar with a perfectly fit lid made from micaceous clay and reduction fired.  The silver pieces for the lid are created using the lost wax method of casting. There are three vertical infinity symbols which are soldered together to create the flower design.  It is a brilliant use of various designs to create a new form!  The petal/flower motif as well works in balance with the shape of the jar  and the coloration from the firing.  There is an architectural appearance to them and a somewhat art-deco feel in their connection to the vessel itself.  Not surprisingly Joel is as much an architect as a potter.  He took nearly a decade away from the clay to become an architect.  Joel said of his early work, “The successes of form and composition that I see in my pottery I try to utilized in my architecture.”  The opposite could be said today as the success of his architectural career have created a new direction in his work in the clay and especially in silver.

$ 3,600.00
Mobile version: Enabled